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Landscapes: Real and Imagined. Questions. Why might an artist choose to paint abstractly instead of representationally—depicting figures, shapes, objects, or scenes? What kinds of choices do artists make when painting?. MoMA Landscapes: Real and Imagined Theme.
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Questions Why might an artist choose to paint abstractly instead of representationally—depicting figures, shapes, objects, or scenes? What kinds of choices do artists make when painting? MoMA Landscapes: Real and Imagined Theme
Take a close look at Port-en-Bessin, Entrance to the Harbor, by Seurat. • What is going on in the foreground, the middle ground and the background? • What is the mood of this place? Georges-Pierre Seurat. Port-en-Bessin, Entrance to the Harbor. 1888 MoMA Landscapes: Real and Imagined Theme
Now, take a close look at The Starry Night, by van Gogh. • How is it similar to Port-en-Bessin? How is it different? What details do you notice? • Why might this be considered a ‘Symbolis’ work of art? Vincent van Gogh. The Starry Night. June 1889 MoMA Landscapes: Real and Imagined Theme
Let’s compare Seurat and van Gogh Georges-Pierre Seurat. Port-en-Bessin, Entrance to the Harbor. 1888 Vincent van Gogh. The Starry Night. June 1889 • How are these paintings similar? • How are they different? MoMA Landscapes: Real and Imagined
Now, take a close look at Melancholy: Evening on the Shore, by Munch. • What is happening with the figure in this landscape? What mood is being conveyed? • Would the mood be the same without the figure? Why or why not? Edvard Munch. Melancholy: Evening on the Shore. 1896 MoMA Landscapes: Real and Imagined Theme
Now, take a close look at Evening, Honfleur, by Seurat. • What is happening in the foreground, middle ground, and background? What mood is being conveyed? Georges-Pierre Seurat. Evening, Honfleur, 1886 MoMA Landscapes: Real and Imagined Theme
Let’s compare the moods of Munch’s Melancholy: Evening on the Shore to Seurat’s Evening, Honfleur. Georges-Pierre Seurat. Evening, Honfleur, 1886 Edvard Munch. Melancholy: Evening on the Shore. 1896 MoMA Landscapes: Real and Imagined
Questions Now that you have generated descriptive words for each image, use them to have a conversation with a partner: How did these modern painters convey a sense of mood or interior, psychological space in their landscapes? MoMA Landscapes: Real and Imagined Theme
Henri Rousseau. The Dream. 1910 MoMA Landscapes: Real and Imagined Theme
Let’s look at these two landscapes by Matisse. Henri Matisse. Landscape at Collioure. 1905 Henri Matisse. Study for "Luxe, calme et volupté". 1904 MoMA Landscapes: Real and Imagined
Vasily Kandinsky. Picture with an Archer. 1909 MoMA Landscapes: Real and Imagined Theme
Paul Gauguin. The Moon and the Earth. 1893 MoMA Landscapes: Real and Imagined Theme
Joan Miró. The Hunter (Catalan Landscape). Montroig, July 1923-winter 1924. MoMA Landscapes: Real and Imagined Theme
Salvador Dalí. The Persistence of Memory. 1931. MoMA Landscapes: Real and Imagined Theme
[ALT VERSION] Let’s look at The Persistence of Memory by Salvador Dalí. • What is your definition of a landscape? Does this painting qualify under that definition? • Think of five words that describe the place in this painting. • Which elements are natural, and which from the artist’s imagination? Are there some that straddle the line between natural and imaginary? Salvador Dalí. The Persistence of Memory. 1931. MoMA Landscapes: Real and Imagined Theme
Max Ernst. Two Children Are Threatened by a Nightingale. 1924. MoMA Landscapes: Real and Imagined Theme
[ALT VERSION] Let’s look at Two Children Art Threatened by a Nightingale by Max Ernst. • Does knowing the title of this work change what your think of this painting? • Which figures are the two children? Who might the other figures be? • How might this relate to the artist’s interest in dreams? Max Ernst. Two Children Are Threatened by a Nightingale. 1924. MoMA Landscapes: Real and Imagined Theme