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A History of Western Art

A History of Western Art​ > ​Outlining Chapters​ > ​
Outlining Chapters
Chapter 10 - Early
Christianity & Byzantine Chapter 30 - Pop Art, Op Art, Minimalism,
Art
Chapter 11 - The Early
Middle Ages
& Conceptualism
Chapter 11 - The Early
Middle Ages
Chapter 12 - Romanesque
Art The imagery of Pop Art was derived from commercial sources, the mass media, and everyday life
Chapter 13 - Gothic Art In contrast to Abstract Expressionism—which viewed works of art as revelations of the artist's inner,
Chapter 14 - Precursors of unconscious mind—the Pop artists strove for "objectivity" embodied by an imagery of objects.
the Renaissance Another artistic expression of the 1960s, the so-called happenings, probably derived from the Dada
Chapter 15 - The Early
performances at the Cafe Voltaire in Zurich during WWI
Renaissance
They included painting, assemblage, television, radio film, and artificial lighting
Chapter 16 - The High
Renaissance in Italy Op Art explored the kinetic effects of optical illusion; Minimalism, which attempted to eliminate the presence
Chapter 17 - Mannerism of the artist and focus on pure form and industrial materials; and Conceptualism, in which the idea (the
and the Later Sixteenth concept) is theoretically more important than the work itself
Century in Italy
Chapter 18 - Sixteenth- Pop Art in England: Richard Hamilton
Century Painting and
Printmaking in Northern Despite the iconographic insistence on what was contemporary, however, Hamilton's collage contains
Europe
traditional historical references
Chapter 19 - The Baroque
Style in Western Europe
Pop Art in the United States
Chapter 20 - Rococo, the
Eighteenth Century, and
Revival Styles & Chapter never a homogeneous style
21 - Neoclassicism: The Jasper Johns and Robert Rauschenberg
Late Eighteenth and Early
Nineteenth Centuries Jasper Johns
Chapter 22 - Romanticism His flag are built up with superimposed canvas strips covered with wax encaustic—a combination that
& Chapter 23 - Realism
creates a pronounced sense of surface texture
Chapter 24 - Ninetein teir
iconicography enth- Robert Rauschenberg
Century Impressionism Robert Rauschenberg (1925-2008) was as liberal in his choice of imagery as Johns was frugal
Chapter 25 - Post- The silk-screen print of 1964, Retroactive I is a arrangement of cutouts resembling a collage
Impressionism & the Late It illustrates the artist's expressed wish to "unfocus" the mind of the viewer by presenting simultaneous
Nineteenth Century
images that are open to multiple interpretations
Chapter 25 - Post-
Impressionism & the Late The frame at the lower right reveals a historical thread behind Rauschemberg's "current
Nineteenth Century events" iconography
Chapter 26 -The Early Brushstrokes and drips running down the picture's surface are particularly apparent at the top
20th Century: Picasso,
Andy Warhol
Fauvism, Expressionism,
and Matisse Andy Warhol was the chief example of the Pop Art lifestyle, as well as the creator of highly
Chapter 27 - Cubism & individual works of art
Futurism Warhol turned himself into a work of Pop Art and became the central figure of controversial cult
Chapter 28 His iconography is wide-ranging
Chapter 29 - Mid-Century Created works that monumentalize commercial American icons
American Abstraction
Roy Lichtenstein
Chapter 3
Comic books provided the source for some of the best images by Roy Lichtenstein
Chapter 30 - Pop Art,
Op Art, Minimalism, & The absent of shading, and clear out line form
Conceptualism Tom Wesselmann
Chapter 30 - Pop Art, Op This metaphor is reinforced by the formal parallels between the mouth, the nipples, and the interior of
Art, Minimalism, &
Conceptualism the flowers
Chapter 32 He combines 3d forms with flattened geomtric abstraction, the interior bedroom with exterior
Chapter 4 - The Ancient landscape, and scpificity with univercal themes
Near East Wayne Thiebaud
Chapter 5 - Anicent Egypt In the 1960s Thiebaud focused on cafeteriastyle food arrangements, but his content in the
Chapter 6 - The Aegean following decades includes a wide range of objects, portraits, and atmospheric images of cloud
Chapter 7 - The Art of formations and landscape
Ancient Greece
oblique angle
Chapter 9 - Ancient Rome
The predominance of white is characteristic of the artist’s paintings of objects. White was of particular
Terms
interest to Thiebaud because it combines all colors while simultaneously absorbing and reflecting light
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Sculpture

Generally included among the leading New York Pop artists are the sculptors Claes Oldenburg (born 1929)
and George Segal (1924–2000)
 George Segal
The sculptures of George Segal are literally “figurative.”
Segal creates environments in which he sets figures, singly or in groups, that appear isolated and self-
absorbed
He also uses his technique of “wrapping” living people in plaster for portraiture
Claes Oldenburg
Clothespin has an anthropomorphic quality
legs and head
The clothespin thus assumes the quality of a visual pun, which is reminiscent of Picasso’s Bull’s Head
and of the unlikely, surprising juxtapositions of the Surrealist aesthetic that were calculated to raise the
consciousness of the viewer
Niki de Saint-Phalle
Niki de Saint-Phalle (1930–2002) was born in Paris, grew up in New York, and returned to Paris in 1951
polyester sculptures of large women The torso of this figure looks inflated, ironically even more so than
the beach ball, which seems to be losing its air
The figure seems engaged in an energetic dance movement, which, together with its “blackness,” allies it
with the exuberance and modernism of jazz
Marisol Escobar
In her monumental sculptural installation of The Last Supper, she re-creates Leonardo’s fresco in a
modern idiom

Op Art

Another artistic movement that flourished during the 1960s has been called Optical, or Op, Art
The Responsive Eye
The Op artists produced kinetic effects using arrangements of color, lines, and shapes, or some combination of
these elements

Minimalism

Sculptures of the 1960s “objectless” movement were called “minimal,” or “primary,” structures because they
were direct statements of solid geometric form
Abstract Expressionism, Minimalism, like Color Field painting, tries to eliminate all sense of the artist’s role in
the work, leaving only the medium for viewers to contemplate

Donald Judd
green lacquer
The shadows also emphasize the vertical character of the boxes by linking them visually and creating
an impression of a nonstructural pilaster
Dan Flavin
Light is the primary medium of the Minimalist fluorescent sculptures of Dan Flavin (1933–96)
nonrepresentation, nevertheless has a spiritual quality that, ironically, allies his work with stained-glass
windows and the play of light and color inside Gothic cathedrals
Agnes Martin
The early work of Agnes Martin (1912–2004) was an inspiration to the Minimalists, but she developed
in a more painterly direction
In so doing, she revealed affinities with the vast—because they were conceptually vast—pictorial spaces
of Mark Rothko
possibly influenced by her interest in Far Eastern philosophy
Eva Hesse
she is sometimes referred to as a Post-Minimalist
The space between them participates in the image, creating a nonrepresentational triptych in which
medium and content converge

Conceptualism

The Conceptual artists of the 1960s wanted to extend Minimalism so that even the materials of art would be
eliminated, leaving only the idea, or concept, of the art

Joseph Kosuth
Some Conceptual works combine objects with text, and others, such as Joseph Kosuth’s (born 1945) Art
as Idea as Idea of 1966, consist only of text
Obs or obsolete
Sol LeWitt
Sol LeWitt (1928–2007) worked as a Minimalist in the early 1960s, using industrial materials to create
geometric, often serial constructions placed on the floor
All are made of aluminum and painted in glossy white on a gray surface

Action Sculpture: Joseph Beuys

significantly affected by World War II, although in an entirely different way

Influenced by German Romanticism and Germanic myth, and impelled to atone for the German atrocities in
the war, Beuys was drawn to mysticism and spirituality, and projected the self-image of a shaman on an
 international scale
New York

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