Modern Art History - Exam 1 Short Answer Questions

Tippu’s Tiger

1790

Artist not listed

Comment:

• India colonization: Lion defeating tiger was common imagery

  • Rep. British power over India

• Flips dynamic on it’s head

During the colonization of India, art of a lion defeating a tiger was common. This was a visual representation of Britains power over India. This piece flips this dynamic on its head emphasizing Indian power and autonomy.

Carved leopards

Kingdom of Benin

19th Century

Comment:

Direct symbol of colonization

• Gun percussion caps = remains of conflict

• Leopards = regal symbol

• Later stolen when Benin was colonized

This pair of leopards is a direct representation of colonization. First, leopards are a symbol of power and monarchy for the kingdom of Benin. This piece was later stolen when the kingdom was colonized. Second, the gun percussion caps that create the leopard’s spots originate from the remains of battle, which is inherently connected with colonialism.

Portrait of an Egyptian Fellah

Jean-Léon Gérôme

~1855

Comment:

• Visited Egpyt

• Framed as objective / observational (But has European bias)

  • Emphasis on side profile (bc of developement of phrenology)

This artist frequently visited Egypt for artistic study. While the drawing is framed with an objective, observational view it does show examples of European bias. For example, the side profile is emphasized because of the development of phrenology at the time.

The Abundance of Egypt

William Holman Hunt

1860

Comment:

• Example of colonialist imagery

  • Pushing of Christian Iconography (bread / wine)

    • Pushes Christian values on Egypt

This piece is an example of subtle colonialist imagery in art. The classic Christian iconography of the bread and wine is depicted through the jug and wheat. The inclusion of these symbols pushes Christian values onto Egpytian culture.

Photo of Woman in Oriental Dress

Hippolyte Arnoux

1880s

Comment:

• Direct ex. of orientalism

• Perpetuates inaccurate + oversexualized generalization

• Women as objects for consumption

This photo is a direct example of the orientalism seen in European depictions of Egyptian women. Images like these perpetuate an inaccurate and oversexualized generalization of Egyptian culture than frames these women as objects for consumption.

Panorama Mesdag

Hendrik Willem Mesdag.

Opened 1880

Comment:

• Panoramas = uniquely immersive

  • Inhabit a space

• 360 degrees + sand and light create illusion of being on top of the dune

Panoramas are a uniquely immersive form of art that allows viewers to inhabit a space. The 360 degree range of the painting combined with additional elements such as sand, light, and the lookout deck create the illusion that visitors are really standing on the Seinpost dune.

The Mango Trees, Martinique

Paul Gauguin

1890

Comment:

• View of cultures not influenced by the West

• Places like Martinique (found fruit available)

  • Exoticized and depicted as primitive

This painting gives a look into how Gauguin viewed cultures untouched by western influence. Places such as Martinique where found fruit is available are exoticized and depicted as primitive by Gauguin.

The Wake

Francisco Oller

1890

Comment:

• Visually emersive w/ deeper meaning

• Attendees = distracted (not looking at child)

• Criticism of culture that values wordly possessions

In addition to being a visually immersive piece, it also conveys a deeper message from the artist. In the painting, the people attending the wake are distracted by other activities rather than looking at the deceased child. This is intended as a criticism of culture that values worldly possessions above all else.

Veranda Post of Enthroned King and Senior Wife

Olowe of Ise

Early 20th Cent

Comment:

• Art as function

• Part of working architecture

• Display the power dynamic of the king and wife

This wooden post is an example of the merging of art and function. In addition to being a part of the working architecture of the building, it also depicts an interesting dynamic between the king and his wife, highlighting her significance and power.

Bundoo Girls

Alphonso Lisk-Carew

1905

Comment:

• Difference in approach between Alphonse Lisk-Carew and European photographers

• Artistic rather than ethnographic

• Emphasize individuality w/ posing

This photo highlights the difference between how the Bundoo women were depicted by Alphonse Lisk-Carew compared to European photographers. Lisk-Carew’'s artistic rather than ethographic approach uses posing to emphasize the individuality of the women in the photo.

Two cats holding a large praw

Jamini Roy

1920

Comment:

• Made around rise of eclecticism (Western + Indian style)

• Bengali folk art style

  • Preserving traditional Indian art practice

This piece was created around the rise of eclecticism in Indian art that combined western and Indian elements. Instead, it returns to the style of Bengali folk art, emphasizing the importance of preserving traditional Indian art practice.

Self-Portrait as a Tahitian

Amrita Sher-Gil

1935

Comment:

• Response to Gaugin and Van Gogh

  • Art of non-European women

• Rampant sexualization

• Her experience being exoticized as a bi-racial woman

Sher-Gil’s work is a response to art by Gauguin and Van Gogh that depict women from non-European cultures. It grapples with the rampant sexualization of women from these cultures while also speaking to her experience being exoticized as a bi-racial woman.

Life on the Embankment of the Nile

Gazbia Sirry

1960

Comment:

• Relationship between Egpytian people & the Nile

• Created during decolonization of Africa

  • Reclaiming of connection

This painting emphasizes the relationship between the Eyptian people and the Nile. It was created during the decolonization of Africa, which adds context to this piece as a reclamation of this relationship.