“Ready-mades: Associated with Dada, especially with Marcel Duchamp, these are randomly selected and mass-produced found objects, often nonsensically combined and presented as art. For Duchamp, found objects implied the exercise of aesthetic taste, whereas ready-mades did not.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
Here is a Cultural Literacy worksheet on Tahiti. This is a half-page worksheet with a reading of two sentences, the second of them a bit long, but not so long that students–even emerging and struggling readers–can’t make sense of it.
Even in two sentences, the reading mentions Tahiti’s allure to Paul Gauguin and Robert Louis Stevenson, summoning both of them to the Island to create art extolling the its beauty.
If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
“Rayonism: A Russian movement, a short-lived offshoot of Cubism and a parallel to Futurism, started in 1913 by Mikhail Larionov and Natalia Goncharova. Their emphasis on rendering parallel and crossed beams of light to suggest the fourth dimension was important to the development of Suprematism.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Quattrocento: (It. four hundred) The 15th century, used especially when referring to Italian art and literature of that century.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Quatrefoil: Decorative motif with four lobes, associated with Gothic tracery.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Ashcan School: (Also called The Eight and The New York Realists) A term applied, loosely and belatedly, to a group of American realist painters. Although they never actually formed a school, eight painters—Robert Henri (1865-1929), John Sloan (1871-1951), Maurice Prendergast (1859-1927), George Luks (1897-1933), Everett Shinn (1876-1953), William Glackens (1870-1938), Ernest Lawson (1873-1939), and Arthur B. Davies (1862-1928)—held an independent exhibition at The Macbeth Gallery in New York in February 1908. Their paintings, which featured prizefights, bars, and city street scenes, departed from the artistic conventions of the turn of the century and were greeted with a storm of critical disapproval. These depictions of the working-class milieu—romantic and vital, but also squalid and brutal—shocked viewers used to genteel and fashionable pictures. The exhibition and the work of the artists, however, exerted an enormous influence on the development of American realistic painting.
The original eight came to be associated with other painters, including Walt Kuhn (1880-1949), one of the organizers of the Armory Show, and George Bellows (1882-1925), whose work, of all of the painters of the school, has perhaps retained the most critical interest.”
Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.
“Quarto: A book, measuring not larger than 9 ½ by 12 ½ inches, which is composed of sheets folded into four leaves.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
Here is a Cultural Literacy worksheet on wampum. This is a half-page worksheet with a reading of one sentence and one comprehension question.
Which is too bad; I grew up, probably having absorbed it passively through popular culture, thinking wampum was currency, or money. In fact, wampum, usually presented in belts, is a complex cultural article in Eastern woodlands tribes of indigenous peoples in North America.
If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
“Quadratura: Illusionistic painting on a ceiling or wall in which perspective and foreshortening of architectural members, figure, etc., give the impression that the interior is open and limitless. Practiced by Italian baroque specialty painters, known as quadraturisti or quadratisti.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Diego Rivera: (1886-1957) Mexican muralist. After study in Mexico City and Spain, he settled in Paris from 1909 to 1919. He briefly espoused Cubism but abandoned it c.1917 for a visual language of simplified forms and bold areas of color. Returning to Mexico in 1921, he sought to create a new national art on revolutionary themes in the wake of the Mexican Revolution. He painted many public murals, the most ambitious of which is in the National Palace (1929-57). His mural for New York’s Rockefeller Center aroused a storm of controversy and was ultimately destroyed because it contained the figure of Vladimir Lenin; he later reproduced it at the Palace of Fine Arts in Mexico City. With Jose Clemente Orozco and David Alfaro Siqueiros, he created a revival of fresco painting that became Mexico’s most significant contribution to 20th-century art. His large scale, didactic murals contain scenes of Mexican history, culture, and industry with Indians, peasants, conquistadores, and factory workers drawn as simplified figures in crowded, shallow places. Rivera was married to Frida Kahlo almost uninterruptedly from 1929 to 1954.”
Excerpted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.
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