mp;lt;javascript:OpenBrWindow(»images/s9.htm«,»s9«,»resizable=yes,width=220,height=230«)> combine the fragmented space of cubism with nuanced attention to organic forms. Charles Sheeler »s precisionist still life <javascript:OpenBrWindow(«images/s10.htm»,«s10»,«resizable=yes,width=210,height=260»)> has the clean lines and quiet solidity more often seen in his landscapes of industrial America. The constrast between accurate representation and modernist style was best explored by Georgia O «Keeffe <javascript:OpenBrWindow(»images/s11.htm«,»s11«,»resizable=yes,width=190,height=308«)>, who uses both realism and abstractions of the natural world.the mid-and late twentieth century, meaning and subject matter in still-life painting was again transformed and expanded. Pop artists substituted soup and beer cans <javascript:OpenBrWindow(»images/s12.htm«,»s12«,»resizable=yes,width=200,height=305«)> for the more traditional fruit, flowers, or books. Wayne Thiebaud expressed the optimism of America in the 1950s and 1960s with his seemingly endless arrays of cakes <javascript:OpenBrWindow(»images/s13.htm«,»s13«,»resizable=yes,width=230,height=313«)> and pies. These objects no longer carry subtle moral messages but have become icons of a consumer-driven culture. Richard Diebenkorn »s Still Life <javascript:OpenBrWindow(«images/s14.htm»,«s14»,«resizable=yes,width=210,height=300»)> becomes a self-portrait-a study of the artist through his tools, personal items, and working environment. Throughout his career Jim Dine incorporated common objects into his work that were meaningful in his own life - such as tools, bathrobes, and hearts. Through repetition over time these objects take on meaning for the viewer as well as the artist. Dine «s The Gate, Goodbye Vermont <javascript:OpenBrWindow(»images/s15.htm«,»s15«,»resizable=yes,width=200,height=305')> combines elements of still life and sculptural asssemblage to evoke a particular sense of place and point in time [3].
2.4 History painting
painting records noteworthy events and documents scenes of exemplary conduct, virtue, and patriotism. From the eighteenth well into the nineteenth century it was considered the most elevated form of art. In Europe, historical subjects were usually commissioned by royalty, clergy, and governments in order to commemorate and dramatize scenes of national triumph. These works were traditionally executed on a large scale and were intended for official display.first great American painter of historical narratives was Benjamin West. In colonial America there was little demand for large-scale work of this sort, and West traveled to Europe in search of training and patronage. As an expatriate living in London, West achieved great success with works like The Battle of La Hogue <javascript:OpenBrWindow(«images/h1.htm»,«h1»,«resizable=yes,width=230,height=240»)>, ...
