This presentation highlights Scholar@UC design experiment to use ANNIF to populate subject and genre fields. It was presented at Samvera Virtual Connect in 2023
Tsukioka Yoshitoshi (1839-1892) was a Japanese print maker. His artistic career bridged between the Edo Period (1600-1868) and the Meiji Period (1868-1912). With the start of the Meiji Period, Western technologies and ideologies were introduced to Japan. The art of printmaking had long been a tradition in Japan, especially revered during the Edo Period; however, the introduction of photography began to threaten the tradition. Yoshitoshi is considered to be the last great ukiyo-e artist that used his prints to revitalize and modernize the tradition of prints. His series One Hundred Aspects of the Moon was his last great print series.
If life is said to imitate art, then Suzanne Valadon’s rebellious, unorthodox, bohemian lifestyle is reflected in her artworks. Valadon's choice of the nude as the primary focus of much of her work reveals much about her role in society. A as a member of the working-class, Valadon was able to step outside the domestic and painted within the traditionally male domain. The art of Suzanne Valadon has been reprised in recent years as feminist art historians have been questioning the art historical canon and challenging the ideology of the nude as a masculine domain. This paper will discuss Valadon’s time as a model, what influence this had on her works, and her relationship with Edgar Degas, her family, and female contemporaries. It will also examine why Valadon chose the nude as the primary focus of much of her works and what this says about her role in society. Through this study, I hope to give better insight on why Valadon’s works were championed during her life, but the recognition faded after her death. Through her work, Valadon challenged not only the rules of the day, but she reclaimed the female nude in her work, the woman was no longer an object to be viewed but a subject in her own right.
The only artist to be featured at all eight Impressionist Exhibitions in Paris was Camille Pissarro. The Impressionist movement emerged during a period of rapid social change and growing industrialization with more people moving to cities. In Pissarro’s works, he specifically concentrated on the conditions of different weather and times of day to alter how he painted scenes of a city. My paper focuses on the Boulevard Montmartre series and his use of building tonal relationships and skill of lighting placement across the fourteen paintings in order to establish a harmonious composition where the day’s essence radiates off the canvas.
If life is said to imitate art, then Suzanne Valadon’s rebellious, unorthodox, bohemian lifestyle is reflected in her artworks. Valadon's choice of the nude as the primary focus of much of her work reveals much about her role in society. A as a member of the working-class, Valadon was able to step outside the domestic and painted within the traditionally male domain. The art of Suzanne Valadon has been reprised in recent years as feminist art historians have been questioning the art historical canon and challenging the ideology of the nude as a masculine domain. This paper will discuss Valadon’s time as a model, what influence this had on her works, and her relationship with Edgar Degas, her family, and female contemporaries. It will also examine why Valadon chose the nude as the primary focus of much of her works and what this says about her role in society. Through this study, I hope to give better insight on why Valadon’s works were championed during her life, but the recognition faded after her death. Through her work, Valadon challenged not only the rules of the day, but she reclaimed the female nude in her work, the woman was no longer an object to be viewed but a subject in her own right.
