Lesson 4 - Activity 1

LESSON 4: AMERICAN AND JAPANESE COLONIZATION PERIOD
ACTIVITY 1:
Research: State at least 3 works produced by the 2 artists from the American
Period and Japanese Period given below. Make a diagram using the 4 Key
Questions: WHO (artist), WHAT (artwork), WHEN, (date) and WHY
(definition). Include pictures of the Artist and its artwork. Save your work in
PDF file.
WHO
Fabian Dela Rosa
WHAT
Athenaeum Portrait The Skater Catherine Brass Yates
(1796) (1782) (1793)
The Athenaeum Portrait, “The Skater” by Gilbert Catherine Brass Yates is an

also known as The Stuart depicts a man oil-on-canvas painting
Athenaeum, is a gliding effortlessly forward undertaken in 1793–94 by
with arms crossed over his the American artist Gilbert
unfinished painting by chest in typical Stuart,[1] depicts Catherine
Gilbert Stuart of former eighteenth-century skating Brass Yates, the wife of
United States President form. The skater wears a Richard Yates, a New York
George Washington. dark elegant full-skirted merchant. The painting
Created in 1796, it is coat, a white cravat, a gray shows Catherine Brass
Stuart's most notable fur lapel, a tan glove, and Yates, the wife of Richard
work. The painting silver buckles on the hat, Yates, a New York
depicts Washington at breeches, and shoes. HIs merchant;[2] it was painted in
age 65, about three years stylish hat is tilted to show oil on canvas in 1793–94.[1]
before his death, on a his face while his head is Stuart painted a portrait of
brown background.[1] It slightly lowered. A low Richard in the same period.[3]
served as the model for point of view enhances the Timothy Cahill, the editor of
the engraving that would dramatic impression. Art Conservator magazine
be used for Washington's Behind the skater is a considers that the Portrait of
portrait on the United winter landscape Mrs. Richard Yates is
States one-dollar bill. composed of distant "regarded as among the
A corresponding portrait skaters, trees, and a far-off finest American portraits
of Martha Washington is London skyline that ever made". On returning to
also known as the includes the twoers of the United States from
Athenaeum Portrait,[2][3] Westminster Abbey. The England and Ireland in 1793,
and is exhibited near the Skater’s figure divides the Stuart found that the type of
painting of her husband canvas into halves. To the portrait in demand differed
at the Boston Museum of right, a large bare tree from those he had painted in
Fine Arts. The Athenaeum dominates the composition Europe. The Yankee
is Stuart's most famous with a few stationary merchants' taste was for
work. He started painting figures. While the left side, realism, so he portrays
the Athenaeum in 1796, in the distant skaters are Catherine Yates, with her
Germantown, depicted in motion, as are bony face and appraising
Philadelphia (now a the darker winter clouds glance, as too busy with her
neighborhood within over London. sewing to take time off to
Philadelphia). The pose for the artist. Using
painting is oil on canvas different paint mediums and
and depicts only paying meticulous attention
Washington's head and to detail, he employs a
neck, painted when he variety of techniques for the
was 65 years old (about fabrics, sewing implements,
three years before his wedding ring, skin tones,
death in 1799) on a brown and fingernails.
background. The rest of
the painting is unfinished.
The frame was made by a
frame maker, picture
dealer, and entrepreneur
named John Doggett.
WHO
Yayoi Kusama
WHAT
Pumpkin Infinity Mirror Room Accumulation No. 1.
Fireflies on Water
(1990) (1965) (1963)
While polka dots are Kusama’s In 1965, Kusama erected the first of Accumulation is a sculpture
most recognizable motifs, her now-famous immersive made by the artist Yayoi
pumpkins are a close second. environments. Infinity Mirror Room Kusama around 1963, and is
They have cropped up in – Phalli’s Field (Floor Show) fused part of an ongoing series of
drawings, paintings, her interests in repetition, sexual sculptures by the same name
sculptures, and installations exploration, psychology, and that the artist began in the early
throughout her career. The first perception by filling a roughly 1960s. The armature of this
of these oddly shaped 25-square-meter mirrored room with particular sculpture is a wooden
squashes appeared in a work a thick carpet of soft, twisting armchair, measuring about 3
Kusama made in 1946, a full 10 phalluses camouflaged in the feet high by 3 feet wide by 3 feet
years before she relocated to artist’s signature polka dots. deep. This style of the armchair
the United States and began Visitors were encouraged to enter has curved legs in the front,
making the work that would the room and interact with the total which make it look a bit more
catapult her to fame. It environment, where their reflection elegant and ornate. All over the
depicted the kabocha—a kind repeated endlessly against a field of surface of the chair–on the seat,
of pumpkin used extensively in odd sensual forms so pliable and sides, and back–Kusama has
Japanese cooking—rendered lumpy, they looked alive. The affixed a series of small to
in the late-19th century experience, as curator Catherine medium-sized phallic-shaped
Japanese painting style of Taft has written, created a kind of protrusions. Indeed, Kusama
Nihonga. With typical fervor, “psychosexual encounter with one’s has termed these puffy
she painted the form over and own body and image.” projections: "phalluses", an
over again, becoming lost in its Other artists took note of the heady identification that, when
grooves and bumps. “I would effects of Kusama’s first Infinity combined with a domestic
confront the spirit of the Room on the viewer—and on the object like an armchair, carries
pumpkin, forgetting everything avant-garde 1960s art world. Since both sexualized and gendered
else and concentrating my 1965, Kusama has produced over 20 stereotypes.
mind entirely on the form “Infinity Mirror” rooms, including For this particular
before me.…I spent as much as one for the Japanese Pavilion at the Accumulation, the protrusions
a month facing a single 1993 Venice Biennale. In recent range in size from as small as a
pumpkin,” she later recalled. years, they’ve become the major fingerling potato to as large as a
draw of Kusama retrospectives, loaf of bread. These extensions
transporting viewers into a appear almost pillowy and soft,
kaleidoscopic black hole of and in fact were produced by
shimmering dots, while also the artist individually sewing
providing the perfect backdrop for a and stuffing each one, before
selfie sure to inspire lots of likes. attaching it to the surface of the
chair.

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LESSON 4: AMERICAN AND JAPANESE COLONIZATION PERIOD

Fabian Dela Rosa

(1796) (1782) (1793)

The Athenaeum Portrait, “The Skater” by Gilbert Catherine Brass Yates is an

(1990) (1965) (1963)

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