MODERN AND MODERNISM A Year 12 Case Study
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MODERN AND MODERNISM A Year 12 Summary Gerrit Rietveld Red-Blue Chair 1917 PART 1: Early Modernism – Realism and Impressionism in 19th Century France Gustave Courbet (1819-77). The Stormy Sea (or The Wave) 1869 Realism in the 19th Century • The art-historical definition of realism originated in the movement that was dominant primarily in France from about 1840 to 1870-80 and that is identified particularly with the work of Gustave Courbet. Realism was decidedly an outgrowth of its particular time -- one of great political and social upheaval. This unrest stirred the realists to reject prevailing canons of academic and romantic art and to undertake instead a nonescapist, democratic, empirical investigation of life as it existed around them. They painted ordinary people leading their everyday lives. Although other artists had depicted similar subjects in earlier times, the realists took a fresh and unemotional view. Realism in the 19th Century • Realism was most emphatically proclaimed in 1855, when Courbet, having been rejected for the Paris Exposition, arranged a private showing of his paintings that centered on his huge The Artist's Studio (1855; Musée d'Orsay, Paris). He also distributed a manifesto of realism outlining his program. Among the other realists were Honoré Daumier, most noted for his incisive mockery of the petty bourgeoisie, and Jean François Millet, whose peasant scenes are more reflective in tone than those of Courbet. The early works of Edouard Manet and Edgar Degas (1860s and '70s) are realist, and, like Courbet's, contain elements that prefigure impressionism. The art of the Pre-Raphaelites in England and of Adolf von Menzel in Germany is also related to the realist movement. • Important artists: Gustave Courbet, Honore Daumier, Edouard Manet, Edgar Degas, Henri de Toulouse-Lautrec and Vincent van Gogh. Honore Daumier Third-Class Carriage 1863-65 Edouard Manet Bar at the Folies-Bergeres 1881-82 Edgar Degas Laundress (Silhouette) c. 1874 Henri de Toulouse Lautrec Woman Pulling up her Stocking 1894 Vincent van Gogh Self-Portrait with Dark Felt Hat 1886 Impressionism Claude Monet Impression, soleil levant Impression, Sunrise 1872 Impressionism • The impressionist style of painting is characterized chiefly by concentration on the general impression produced by a scene or object and the use of unmixed primary colors and small strokes to simulate actual reflected light. • Impressionism, French Impressionnisme, a major movement, first in painting and later in music, that developed chiefly in France during the late 19th and early 20th centuries. Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. • The most conspicuous characteristic of Impressionism was an attempt to accurately and objectively record visual reality in terms of transient effects of light and colour. Claude Monet The Japanese Bridge probably 1918-24 Look at the abstract paintings of Philip Guston, Jules Olitski, or Jackson Pollock. Mary Cassatt The Boating Party 1893-4 Pierre-Auguste Renoir Seated Bather c. 1883-1884 Modern Architecture of the 18th Century Abraham Derby The Iron Bridge, Shropshire 1779 Modern Architecture of the 19th Century W.H. Barlow Engine Shed, St Pancras Station, London 1868 Modern Architecture of the 19th Century George Gilbert Scott Midland Grand Hotel, St Pancras Station, London 1868 Modern Architecture of the 19th Century Claude Monet Gare Saint-Lazare 1877 Modern Architecture of the 19th Century Louis Sullivan Auditorium Building, Chicago, 1886-89 Modern Architecture of the 20th Century Daniel Burnham Flatiron Building New York 1902 (photo Alfred Stieglitz 1903) Links • • • • • • • • • • • • Rietveld’s Red-Blue Chair – analysis http://www.geocities.com/Athens/Aegean/4217/red_bluechair.html http://www.geocities.com/Athens/Aegean/4217/rbanalysis.htm Realism http://www.discoverfrance.net/France/Art/realism.shtml Gustave Courbet http://www.ibiblio.org/wm/paint/auth/courbet/ Honore Daumier http://www.ibiblio.org/wm/paint/auth/daumier/ Claude Monet http://www.artchive.com/artchive/M/monet.html Edouard Manet http://www.artchive.com/artchive/M/manet.html Edgar Degas http://www.artchive.com/artchive/D/degas.html Toulouse-Lautrec http://www.artchive.com/artchive/T/toulouse-lautrec.html Van Gogh http://www.artchive.com/artchive/V/vangogh.html Impressionism http://www.ibiblio.org/wm/paint/glo/impressionism/ Cassatt http://www.artchive.com/artchive/C/cassatt.html Renoir http://www.artchive.com/ftp_site.htm PART 2: Analysing Visual Experience Paul Cezanne, Still Life with Curtain and Flowered Pitcher c. 1899 Analysing Visual Experience • Post Impressionism was NOT a style of Art, it is a collective term used to describe those artists who came after the Impressionist group and were influenced by it. Two artists who extended the impressionist analysis of the visual experience of fleeting effects of light were Georges Seurat and Paul Cezanne. • Georges Seurat developed a very “labour intensive” method of painting in small dots of pure colour, allowing the colours to mix in the eye of the viewer. His paintings took a long time to complete and have a stillness about them that is very unlike Impressionism. • Paul Cezanne sought to “make something solid out of Impressionism”. He emphasized the three dimensional forms he saw in his subjects. • Braque and Picasso, before embarking on their Cubist style worked in a style based on Cezanne’s paintings. Georges Seurat The Seine at Le Grande Jatte 1888 Georges Seurat The Models 1887-88 Georges Seurat Young Woman Powdering Herself 1890 Paul Signac The Green Sail, Venice. 1904 Paul Cezanne, Mont Sainte-Victoire 1900 Paul Cezanne, Turning Road at Montgeroult 1899 Paul Cezanne, Bathers 1900-1906 Paul Cezanne, Portrait of Ambroise Vollard 1899 (see Picasso’s portrait of the same man, done in 1910) Georges Braque, Houses at L’Estaque 1908 Georges Braque, Grand Nu 1908 Pablo Picasso, Portrait of Ambroise Vollard 1910 Links PART 3: Expressing Emotion Vincent van Gogh Cafe Terrace on the Place du Forum September 1888 Vincent van Gogh Wheat Field Under Threatening Skies 1890 Vincent van Gogh Self-Portrait 1889 Paul Gauguin Self-portrait with Palette c. 1894 Paul Gauguin Nevermore 1897 Edvard Munch The Dance of Life 1899-1900 Henri Matisse Green Stripe (Madame Matisse) 1905 Pablo Picasso. Self-Portrait. 1907. Henri Matisse Dance (I) 1909 Pablo Picasso The Three Dancers ( Les Trois Danseuses) 1925 Ernst Ludwig Kirchner, Girl Under a Japanese Parasol c. 1909 Oskar Kokoschka Die Windsbraut (Bride of the Wind) 1913-14 Max Beckmann Self-Portrait in a Tuxedo 1927 Jean Dubuffet The Tree of Fluids (L'Arbre de fluides) 1950 Francis Bacon Self Portrait 1975 Links PART 4: Abstraction Wassily Kandinsky Improvisation No. 7 Wassily Kandinsky Composition IV 1911 Wassily Kandinsky Accent en rose 1926 Piet Mondrian The Gray Tree 1911 Piet Mondrian Ocean 5 1915 Piet Mondrian Composition with Yellow 1930 Gerrit Rietveld Red-Blue Chair 1917 Piet Mondrian Broadway Boogie Woogie 1942-1943 Roy de Maistre Rhythmic Composition in Yellow Green Minor 1919 Henry MOORE Hill Arches 1973 Barbara Hepworth HEIROGLYPH 1953 Willem de Kooning Night 1948 Willem de Kooning Excavation 1950 David Smith – From the Voltri series 1962 Franz Kline, New York, N.Y. 1953 Jackson Pollock Autumn Rhythm (Number 30) 1950 Ralph Balson Matter Painting 1961 Sean Scully Wall of Light Brown 2000 (Installation View) PART 5: Disorder and Dissent! Marcel Duchamp, Fountain 1917 From The Futurist Manifesto F. T. Marinetti 1909 • The essential elements of our poetry will be courage, audacity and revolt. • We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace. • Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man. • We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman. • We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice. • We want to sing the love of danger, the habit of energy and rashness. Filippo Tommaso Marinetti, Zang Tumb Tumb, 1914. (cover of a book of poetry by Marinetti) GiacomoBalla Boccioni's Fist 1915 Antonio Sant'Elia (1888-1916). Architectural Drawings “Sant‘Elia gives a static representation of movement” Giacomo Balla Dynamism of a Dog on a Leash 1912 Umberto Boccioni The City Rises 1910-11 Anton Giulio Bragaglia . Photographic Autocaricature (self portrait) 1932. From James Joyce – Finnegans Wake The fall (bababadalgharaghtakamminarronnkonnbronntonner ronntuonnthunntrovarrhounawnskawntoohoohoorden enthurnuk!) of a once wallstrait oldparr is retaled early in bed and later on life down through all christian minstrelsy. The great fall of the offwall entailed at such short notice the pftjschute of Finnegan, erse solid man, that the humptyhillhead of humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes: and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since dev-linsfirst loved livvy. Dadaism By Tristan Tzara • The beginnings of Dada were not the beginnings of an art, but of a disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-God'srepresentatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases man's instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?). Disgust finally with the Jesuitical dialectic which can explain everything and fill people's minds with oblique and obtuse ideas without any physiological basis or ethnic roots, all this by means of blinding artifice and ignoble charlatans promises. From - dada manifesto by Hugo Ball 14th July 1916 • dada manifesto by hugo ball 14th July 1916 • Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. it is terribly simple. In French it means "hobby horse." In German it means "good-by," "Get off my back," "Be seeing you sometime." In Romanian: "Yes, indeed, you are right, that's it. But of course, yes, definitely, right." And so forth. …………………………………………. • Each thing has its word, but the word has become a thing by itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlement, is a public concern of the first importance. Christian Morgenstern Night song of the Fishes a graphic poem Jean (Hans) Arp Collage Arranged According to the Laws of Chance 1916–17 Magazine cover. Der blutige Ernst. Edited by John Höxter, Carl Einstein, and George Grosz. Berlin, 1919. Raoul Hausmann The Art Critic 1919-1920 Raoul Hausmann, Mechanical Head [The Spirit of Our Time], 1919 John Heartfield, The real meaning of the Hitler salute The little man asks for big gifts I've got millions standing behind me 1932 Kurt Schwiters Merz 163, with Woman Sweating 1920. Kurt Schwiters Merzbau Hannover 1933 Kurt Schwiters Merzbarn Wall England 1947-8 BOBB! RIBBLE BOBBLE PIMLICO Ribble RIBBLE BOBBLE PIMLICO Bobobble RIBBLE BOBBLE PIMLICO Bobobble RIBBLE BOBBLE PIMLICO Bobobble RIBBLE BOBBLE PIMLICO Bobobble RIBBLE BOBBLE PIMLICO Bobobble RIBBLE BOBBLE PIMLICO Bobobble RIBBLE BOBBLE PIMLICO Kurt Schwitters’ Bobobble RIBBLE BOBBLE PIMLICO poem Babababble RIBBLE BOBBLE PIMLICO Ribble Bobble Pimlico Bobobble RIBBLE BOBBLE PIMLICO England 1946 Babababble RIBBLE BOBBLE PIMLICO Babababble RIBBLE BOBBLE PIMLICO Babababble RIBBLE BOBBLE PIMLICO Babababble RIBBLE BOBBLE PIMLICO Babababble RIBBLE BOBBLE PIMLICO Babababble RIBBLE BOBBLE PIMLICO Bab RIBBLE BOBBLE PIMLICO Dom Sylvester Houedard Sliced Lurch 1970 Robert Rauschenberg Monogram 1955-9 Jasper Johns Flag 1954-55 Jean Tinguely Homage to New York Museum of Modern Art, New York, 1960 Self-destructive sculpture Bill Woodrow Single Tub with Machine Gun 1981 Bucket, Mop and Lobster 1982 Modern Architecture of the 20th Century Antoni Gaudí The Crypt, Colonia Güell, near Barcelona 1908-14 Modern Architecture of the 20th Century Walter Gropius & Adolf Meyer Fagus Shoe Factory, Germany 1911 Modern Architecture of the 20th Century Walter Gropius Bauhaus, Dessau, 1925-26 Modern Architecture of the 20th Century Le Corbusier Villa Savoye, Poissy-sur-Seine 1929-30 Modern Architecture of the 20th Century Frank Lloyd Wright Fallingwater 1935 Modern Design of the 20th Century Marcel Breuer Chairs 1925-26 Modern Architecture of the 20th Century Giles Gilbert Scott The Jubilee Kiosk1936 Modern Architecture of the 20th Century Harry Seidler Rose Seidler House Sydney 1948 Modern Architecture of the 20th Century Australia Square. Design/Completion 1961-1967 Harry Seidler Australia Square. Sydney 1961-1967 Modern Architecture of the 20th Century Oscar Niemeyer House of Congress Brasilia 1960 Modern Architecture of the 20th Century Mies van der Rohe & P. Johnson: Seagram Building NYC, 1954-58 Modern Architecture of the 20th Century I. M. Pei (and Henry Cobb) John Hancock Tower, Boston 1972-75 Modern Architecture of the 20th Century Frank Lloyd Wright Solomon Guggenheim Museum, New York 1959. Modern Architecture of the 20th Century Maya Lin Vietnam Veterans Memorial 1980-82 Modern Architecture of the 20th Century Daniel Libeskind The Jewish Museum Berlin 1999 Modern Architecture of the 20th Century Daniel Libeskind The Jewish Museum Berlin 1999
