Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Art History II
Chapter 27: Early 20th Century
March 8, 2016
Reading for Tuesday 4/30: 1020-1027, 1033-36
Reading for Thursday 5/2: 1036-1041-1081
EXAM: 5/14
2:00 - 4:00 PM
Architecture
Art Nouveau
American: “Cubist”
Victor Horta (1861-1947)
Antonio Gaudi (1852-1926)
Art Deco
Architecture
Architecture
Frank Lloyd Wright
William van Alen (1882-1954)
Laszlo Moholy-Nagy (1895-1946)
International Style
DeStijl
Bauhaus
Architecture
Architecture
Architecture
Charles -Edouard Jenneret
(Le Corbusier) (1887-1965)
Ludwig Mies van der Rohe (18861969)
Gerrit Thomas Rietveld (1888-1964)
Walter Gropius (1883-1969)
Fauves (1905)
Symbolism
Painting
Henri Matisse (1869-1954)
Andre Derain (1880-1954)
George Rouault (1871-1958)
Raoul Dufy
Maurice de Vlamick
Picasso ( Blue & Rose Periods)
Painting
Gustav Klimt (1862-1918)
Oskar Kokoschka (1886-1980)
Emil Nolde (1867-1956)
Symbolism Painting is the pictorial equivalent
to Art Nouveau
German Expressionism
Toward Expressioism
Die Brücke (1905)
Der Blaue Reiter (1911)
Edvard Munch
James Ensor
George Rouault (1871-1958)
Ernst Luwig Kirchner (1880-1938)
Erich Heckel
Karl Schmidt-Rottluff
Fritz Bleyl
Emil Nolde (1867-1956)
Kathe Kollwitz (1867-1945)
Die Neue Sachlichkeit
Sculpture
Franz Marc (1880-1916)
Wassily Kandinsky (1866-1944)
Auguste Macke
Alexej von Jawlensky
Max Beckmann (1884-1950)
Oskar Kokoschka (1886-1980)
Lyonel Feininger (1871-1956)
Independent
Aristide Maillol (1861-1944)
Wilhelm Lehmbruck (1881-1919)
Ernst Barlach (1870-1938)
Alberto Giacometti (1901-1966)
Paula Modersohn-Becker
Christian Rohlfs
Otto Muller
Max Pechstein
Cubism
Orphism (c. 1912)
Analytic Painting
Pablo Picasso (1881-1973)
Georges Braque (1882-1963)
Juan Gris
Albert Gleizes
Jean Metzinger
Roger de la Fresnaye
Ferdinand Leger
Sculpture (2nd generation)
Robert Delaunay
Frantisek Kupka
Jacques Villon
Marcel Duchamp
Francis Picabia
Purism
Synthetic Cubism (American)
Aaron Douglas (1898-1979)
Stuart Davis (1894-1964)
Charles Edouard Jennerett(Le
Corbusier)
Amedee Ozenfant
?Fernand Leger (1881-1955)
Jacques Lipchitz (1891-1973)
Aleksandr (Alexander) Archipenko
(1887-1964)
Julio González (1876-1942)
Raymond Duchamp-Villon
Henri Laurens
Ossip Zadkine
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
March 8, 2016
Futurism (1909)
Architecture
Sculpture
Antonio Santelia
Umberto Boccioni (1882-1916)
Painting
? Marcel Duchamp (1887-1968)
Gino Severini (1883-1966)
Giacoma Balla (1871-1958)
Carlo Carra
Abstraction
Sculpture
Painting
Amedeo Modigliani (1884-1920)
Amedeo Modigliani (1884-1920)
Nonobjective Art
Rayonnism
Suprematism
Mikhail Larionov
Natlia Goncharova
Kazimir Malevich (1878-1935)
El Lissitzky
Vassily Kandinsky
De Stijl:
Non -ObjectiveSculpture
Bart van der Leck
Theo van Doesburg (1883-1931)
Georges vantogerloo
De Stijl: Neoplasticism
(1917-1931)
Alexander Calder (1898-1976)
Constantin Brancusi (1876-1957)
Barbara Hepworth (1903-1975)
Jean (Hans) Arp (1887-1966)
Henry Moore (1898-1986)
Constructivism (1921/2)
Sculpture
Naum Gabo (1890-1977)
Anton Pevsner
Vladimir Tatlin (1885-1953)
Alexander Rodchenko
Painting
Ben Nicholson (1894-1981)
Georgia O’Keeffe (1887-1986)
Piet Mondrian (1871-1944)
Dada (1916)
Surrealism (1924)
Metaphysical School
Francis Picabia (1879-1953)
New York
Marcel Duchamp (after 1911)
Max Ernst (1891-1976)
Salvadore Dali (1904-1989)
Rene Magritte (1898-1967)
Frida Kahlo (1907-1954)
Joan Miro (1893-1983)
Tanquey
Man Ray (photographs)
Giorgio de Chirico (1888-1978)
Carlo Carra
German
Kurt Schwitters (1887-1948)
Max Ernst
Zurich
Jean Arp
Man Ray(1890-1976)
From Expressionism
to Fantasy
Gustav Klimt
Egon Schiele
Oskar Kokoschka
Lyonel Feininger
Paul Klee
Vassily Kandinsky (after 1921)
Amedeo Modigliani
Chaim Soutine
Jules Pascin
Maurice Utrillo
Fantasy
Marc Chagall (
Henri Rousseau
Paul Klee (1879-1940)
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
March 8, 2016
Objective Art & Social Subject
Photography
Jean Eugene Auguste Atget (18561927)
Alfred Stieglitz (1864-1946)
Dorthea Lange (1895-1965)
Charles Sheeler (1883-1965)
Objective Realism
Edward Hopper (1882-1967)
Georgia O’Keeffe
Mexican Renaissance
Precisionist
Charles Sheeler (1883-1965)
Social Subject
Ben Shahn (1898-1969)
Jacob Lawrence (b. 1917)
Jose Clemente Orozco (1883-1949)
Picasso
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Chapter 27: General Terms:
March 8, 2016
Others may be added to this list
photography
lithograph
Dadaism
an art movement whose goal was to shake people from habits of
traditional thought, and whose visual images disrupt reason as well as
take on unconventional forms
Nonobjective
Fauvism
Cubism
Analytical Cubism
Synthetic Cubism
Collage (Paper Colle)
the combining of various materials (i.e., newspaper, wallpaper, printed
text) in a composition on a flat surface
Expressionism
Surrealism
an art style based on ideas of psychic automatism and dream images
Bauhaus
Assemblage
International Style
architectural design which flourished during the 1950’s and which was
exemplified by Mies van der Rohe’s Seagram Building, New York,
1956-58
Modern Art
Futurism
Sigmund Freud
Carl Jung
Albert Einstein
relativity
Modernism
Abstract
Nonobjective
Die Brucke
Utopianism
Kinetic sculpture (mobiles)
Prairie House style
Primitivism
Reductivism
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Short Essay Questions:
Study the following issues, terms, and individuals in preparation of the short essay questions.
Four of these will be on the test.
Jacques Louis David
classicism
romanticism
realism
French Revolution
March 8, 2016
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Slides:
 Potential slide identifications on test
Tuesday, April 30
S-
Timeline / Overview: -
T-
Architecture: Art Nouveau
Antonio Gaudi (1852-1926)
* 59.
Antonio Gaudi
Casa Milá
Barcelona, Spain, 1907
American Architecture
Louis Sullivan (
)
Frank Lloyd Wright (1867-1959)
* 60.
Wright, Frank Lloyd
Kauffman House, Falling Water, Bear
Run, PN
1936-1939
International Style
Bauhaus
*
Gerrit Rietveld
61.
Gerrit Rieveldt
Schoeder House
1924
International Style
*
Le Corbusier (1887-1965)
62.
LeCourbusier
Villa Savoye,
Polssysur-Seine, France
1929
Mies van der Rohe (1886-1969)
63.
Mies van der Rohe
Model for a glass skyscraper
???
W
Cubism
Analytic Cubism
Pablo Picasso
*70. Picasso, Pablo
Les Desmoiselles d'Avignon
1907
*71.
Picasso, Pablo
Still Life with Chair Caning
1911-12
for comparison:
72.
*Braque, Georges
*
Slide from your textbook
March 8, 2016
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
The Portuguese
1911
X
Orphism
Robert Dealunay (1885-1941)
*73.
Delaunay, Robert
Champs de Mars or The Red Tower
1911
Synthetic Cubism
74.
*Picasso, Pablo
Three Musicians
19Z1
March 8, 2016
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Thursday,May 2
Y
Futurism
Umberto Boccioni (1882 - 1916)
*75.
Boccioni, Umberto
Unique Forms of Continuity in Space
1913
Giacomo Balla (1871-1958):
*65.
Z
Giacomo Balla
Dynamism of a Dog on a Leash (1912),
De Stijl: NeoPlasticism
Piet Mondrian (1872-1944)
A2
78.
Mondrian, Piet
Composition with Red, Blue, and Yellow
1930
79.
Mondrian, Piet
Broadway Boogie Woogie
1942-43
Sculpture: Between Geometric & Organic Formalism
Alexander Calder ( )
79.
Calder, Alexander
Big Red
1959
Constantin Brancusi
*80. Brancusi, Constantin
Bird in Space
1928
Henry Moore (1898-1986)
81.
Moore, Henry
Recumbent Figure
193#
Barbara Hepworth (1903-1975)
*82.
Hepworth, Barbara
Three Forms
1935
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
B2
Dada ( 1916-1921)
Marcel Duchamp
83.
Duchamp, Marcel
Nude Descending a Staircase
C2
*84.
Duchamp, Marcel
Bicycle Wheel
original 1913
85.
Duchamp, Marcel
L.H.O.O.Q.
1919
Surrealism
Salvador Dali (1904-1989)
*86. Dali, Salvador
The Persistence of Memory
1931
Rene Magritte (1898-1967)
*87.
Magritte, Rene
Le Voil
1934
Abstract Surrealism
Joan Miro (1893-1983)
88.
D2
Miro, Joan
Painting
1933
Objective Realism
Edward Hopper (1882-1967)
*89. Hopper, Edward
Nighthawks
1942
Georgia O’Keeffe (1887-1986)
90.
E2
O'Keefe, Georgia
Cow's SkullRed, White and Blue
1931
Social Subject
Pablo Picasso
*91. Picasso, Pablo
Guernica
1937
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Slides:
 Potential slide identifications on test
Tuesday, April 30
Chapter 27: Early 20th Century
L-
Timeline / Overview: -
L-
Architecture:
Art Nouveau: Antonio Gaudi (1852-1926)
* 59.
Antonio Gaudi
Casa Milá
Barcelona, Spain, 1907
American Architecture
Louis Sullivan (
)
Frank Lloyd Wright (1867-1959)
* 60.
Wright, Frank Lloyd
Kauffman House, Falling Water, Bear
Run, PN
1936-1939
Architecture:
International Style
Bauhaus
*
Gerrit Rietveld
61.
Gerrit Rieveldt
Schoeder House
1924
International Style
*
Le Corbusier (1887-1965)
62.
LeCourbusier
Villa Savoye,
Polssysur-Seine, France
1929
Mies van der Rohe (1886-1969)
63.
Mies van der Rohe
Model for a glass skyscraper
???
*
Slide from your textbook
March 8, 2016
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
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American artists and critics received their first glimpse of European Modernist styles at the now-famous
Annory Exhibition of 1913, held at the Armory in New York City. The initial response to the exhibition was
mixed; critics savagely attacked Duchamp's Nude Descending A Staircase #2 as a mockery of painting (one
critic dubbed it "Explosion in a Brick Factory"). The Armory Show, as it came to be called, nevertheless
challenged American artists to develop more abstract and expressionistic approaches to painting in response
to their European counterparts.
CHAPTER 28
Later stales: Technology and new materials contributed to new designs.
• Frank Lloyd Wright's Guggenheim Museum rejected the International Style in its expansive cylindrical shape,
90-foot-high spiraling interior, and bold monumental design.
• Buckminster Fuller pioneered prefabricated planned units of polyhedra elements that could be built of almost
any material at low cost. His geodesic domes roofed the vast space of American Pavilion at the Expo '67 in
Montreal.
• Louis Kahn in The Center of British Art at Yale University created an imaginative poetic form and pervasive
calm interior.
• I.M. Pei's National Gallery addition was designed as an aggregation of angular masses on an irregular site
with a vast spacious courtyard.
• Piano and Roger's Pompidou Center, Paris, was a most exciting original design that emulated a Gothic
cathedral in exoskeletons. Metal supports on the exterior and functional interior elements were brightly
painted.
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
HENRI MATISSE
Teachers were:
1. BOUGUEREAU
2. MOREAU at Ecole des Beaux Arts
Bouguereau was greatly accepted during his time, as
well as being one of the last dreges of CLASICISM.
Still used personification of Greek myth. Work: Youth
(figure leaning against sarcofagous, w/ two cupids.
Real Corny.
Moreau -- Famous for his students
trained them to find their own way
was a symbolist
1899 - in atelier of Carrière (who was assoc with
Symbolism) he meet Derain
3
During 1890- began to use more non-descriptive color.
Personal use of color, his theme the liberalization of color
Always uses some subject for a point of departure
Simplified the subject more and more
Takes liberties w/perspective. Prob. learned from
Cezanne
Also impressed w/ Gauguin
First international artist to experiment with CUT PAPER
(Papier Collés)
COUPER - to cut
Coupe -- cutting
decoupage- what Matisse called the collage
1902-05
exhibited in gallery of Berthe Weill and
then at that of Ambrose Vollard (becoming principal
dealer for avant garde)
1905-1910 studying figure in every medium
Matisse expresses world of forms where line , shape,
color, exist independently of subject. First violent
explosion of 20th c.
Detached paint from its descriptive function
In 1907- when Picasso and Braque were making the first
experiments with in a form of proto Cubism, or even
before, Matisse had already formed a new kind of
pictorial space in Le Luce
c. 1915
engaged in a type of cubist approach
Most orthodox Cubist painting- Variation on a Still Life by
De Heem
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
His study of cubism helped teach him how to simplify his
pictorial structures
1. to control tendency to be overdecorative
2. to use rectangle as counterpoint for curvilinear
that came most natural to him
Piano Lesson - most successful and characteristic
ecursion into Cubism
Vollard - bought contents of Matisse’s studio at his death
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
DATELINE
1890'sMatisse beginning to use non-descriptive
color
1897 - Matisse first imp painting - Dinner Table (LA
Desserte)
1900 - Picasso to Paris
1901 - Major exhibit of Van Gogh (retrospective who had
died in c.1890
(was at Bernheim-Jeune Gallery)
1903 - First Salon D'Automne
1905 - Fauves christened a grp at Salon D’Automne
(w/Matisse its genie
1908 - Matisse show,ALFRED STIEGLITZ gallery, 291
5th Ave. New York
1910 - Visit to Spain
1911 - Matisse trip to Morocco
1912 - Matisse trip to Morocco
1913- Armory Show and Matisse was included
1911 - War
1920's-
Matisse picks up career
1927 - Won CARNEGIE prize (this really what made
America aware of Matisse)
1930 - First efforts in cut paper designs (Papier Colles)
1941 - America enters WWII
Matisse has serious operation ( c. 70 yrs old) People
thought he was finished but he continuued to do
some of best work. After this work primarily in the cut
outs.
1947 - Series of cut paper LE JAZZ HOT originally
numbered c. 20 but now are more
1950 - Matisse won prize at Biennual (Biennale) _ This
contest was very influential up until about 1960- Held
in Venice)
1951 - Matisse Chapel designed for Dominican nuns in
Vence, France.
(close to southern coast) In gratitude for their helping
nurse him back to health
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Matisse Slides
Arn # 159 La Desserte (1897) (Dinner Table)
First signif work. Will do this same subj again 10 yrs
later
exhibited at Salon de la Societe Nationale des Beaux
Arts (also known as the Salon de la Nationale)
Arn # 160 Artist Model (Carmelina) c. 1903
Solid ptg, see infl of Cezanne. Matisse owned one of
Cezanne’s Bathers
Developed the whole pix plane. Frontal arrangement
= infl of Cezanne
# Woman with Parasol (1905)
Yr of Fauves getting their name. Free use off color.
See infl of Signac and Neo-Impressionists. 2-D
surface is reinterated
Arn # 162 La Luxe, Calme, et Volupté (
)
“There as nothing else but luxury, calm, and
pleasure".
From poem by Baudelaire"LtInvitation au Voyage "
Can see infl of Cezannets Bathers and also technigue
of Neo- Imp
Arn c 26 Open Window ( )
Freer color. Bonnard - like subject matter. Painted in
southern France
Arn c 27 Woman with Hat (Madame Matisse) (
)
Real shocker at 1905 Salon d’ Automne
Can see how the technigue dev out of Neo Imp paint
chips
Arn # 162 Joy of Life (Bonheur de Vivre, Joie de Vivre)
( )
Bought by Gertrude and Leo Stein
in Barnes collection Philadelphia.
Use of line, began to flatten strokes. Here first
appearance of the motif for the DANCE
Reminances of Giovanni Bellini’s Feast of the Gods
as we;; as Persian paintings
Ancestor of abstraction in modern painting even more
than D’Moiselles d’Avignon of Picasso
Arn # 163 Self Portrait
Bearded man most of his life
Arn # 166 Blue Nude
More fluid color. Tradition of the nude since the Ital
Ren
CONTRAPPOSTO- figure turned against itself
More sculpturesque approach
Arn c 36 Le Luxe 2 ( )
Vertical, float figure, no modeling in figure first great
climax of organization of flat planes of color
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Arn c 37 Dinner Table
Re-Statement of his earlier Dinner Table theme. 2-D
stress. Simplification Of form Arbitrary use of outline
(as Van Gogh & Cezanne) He is seeing a different
way.
Now begin to get into Sculpture
Did in sculp what he did in ptg
Simplification Of figure
Arn # 193 & 194
4 sculpt of the BACK in MoMA sculpt
park
Most ambituous attempts at sculpture
Arn # 181 Dance
apx 10' tall. Simplification of color and drwg. No
modeling. Are several versions . Usually the one in
the Hermitage is considered the best version. Motif
traced back to Greek vase ptg or more immediately
his ptg Joy of Life
Arn # 180 Music
Not much subtly in the line
#
Goldfish
Arn c 38 Red Studio
In Armory show(1913). Used perspective but not
modelled in perspective.
Canaday p. 416
Family
flattened out. rug pattern tilted up. Taking advantage
of the pattern
#
the Blue Window
Arn # 181 Moroccan Landscape
Can now see affect of his trip
# Dance
in Russian collection. Tripod
Arn # 182 Still Life after De Heem
Done after the war. Can also see infl of cubism.
His most orthodox Cubist painting
# Large Seated Nude - 1925
Sculpture
#
Hindu pose - 1920 ish
Arn c 40 Decorative Figure
figure almost lost in the room En RDonXb~~e 3 ~~
6v>t
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
# Odalisque (Harem slave in Turkish)
again an interest in figure aganist decorative backgrd
Arn # 185 Dance Mural
Two versions one in paris. Was designed for Dr.
Barnes but the first time got the dimensions wrong so
had to start over.
used paper cut outs to help design. Can see infl of Art
Deco
of 1930(which was hard edge and flat)
He liked to exclude all unnecessary detail.
First one now in Petit Palais, Paris
Paper Cut Outs
Primary method after 1941
Did a Series of cut-outs called Le Jazz Hot which was
published in 1957.
#
#
Le Jazz Hot (Jazz= “Improvisation”
Funeral Procession - Death of
#
Trapeze
#
Tobaggon
#
Cowboy
#
The Snail
# Mimosa
Carpet desined for the Alexander Smith Carpet Co.
# Egyptian Curtain - late 1940s
Can-see infl of his own paper cut outs on this ptg
# Ceramic Mural - 1953
Biggest one is 25t long, one in L.A.
# Pine apple and Anenome
Still life
Matisse Chapel - in VENCE, France
Windows are done w/ his shapes of colors Murals-line drwgs of stations of cross Also did
vestments(MoSA has collection) Did this chapel for
the Dominican nuns who helped nurse him back to
health after an operation. After tha war there was a
rebirth of religious art by well known artists.
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Key 79 Henri Matisse
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
2
Symbolism
Gustav Klimt
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
2
Symbolism
Oskar Kokoschka
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
2
Symbolism
Emil Nolde
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
O
o Painting
*
Georges Rouault (1871-1958)
66.
Rouault, Georges
The Old King
1916-1936
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
March 8, 2016
Put De Stijl somewhere else
De Stijl (c. 1917, The Style): A group of Dutch artists, mainly followers of Piet Mondrian (1872-1944) and Theo
Van Doesburg (1883-1931), who followed reductionistic abstraction to its logical conclusion by producing pure
geometric compositions consisting of a few wellchosen lines and flat, rectangular areas of pure primary color.
At their best, these austere compositions evoke the stark beauty of pure mathematics.
Expressionist Sculpture
1
2
Expressionist Sculpture
Aristide Maillol
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
2
Expressionist Sculpture
Wilhelm Lehmbruck
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
2
Expressionist Sculpture
Ernst Barlach
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
2
Expressionist Sculpture
Alberto Giacometti
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
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xxxxx
Among these movements Cubism (1907-) is perhaps most representative of the early modern period, as its
influence extends through most twentieth-century art. Co-developed by Spanish artist Pablo Picasso
(1881-1973) and French painter Georges Braque (1882-1963), Cubism drew its initial inspiration from the
geometric abstractions of Paul Cezanne.
During their early Cubist years, Braque and Picasso shared a studio in Paris and worked as closely, as Braque
once put it, as two mountaineers roped together. Indeed, many of their early cubist paintings are, apart from
their signatures, virtually indistinguishable. Picasso's Demoiselles d'Avignon (1907), considered to be the first
Cubist painting, was intended as a moralistic statement (it depicts prostitutes posing for a customer; See
Figure 5.101). The painting was originally wider—with a sailor at the right, and another man, carrying a skull,
emerging from a doorway at left—before it was trimmed by Picasso to strengthen the composition. The
women's faces were inspired by African masks which Picasso happened upon by chance one afternoon in the
Trocadero Museum. Braque remarked upon first seeing Les Demoiselles that it was as if Picasso were asking
him to chew rope and swallow gasoline, nevertheless, Braque soon incorporated the strange, prismlike forms
(similar to Cezanne's later painting) in his highly stylized landscapes of L'Estaque and La Roche-Guyon. (The
name Cubism was coined by a journalist who ridiculed Braque for painting nothing but "little cubes.")
Unlike images made using traditional linear perspective, which depict a scene from the vantage point of a
single stationary observer, Cubist paintings portray their subjects from several different vantage points
simultaneously. This effect is most evident in Cubist portraits, which often combine profile and frontal views in
the same image. Although Cubism is sometimes compared to Einstein's relativistic physics, which involved the
paradoxical behavior of wave phenomena observed from different inertial reference frames, Picasso explicitly
denied any connection between his work and Einsteinian physics.
The evolution of Cubism is divided into two distinct phases: the earlier analytic Cubism which resembles
images seen through a faceted crystal, and later synthetic Cubism which resembles collagelike figures cut
from boldly colored sheets of paper. Picasso also invented the technique of collage (c. 1912), which he and
Braque often used in connection with their cubist images.
The twentieth century witnesses a proliferation of artistic styles which, however diverse, nevertheless have
these traits in common: (1) a rejection of the "spent" stylistic traditions from the past, coupled with a search for
highly original and personal styles created through abstraction, and (2) a preference for subject matter drawn
from contemporary life, or based entirely upon nonrepresentational formalist principles.
The most influential early twentieth-century art movements are listed here, along with their most representative
artists.
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
March 8, 2016
Key 76 Abstractionism in Paris
OVERVIEW Cubism reflected new intellectual points of view free from representational convention. Figures
and landscapes were reduced to a system of geometric shapes, patterns, lines, angles, and sometimes swirls
of color. It paralleled the space-time concepts of physicists and led to non-objectivism .
Beginnings: After his Impressionist Blue and Pink periods, Pablo Picasso (1881-1973), painted the
revolutionary Les Demoiselles d'Avignon (1907), which marked the beginning of Cubism. The composition is
conceived as an independent construction. Space is eliminated as the foreground merges with the
background; figures are transformed into flat, angular forms; three heads are adapted from African masks
while the others are reminiscent of ancient Iberian sculpture.
Analytical Cubism: Developed by Picasso and his colleague Georges Braque (1882-1963), it is characterized
by fragmented contours, transparent planes hovering in a shallow space, muted colors, and pyramidal
composition, as in Picasso's Accordianist (1911). The figure is presented from several angles in a temporal
sequence.
Synthetic Cubism: Created by these artists in 1912, it shattered reality. Found materials like newspaper,
wallpaper, music sheets, etc., were attached to the surface in bright-colored, overlapping shapes that create
an almost relief sculpture, as in The Bottle of Suze. Structural lines and color accents emphasize the surface
plane; a striking composition is made out of discarded materials.
Picasso: In the delightful Three Musicians (1921), broken shapes of the three figures are filled with flat, bright
color that seem to move in the syncopated rhythm of music. On the other hand, Guernica (1937), painted in
black, gray, and white, is a powerful indictment of modern totalitarianism. Figures portrayed in violent
unexpected contortions communicate the horror of the senseless bombing of a helpless Spanish town.
Fernand Leger (1881-1955): He pursued the Cubist revolution in compositions that have the sharp precision of
machines, as in The City. He combined fragments of urban life—telephone poles, billboards, robotlike people,
and buildings—into a lively colorful design.
Marcel Duchamp (1887-1968): In Nude Descending a Staircase (1912) he analyzed the figures into cubist
planes to create the effect of movement in a closely spaced series of fragmented elements.
Robert Delaunsy: Arguing that "color is form and subject," he believed art should be confined to the rhythmic
interplay of contrasting areas of color. Discs: Sun and Moon (1913) was based on a color wheel, and the
geometric pattern of colors may have had a symbolic meaning.
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Cubism(c.1907-)
This group is most closely associated with the career of its two coinventors, French painters Georges Braque
(1882-1963) and Pablo [Ruiz y] Picasso (1881-1973): Spanish painter, sculptor, printmaker, ceramist; one of
the most prolific and successful artists of the modern era. Picasso's long career encompasses a remarkable
range of styles, including an early Postlmpressionistic period (before 1903), the so-called "Blue Period"
(1903-1905), the "Rose" or "Circus Period" (1905-1906), and Cubism (1907-). Picasso's laterwork alternates
between variations on his earlier Cubist paintings and a highly stylized realism featuring balloonlike figures
derived from ancient Iberian statuary. In addition, many of Picasso's later works contain neoclassical allusions
to myth and legend. The Minotaur (bull-man of Greek legend, symbolic of humankind's dualistic nature)
served as a personal totem image for Picasso and appears frequently in his works. Picasso produced a
considerable number of sculptures in addition to his paintings, drawings, and prints; one of his most unusual
objects is an assemblage (cast in bronze) called Bull's Head (1943) made from a bicycle seat and handlebars.
Robert and Sonia Delaunay (18891941, 1885~~1979, respectıvely): French colorists, (husband and wife) each
with a distinctive style, known for their cubist interpretations of the Eiffel Tower (R.D., l 9 l O) and later
nonobjective paintings of prismatic, wheellike forms such as Electric Pnsms (S.D., 1914).
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
N
March 8, 2016
Cubism?
Analytic Cubism
Pablo Picasso
*70. Picasso, Pablo
Les Desmoiselles d'Avignon
1907
(Analytic) Cubism: from Matisse's comment regarding
Braques work, "with little cubes"experiments with human body
d’ Avignon = street in Barcelona
8’ x 7’8”
Orignial sketches included 2 men
seated sailor
man with skull
Brothel, women in waitingroom
- African sculpture
- sculpture from ancient Iberia (3 ladies on left)
- Cezanne
dislocation, Hat space, multiple views, painting a
language (not lust a mirror)
Compare to Dancers by Matisse (1909)
Changed Western Art like Giotto, Masaccio, Manet
*71.
Picasso, Pablo
Still Life with Chair Caning
1911-12
Synthetic Cubism 1912: Collage which
represents actual objects Jo l q to
painting done on oil cloth imprinted with cane chair seat,
framed with piece of rope -- looks like relief sculpture
“Jou” (to play},appears in many cubist paintings
for comparison:
72.
*Braque, Georges
The Portuguese
1911
Arn # cubism p 67
Arn # 224
Ex(ample?) of Analytic Cubism
analyze forms of paintings (subjects) from every vantage
point--combine into one pictorial unit
-from artist's memories of Portuguese musician
-viewer must work hard to see subject
-multiplevlew,transparency in layer
- 2D / 3D space
- letters
46 1/8” x 32”
Warm / Cool Color
Playing guitar
Guitar=frequent motif
Kind of rhythm Of line
One of the first use of letters
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Orphism
Robert Dealunay (1885-1941)
*73. Delaunay, Robert
Champs de Mars or The Red Tower
1911
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
March 8, 2016
ORPHISM --c. 1912
ORPHISM .
1912 Apollinaire coined the word Orphism from the
Greek Myth Orpheus
ARTISTS:
Robert Delaunay
Frantisek KUPKA
Sonia Delaunay
As divorced as music from the representation of the
visual world
ARTISTS:
Robert Delaunay
Frantisek KUPKA
Sonia Delaunay
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Kupka
2
March 8, 2016
KUPKA
Titles not significant
Kupka
First Steps 1909
First Steps - 1909
After this do not see objective subject matter
Kupka
Fugue
Fugue
Kupka
Fugue (Disks of
Newton)
Fugue (Disks of Newton)
pure color
Kupka
Cathedrals
Cathedrals
great verticals,
dark w/glimmer of light.
Limited color harmony.
Light vs. Dark.
Intense vs. Dull
Kupka
Verticals and Diagonal Plane
Kupka
Color Planes - Winter reminescences
Kupka
Architectural
Forms
3
Architectural Forms
Lines, Planes, Depth.
Rhythm of curivilinear, monochromatic.
Kupka
Eudia
4
Eudia
Looks like influence frm Neo Plasticism
Circulars and diagonals.
Red,Blue, Black
What does Eudia
mean?
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
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Synthetic Cubism
74.
*Picasso, Pablo
Three Musicians
19Z1
Spanish
6'7" x 7' 3 3/4"
colorful version of Synthetic Cubism--mimicked earlier
pasted works.
Modernist flat plane of canvas with traditional modes of
representation
syncopated shapes
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
2
PABLO PICASSO (1881-1973)
Born: Malaga, Spain
Educated in BARCELONA
father= artist and art teacher
did get good academic studies
Studied Roman art,Iberian art (pennisula of Spain during
time before Romans,particularly with sculpt), Greek
Vase painting
Before leaving Spain he sees work of EL GRECO
(l. 16th c.- e. 17th c.) who was a new discovery of
20th c.
Learned frm El Greco the limited color palette and
distortion of figures
Can see infl frm El Greco, Degas, Daumier, Cezanne,
Toulouse-Lautrec
GERTRUDE STEIN had 38 Picassots in her collection
1900- Went to Paris for the first time
1900-05 -- Picasso in Paris. Still there is Cezanne &
ToulouseLautrec. His younger contemporaries
Matisse and Braque both there.
Matisse and Picasso not really in the same circle. They
were competitors.
PROTEAN is word commonly used to describe him.
Comes from the Greek myth PROTEUS who could
change forms in order to prevent being caught.
He considered THE most important artist of the 20th c.
3
1901-1904 ---- BLUE PERIOD predom blue palette
themes on suffering. ie. hunger, cold
sympathy of suffer of others
Slides:
Woman Ironing
Frugal Repast
Old Guitar Player
1904-- moved into tenement on Montmartre called
BATEAU-LAVOIR
Bateau-Lavoir = “wash boat”
Lived there til 1909
Circle of friends here include: Max Jacob,
& Apollinaire
1905-1907--- ROSE PERIOD
Romantic quality
in 1905 subj largely circus performers(remember
Seurat & Toulouse-Lautrec)
Paintings of this period no remarkable innovations.
Are just romantic ptgs.
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Late 1905 ---- FIRST CLASSIC PERIOD
Picasso
La Rive
(Rêve)
collage
1906- went back to Spain for visit
La Rive (Rêve)
collage of Picasso but don't see him do anymore
until Braque did considerable work with it
La Rive (Rêve) is probably ~~ FIRST COLLAGE
FERNANDE OLIVIER -Romance, inspired some signif work
Les Demoiselles
dtAvignon (1907)
Les Demoiselles dtAvignon (1907)
= First Masterpiece
may have been infl by Matisse but actual inspiration
frm Cezanne's late Bathers
Some consider that this is the first CUBIST ptg
Counterchange- light against dark Checkerboard
KAHNWEILER --- dealer of Cubist works
World p 20
Picasso
4 Gats
Picasso
Woman
4 Gats
Cafe, see infl of Toulouse-Lautrec. Poster like.
Woman
Spainish backgrd, Neo Imp dot
Arn # 200
Picasso
Moulin de la
Galette
Moulin de la Galette
Night club, Renoir and Toulouse-Lautrec painted
there.
His first imp. ptg in Paris.
World p 28
Picasso
Self-Portrait at 20
- 1901
Self-Portrait at 20 - 1901
29" high (700,000 at auction)
World p 26
Picasso
Bath
Bath
Degas infl motif and tilt of pix plane
Toulouse-Lautrec prints on wall
distorted anatomy for more expression which is
typical to El Greco
World p 41
Picasso
Absinthe Drinker
- Blue Period
World p 44
Picasso
Old Guitar Player
Arn color 41
Picasso
Woman Ironing
Absinthe Drinker - Blue Period
in tradition of Degas, Manet, & Toulouse-Lautrec
Old Guitar Player
distorted figure, limited color harmony
Woman Ironing
Monochromatic, distort of drwg
In Thannhauser collection.
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Arn # 206
Picasso
Gertrude Stein IqCS At ~~ ~~sO 5f~~ a an
can see infl of some of primitive art he had been
studying in his creation of planes of the face
See he begin To be interested in breaking up by
planes
She was on scene thru WWII
Cubism p 42
Picasso
Les Demoiselles
D’Avignon- (1907
Les Demoiselles D’Avignon- (1907)
Name of a street in the Red light district of Barcelona
Begin off Cubism
Probably the FIRST ccubist painting
Sees faces sim to Gauguin,
African masks
Basically 2 color
Arn # 225
Picasso
La Rêve 1908
+La Rêve 1908
Claim is the first example of pasted bit
Is drwg. Only one pasted bit
Cubism p 53
Arn # 222
World p 91
Vollard
Cubist portrait of Vollard Now limited color harmony
Pick up planes Arbitrary broken facets & arbitrary
light against dark
Picasso
Vollard
Picasso se ms to carry out planes to edge of pix plane
World p 20
Picasso
Kahnweiler
Kahnweiler
more faceted, counter change
Picasso
Woman with
Mustard Jar
Woman with Mustard Jar
little freer.
In ARMORY SHOW OF 1913.
Mustard jar shows the simultaneous view
about the most colorful of the phase
Cubism p 70
Picasso
Ma Jolie
Ma Jolie
inspired by Fernande Olivier. Limited color harmony
Cubism p 74
Picasso
Still Life with
Chair Cane
Still Life with Chair Cane
Framed with Rope
One of the newspaper that they read was LA
JOURNAL
Arn # 217
Picasso
Portrait Fernando
Olivier - 1909
Portrait Fernando Olivier - 1909
Is also attempting sculpt.
Stressing facets of the head
Arn f 227
Picasso
Guitar
Guitar
Cut out of tin.
Begin of major 20th c. sculpture stlye called
ASSEMBLAGE
Arn 228
Picasso
Musical
Instruments
Musical Instruments
Assemblage of odds and ends.
Some of wood has bits drawn on them.
Cubism p 106
Picasso
Glass of Absinthe
(Sculpt)
Glass of Absinthe (Sculpt)
Cast in silver, painted
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
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World p 20
Picasso
4
Key 80 Pablo Picasso
OVERVIEW The most prolific and versatile artist in Western art, Picasso produced an amazing quality of art in
every media, even stage sets. While he explored all directions in the visual arts, he periodically returned to
classic forms.
The Bather (1922): The heavy, sculptured form is reminiscent of Classicism but reduced to simplified shapes.
Woman in White (1923): It conforms to the same Classical idiom in the well-proportioned seated body clothed
in a white, thinly brushed gown.
Painter and Model (1928): Despite the drastic distortions of the flattened abstract shapes within a
geometrically constructed composition, the figures can be discerned.
Girl Before a Mirror (1932): Composed as a stained glass composition, the simultaneous views of the girl are
derived from Cubism. The geometric patterns of bright colors are stunning, and the inventive imagery has
stimulated many controversial interpretations of the underlying meaning.
Bullfight (1934): Fascinated by the bullring, Picasso combined it with the Minotaur in a violent and ferocious
combat, expressed in abbreviated forms, dynamic distortions, and vibrant, rapidly brushed-in, high-keyed
colors.
Weeping Woman (1935): A well-dressed woman wearing a decorative hat suddenly collapses into devastating
grief. In the distortion of the Cubistically defined facial features, tears, and hand placed against her mouth,
Picasso sympathetically and powerfully captured a universal emotional anguish.
Cat with Bird (1939): In a premonition of World War II, a large, dark demonic cat with huge claws and glowing
eyes tears a helpless bird to pieces.
Sculpture: An outstanding, imaginative sculptor, Picasso created many works in all media, such as She Goat
(bronze, 1950), a bold, vigorous creature with exaggerated full stomach, thin neck, sturdy feet, large hanging
head, and a rough-textured surface that reflects the light. Bathers (bronze, 1957) is a series of abstract forms
constructed of pieces of board, broken sticks, broom handles, and discarded picture frame to create a magical
power.
Graphics: Representatives of his pnnts in an media is the Minotauronachia Series (etchings) that combine the
bullfight with the Minotaur. He portrayed violent battles of life and death in dramatic dark and light patterns with
direct, intense, and telling lines.
Ceramiec: At Vallouris, he produced striking painted ceramics— plates and figural forms.
N
American Synthetic
CubismCubism?
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2~~ Cubism and Its Derivatives
While Expressionist artists relied heavily on intuition the artists whose work derives from that of Seurat and
Cezanne relies much more heavily on the critical intelligence of the artist. In 1907 a retrospective. exhibition of
the work of Cezanne was held in Paris and younger artists like Picasso and Braque became aware of his
formal achievements. These two artists worked together to develop Cezanne's concerns for the tension
between nature and the twodimensional canvas, working toward a unity of the two-dimensional picture space
through an analysis of forms and their interrelationship. The process began with Picasso's De7noiselles
d'Avignon (Figure 22-6), which shows Picasso's interest in African and ancient Iberian art, but also
demonstrates an interweaving of figures and ground that derives from the work of Cezanne.
Cezanne had said to treat nature in terms of the cylinder, the sphere, and the cone, and the young Cubists
carried his suggestion much further than the master had intended, searching constantly for ever greater
simplification, for greater precision in the analysis of volumes and planes. Gradually the planes were flattened
so as to adhere more closely to the picture plane, as can be seen in Braque's The Portuguese (Figure 22-7).
In order to give a clearer understanding of an object, the Cubist painters often combined several views of an
object. Thus they created a new kind of pictorial space, a conceptual rather than a perceptual space, one that
the spectator must know rather than just see from a single point of view. As a matter of fact, we do not see in
the Renaissance singlepoint perspective fashion. Our eyes are not fixed in a single view; rather they jump
around and give us many references to an object seen from various points of view. Our brains put together all
these pieces of visual information in a single whole, creating our concept of the object.
In their concern for form, the Cubists almost eliminated color. This phase of intense analysis of form is known
as "Analytic Cubism." In a later development known as "Synthetic Cubism,8 exemplified by Picasso's Three
Musicians (Figure 22-11), the forms are simplified into larger planes and color is allowed to re-emerge. Stuart
Davis carried Synthetic Cubism to America where he used it to depict street scenes of New York (Figure 2212). The African-American artists Aaron Douglas and Jacob Lawrence applied the angular transparent planes
of Synthetic Cubism to depict religious visions (Figure 22-13) and political revolt (Figure 22-81).
Cubist restructuring of the visual world gave rise to a host of other movements, among them Dutch De Stijl,
Russian Suprematism and Italian Futurism. The most important member of the De Stijl group was Mondrian.
His non-objective works (Figure 22-50) developed out of the geometric principles of Cubism. He restricted his
forms to purely geometric shapes, set at right angles to the horizontal or vertical axis of the picture. He
confined his color to the three primaries—red, yellow, and blue—plus what he considered to be the non-colors:
black, white, and grey. As Mondrian said, "It is only with these elements, arranged according to relations of
form and color, that one can express the elementary and hence universal harmony, entirely free from
individual suggestions and representational associations, pure architecture, pure harmonic arty
Mondrian considered painting to be a tool toward creating a new human order, not an end in itself. As he said,
"In the future, the tangible embodiment of pictorial values will supplant art. Then we shall no longer need
paintings, for we shall live in the midst of realized art." Mondrian associated with other Dutch artists who
shared his views, and one of them, the architect Gerrit Rietveldt, gave tangible, three-dimensional
embodiment to his paintings in buildings like the Schroeder House, which was built in Utrecht in 1924 (Figure
22-58). In an essay on architecture written two years later, Mondrian wrote: "The application of these laws will
destroy the tragic expression of our homes and cities. Man will be nothing in himself; he will be part of the
whole, and losing his petty and pathetic individual pride, he will be happy in the Eden he will have created."
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
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These utopian ideals were reflected in the work of the young Russians Malevich and Tatlin. Malevich had
been exploring abstract art and he wrote describing his efforts: "In 1913, trying desperately to liberate art from
the ballast of the representation world, I sought refuge in the form of the square." What he painted was not a
"picture" but rather "the experience of pure nonobjectivity." He called his new art Suprematism. His simple
compositions were followed by richer constellations (Figure 2248), and he began to explore sculptural and
architectural forms. By 1917 he had arrived at forms that were not very different from those developed by the
De Stijl artist at about the same time.
With the advent of the Russian Revolution, the young abstract artists were very much excited about creating
an art for the people. Film makers like Sergei Eisenstein created films like the Battleship Potemkin to
celebrate the anniversary of an earlier rebellion against the Tzar using a montage technique of quick cuts
designed to draw spectators into the action (Figure 22-77). Visual artists divided themselves into two groups,
some, like Malevich, devoted themselves to what they called "laboratory" art, while others like Tatlin belonged
to the "Production" group. This latter group insisted that artists must become technicians, they must learn to
use the tools and materials of modern production in order to serve the proletariat. In 1919 Tatlin drew up plans
for the great Monument to the Third International (Figure 22-76), in a new Constructivist style. The monument
was to be a slanting steel building spiraling up over 1300 feet. Inside it were to be three differently shaped
elements containing various government offices that were to rotate at different velocities. Tatlin's magnificent
concept was never built, and in 1922 Lenin replaced Malevich's non-object visions with a Social Realism that
could be easily understood by the people.
The Italian Futurists used Cubism's formal discoveries to represent figures and machines in motion and to
express a new universal dynamism. In Boccioni's Unique Forms of Continuity in Space (Figure 22-14) one
senses the tremendous dynamism of the striding figure. Boccioni had written: "Everything moves, everything
runs, everything turns swiftly. The figure in front of us is never still, but ceaselessly appears and disappears,
owing to the persistence of images on the retina, objects in motion are multiplied and distorted, following one
another like waves through space." Boccioni has captured this feeling of movement in his figure by the planes
and forms that stream out behind. The effect of figures in motion had been created by the ancient Greeks
through billowing drapery, as can be seen in the famous Vktory of Samothrace (Figure 5-75).
The Futurists gloried the new technology, power, movement, mechanical rhythms, and manufactured
materials. In a Futurist Manifesto published in 1909 the poet Marinetti wrote: "The world's splendor has been
enriched by a new beauty; the beauty of speed in a racing motor car; its frame adorned with great pipes, like
snakes with explosive breath.... A roaring motor car, which looks as though it were running on shrapnel, is
more beautiful than the Victory of Samothrace.... Art can be nought but violence, cruelty and injustice.... We
wish to destroy the museums, the libraries.... We wish to glorify war—the only health giver of the world—
militarism, patriotism, the destructive arm of the anarchist, the beautiful ideas that kill, the contempt for
women." How far are these ideas from Mondrian's universal harmony!
.
Suggested Images: Figures 5-75, 22-6, 22-7, 22-11, 22-12, 22-13, 22-14, 2248, 22-50, 22-58, 22-76, 22-77,
22-81
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4 Guemica
Picasso's great painting of Guernica (Figure 22-83) done in response to the Fascist bombing of the small
Spanish village during the Spanish Civil War, might be used to sum up the artistic styles of the first half of the
twentieth century. The juxtaposition of the disseparate images of bull, screaming woman, horse, electric light,
and broken statue seem to come out of some Surrealist fantasy; the flattened planes and austere colors
derive from the Cubist heritage, and the exaggeration of the forms, particularly the screaming mouths, derive
from Expressionism. Picasso said that this work, done in 1937, expresses an age of "brutality and darkness."
It can stand not just for the brutality of the Spanish Civil War, but also for that of the great war that was to
follow.
Suggested Images: Figure 22-83
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Art not limited to France now
Chap 4 Arnason- Early 20th c sculpuure
Will skip Chp 5 Architecture
Chp 6- Toward Expressionism
ROUAULT - who made scene with Fauves
have discussed Munch & Ensor
Fauvusm - free use of color
Cubism - fragment of form
Expressioism- expresionism and emotion
20th c experimentation with materials and new materials
neon tubing
cast polyester
actually movement
March 8, 2016
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
March 8, 2016
BRAQUE
Early colorist work of FAUVES
Braque
1909 - Braque and Picasso working so close that even
they say they cannot tell apart
1907- Cezanneretrospective
After the retro the letters Of Cezanne were published
stating theory of use Of solid forms- ie. cones.
cylinder, etc
Credit has been given to Braque for first collage. Picasso
actually did the first one but Braque was the one to
really build on it.
First to use Drawn lettering.
Braque
Arn # 212
La Selta ?Ciotat)
Arn # 212 La Selta ?Ciotat)
FAUVE
This city is the last French town before you get to
Spanish border
Strong color
Braque
Boats at Tiur
Boats at Tiur
Town on S. France
Neo- Impress dot
Cubism p 50
Arn Color 43
L’Estaque
Braque
L’Estaque
After discover of Cezanne. Even went to some Of
same locations.
Hatching brushstrokes and emphasis on edges.
Braque
The Castle
The Castle
Same motif but diff color
Cubism p. 67
Arn # 224
The Portuguese
Braque
The Portuguese (1911)
Playing guitar
Guitar=frequent motif
Kind of rhythm Of line
One of the first use of letters
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Braque
Still life with Fruit
Still life with Fruit
could be first collage of Braque
Improvisation Of line
Paper print w/ wood grain pasted on
pix with drwg on top
grapes drawn at top
Cubismp. 66
World Picasso p
92 & 93
Braque
Guitar Player
Guitar Player
very much like accordionist
Warm and cool is stepped up
Cubism p 71
Braque
Still life With
Playing Cards
Still lief With Playing Cards
grapes at top
Ace of Clubs
Canaday p 176
Braque
Guitar
Guitar
Corrugated paper
Cut - out
Improvisation with cut out forms
Braque
Still Life
Still Life
Sand in some of Paint
May be study for cut out
Braque
Still Life
Still Life Table
come what limited color harmony. Guitar
Bottle, pitcher//
Looser drawing than Picasso
Braque
Still Life on
Pedestal
Table
Still Life on Pedestal Table
Gueridon
Guitar
Muset
Braque
Clarinet
Vanity
More fluid. Cross and beads. Skull. Organized as if
he coulddo a collage of it
Braque
Clarinet
Clarinet
Book
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
1
JUAN GRIS (1887-1927) died young
March 8, 2016
Cubism
Juan Gris
(1887-1927)
2
Early cubist ptgs such as his portrait of Picasso (1912)
sim to those Of Picasso of 1909 but his appears to
have a more mathematical control to handling or the
head - space relations
later his more coloristic ptgs anticipated the synthetic
collages of Picasso and Braque
One of the first cubists to realize the possibilities of
double way of seeing (cubist ambiguity and faceted
structure and clarity Of detail in traditional sense)
* Cubism - under him becomes a more coloristic activity
More concious and meticulious analysis of the
movement of the shape
Planes more predominately defined, can easily see
where planes are
Deals with larger pieces Of space
+ Largely instrumental in bringing color and light back to
cubism
3
Slides
353
Juan Gris
Portrait of
Picasso (1912)
353 Portrait of Picasso (1912)
sim to geometric forms. more mechanical, limited
color harmony
Juan Gris
Still Life
with guitar. fruit, still limited color
Still Life
color 69
Juan Gris
Place
Ravlngnan, Still
Life in Front of an
Open Window
(1915)
color 69
Place Ravlngnan, Still Life in Front of an
Open Window (1915)
accomplish a sense of Ren and Cubtst space
combined. One of first Cubist to realize this way of
seeing
Newspaper: Le Journal and wine label Medoc
recognizable
Combination of interior & exterior of particular interest
is way of varying lettering
354
Juan Gris
Man in the Cafe
(1912)
Cubism
354
Man in the Cafe (1912)
Juan Gris
(1887-1927)
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color 70
color 70 Guitar w/ Sheet Music (1926)
Juan Gris
reduced familiar objects of cubist still life to simple
Guitar w/ Sheet
shapes separated by spaces as tangible as objects.
Music (1926)
Paint appled as a matte surface to stress the
architectural structural sense. Sometimes stress the
paint qualities simply as paint.
Juan Gris
Still Life with
Watch ( )
Juan Gris
Still Life with Pipe
( )
Juan Gris
Still Life 30 (
)
Juan Gris
Guitar Player
(Clown,
harlequin) (
Juan Gris
View over bay (
)
March 8, 2016
Still Life with Watch ( )
Jerez de la Fromtera, one bottle
larghe tassel of drapery
Still Life with Pipe ( )
Begin of white light. Synthetic more color & texture
but with paint. Open book
Still Life 30 (
)
wood grain more freely done. Still some awake of
Neo Impressionist dot. Synthetic Cubism
Guitar Player (Clown, harlequin) ( )
Economy of Means, Still limited color harmony
View over bay ( )
can see water & hills
Le Petit
Cubism
Juan Gris
(1887-1927)
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2
3
PURISM
Developed c. 1918 by Charles Edouard Jenneret (Le
Corbusier)
Amedee Ozenfanfant
MANIFESTO= After Cubism published 1918
Attacked current cubism. Said that cubism had
degenerated to elaborate decoration.
Denounced illustrative or fantastic subject
Machine became the perfect symbol for the kind of pure
functional painting they sought to achieve
Sought for an architectural simplicity of vertical horizontal structure
4
CHARLES EDOUARD JENNERET
( LE CORBUSIER) -- (1887-1941)
Purist
Pted all his life but is imp as an ARCHITECT
Arn # 366
Jenneret
(Le Corbusier)
Still Life W/ Many
Objects - 1920
Jenneret (Le
Corbusier)
Bull #4
Still Life W/ Many Objects - 1920
Could not have arrived at this style w/o Cubism.
Vertical
Horizontal organization.
Bull #4
Flattened forms
AMEDEE OZENFANT (1887-1965)
Purist (co-founder)
Voiced ideas of Purism in two Magazines:
1. L'Elan (1915-17) --before meeting of Jenneret
2. L'Esprit Nouveau (1920-25)
Later turned to MURAL PTG
Was one of the fashionable teachers
Arn #365
Ozenfant
Still Life (1920)
Still Life (1920)
Arn #365
Ozenfant
The Vases
The Vases
Arn #365
Ozenfant
Theme and
Variation(Vases)
Theme and Variation(Vases)
Still life obJects so close together that jest read as
abstract shapes.
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Futurism
Umberto Boccioni (1882 - 1916)
BOCCIONI
Prob the most Talented of the Futurists
First imp Futurist ptg of his = Riot in the Gallery (1909)
1911 - went to Paris with Carra. On his return he repainted
Farewells which is part of the triptych States of Mind
*75.
Boccioni, Umberto
Unique Forms of Continuity in Space
1913
Italian
43 1/2" high, bronze
Scientific studies of movement / time -- blur of movement—
Railroads, ocean liners, airplanes
Futurism: depiction of emotional dynamism of
modern life--started l909
“war is the sole heigene of the world”
Marinetti wrote manifesto--called for "violence, energy,
boldness"
wonders of machine age
sensation of flux
Psychological & conceptual
Giacomo Balla (1871-1958):
*65. Giacomo Balla
Dynamism of a Dog on a Leash (1912),
OVERVIEW Cubism exerted an impact on artists outside of Paris— Futurists (Milan); De Stijl (Holland), and
Suprematists and Constructivists (Russia).
Futurists: Following the manifesto of Marinetti, they sought to reconcile man with machines and were
fascinated with the speed of engines, automobiles, and airplanes. They attacked traditional Italian art and
culture, reduced forms to planes, and composed almost abstract canvases of multiple images that tried to
show movement as the motion picture did.
A short-lived movement founded by Italian poet F. T. Marinetti, author of the Futurist Manifesto (published in
Le Figaro, 1909) which proclaimed that a speeding racecar was more beautiful than the Wedged Victory of
Samothrace. Futurist painting celebrates the aesthetics of speed or dynamism (especially that of modern
inventions, like the automobile and airplane) and many Futurist paintings explicitly include the term dynamism
in their titles. Duchamp's painting Nude Descending a Staircase #2 (1913), though ignored by the Futurists, is
more or less typical of their painting style, which often resembled a stylized multiple-exposure photograph.
Principal Futurist painters include:
Umberto Boccioni (1882-1916):
Giacomo Balla (1871-1958):
Gino Severini (188>1966):
Umberto Boccioni (1882-1916):
Painter-sculptor who, like Duchamp, used Cubist pictorial devices (e.g., dissecting an object into planar
shapes) to simultaneously portray and analyze objects in his Futurist paintings. His bronze sculpture Unique
Forms of Continuity in Space ( 1913) is a highly abstracted image of a striding human figure. In one of the
great ironies of art history, Boccioni was killed in World War I, the same war which he once declared would
serve as the "hygiene of society."
Giacomo Balla (1871-1958):
Perhaps best known for his witty Futurist painting of a leashed dachshund out for a walk, titled Dynamism of a
Dog on a Leash (1912), Balla's works use
rhythmic repetitions of pattern to achieve a compelling impression of motion.
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Gino Severini (188>1966):
Italian Futurist painter who incorporated cubistic collagelike elements (song titles, for example) in his colorful
scenes of cafe life.
• Severini, in Dynamic Hieroglyphic of Bat Tabrain, created swirling rhythms of dancers in brilliantly colored
cubist planes.
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FUTURISM
Cubism was influential to Futurism from the very
beginning
First was a LITERARY movement born in mind of poet
and propangandist FILIPPO TOMMASO MARINETTI
in 1908
MARINETTI Manifestoes - 1909, 1910
Essentially a MILANese movement
A_
Began in MILAN. revolt against 19thc.
2
First Futurist Manifesto 1909
First Manifesto demanded destruction of Libraries,
the museums, the academies, and the cities of the
past that stood as reminders of the past
Extolled the beauties of revolution, of war, and of modern
technology . Published in Paris newspaper - Le
Figaro
3
Movement rooted in the philosophies of HENRI
BERGSON and FRIEDRICH NIETZSCHE . Also in
the prevalnt atmosphere of ANARCHISM.
Attacked aristocracy and bourgeois society and became
the PILLAR OF FASCISM
Revolt aginst the middle class stuffyness
Early in 1909 Marinetti joined by: Umberto BOCCIONI,
Carlo CARRA, and Luigi RUSSOLO.
Later joined by Gino SEVERINI and Giacomo BALLA
4
1910 Futurist Manifesto
1910 - group wrote own Manifesto (group = Boccioni,
Carra, Russolo, Severini, Balla.)
also attacked libraries, museums,and the academies
Praised idea of simultaneity of vision, of
metemorphosis, and of motion that constantly
multiplied the moving object
Emphasis of unification of the painted object and
environment
Movement, speed, action, form. Dynamism
In 1910 the Futurists painting were nothing really new.
Still have the unified color of the impressionits, the
divisionalism for the neo imp
Became a sort of academy of the Avant garde
Concerned w/ problem of the establishing of an empathic
identity between the spectator and the ptg. In this
way they were close to the German Exppessionists
Aim not formal analysis but direct appeal to emotions
Extooled metropolitian life and modern industry
SANT’ ELIA
on notes from grad
school what does it
mean?
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Art of the futurists not a unified style in the sense
ofCubist did
Directional lines, simultaneous images was Duchamp infl
Overlapping and interpenetration of planes. PRISM
(which yeilds rainbow colors of Orphism &
IMPressionists
Have been described as anti feminist. But in what way is
a question. Did want to stop Nude painting
May 1911 - Futurist exhibition in MILAN (1st real show)
Wanted to invade art world of Paris
Fall of 1911 Carra and Boccioni visited Paris to check it
out before arranging an exhibit there.
Motifs: Locomotives, Horse (since Gericault (19th c),
Stubbs (18th c)
* Feb. 1912 -- Exhibition of Futurists in the Bernheim Jeune Gallery l rlAi3S~~ Was reviewed by
APOLLINAIRE.
Exhibition later went to: LONDON, BERLIN, BRUSSELS,
THE HAGUE, AMSTERDAM,& MUNICH. Suddenly
Futurism became an international form of
experimental art
Armory Show did not include futurists. May not have
wanted to participate.
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3
4
Abstract Sculpture
Jacques Lipchitz
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3
4
Abstract Sculpture
Alexander ARchipenko
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Abstract Sculpture
Julio Gonzalez
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3
Abstract Sculpture
Raymond Duchamp-Villon
4
1
RAYMOND DUCHAMP-VILLON(1876-1918)
started in medicine but left it for sculpt in 1900 first infl by
Rodin then by Cubists
worked toward simplification
casuality of war
Arn # 334 Baudelaire (1911)
poet and critic
1st modern art critic
Died mid 19th c w/ Courbet (Artist Stdio)
Simplified but not so abstract as to lose it. Frontal
# 198 Maggy (1911)
Stretch neck. Exaggerated planes. No hair
Arn # 335 Portrait of Professor Gosset (1918)
Arn # 336 Seated Woman (1914)
Renaissance twisting pose,still traditional space but
moving toward abstraction.
Arn # 337 Horset(1914)
Interesting forms, Thrust. MoMA garden
Arn # 338 Head of a Horse (1914)
# Cubist Facade
in Apollinare’s book
2
3
4
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Abstract Sculpture
Henri Laurens
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3
Abstract Sculpture
Ossip Zadkine
4
2
OSSIP ZADKINE (1890-1966)
born in Russia
in Paris in 1909 at time of inception of cubism
He never really deserted cubism
After 1920 - his cubism took on more elaborately
decorative, curvilinear qualities that also suggest his
interest in the qualities of the material used.
First works( c. ) more massive, closed quality
Fine feeling for the qualities of wood
Later sculpts more of mannered expressions involving
elaborations of geometric and curvilinear shapes
Zadkine
Arn # 352
Mother and Child
(1918)
3
Zadkine
Female Torso
(1928)
Zadkine
Standing Fig re
(1925-28)
Mother and Child (Forms and Light) (1918)
Solids and voids are Interchanged
Female Torso (1928)
4
Standing Fig re (1925-28)
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Abstract Sculpture
Modigliani
only loosely related
to Cubism
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Non Objective
Key 77 Abstractionism outside Paris
OVERVIEW Cubism exerted an impact on artists
outside of Paris— Futurists (Milan); De Stijl
(Holland), and Suprematists and Constructivists
(Russia).
Suprematism: This movement was represented by
Kasimir Malevich (1878-1935), who strove for pure
geometric abstraction. Black Square on White
Square (1913) aimed at the expression of feeling
independent of visual forms; abstraction can go no
further than White on White (1918). Malevich
believed art was a spiritual activity.
2
Non Objective
3
4
2
Suprematism
3
4
SUIPREMATISM — 2 Dimensional
1913/5
Hyper-orthodox form of cubism
Invented by Malevich
Malevich wrote about it as an absolutely pure
geometrical art
Reduction of painting to its least common denominator
Malevich
- painted picture which should have ended all abstract
pictures: White square on white ground. Claimed to have
invented
suprematism as a higher form of cubism
Takes Cezanne's cube, cone, and sphere and reduces
them to planar space
Assoc with sculptor's who are interested in construction
Wil finally reduce shapes to only rectangles
After black on white period he realizes the final reduction
white on white
Paints in Russia during constructionist period
Teaches for a period of time at the Bauhaus at Weimar,
Germany (Bauhaus: classical approach;guided by a
scientic ideal)
Interested in illusions of motion and space, slight ref. to
space
Malevich
Malevich
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Blending of classicist and expressionist
More important in his effect than in his own work.
2
Constructivism
3
4
CONSTRUCTIVISM
3 dimensional from of Suprematism
Principally a Russian movement
Only movement in space and not volume is imp. in art
Were eased out of Russia after a period of time
Bauhaus
Construction} interpretive activity
Kandinsky basically a classicist working through
constructionist style. Not going through reductions.
Doesn't have much influence except on abstract
surrealist and abstract after WWIIF Later see him as
an Expressionist.
2
3
Constructivism
Naum Gabo
4
2
3
Constructivism
Anton Pevsner
4
2
3
Constructivism
Vladimer Tatlin
4
2
3
4
Constructivism
Alexander Rodchenko
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Key 77 Abstractionism outside Paris
OVERVIEW Cubism exerted an impact on artists outside of Paris— Futurists (Milan); De Stijl (Holland), and
Suprematists and Constructivists (Russia).
De Stijl: The Dutch painter Piet Mondrian (1872-1944), one of the most radical abstractionists, called his style
NeoPlasticism. In Composition with Red, Black, and Yellow (1930) he built up a mathematically precise design
of horizontal and vertical black lines on a white canvas with three primary hues that established a harmonious,
subtle equilibrium.
S
De Stijl: NeoPlasticism
Piet Mondrian (1872-1944)
78.
Mondrian, Piet
Composition with Red, Blue, and Yellow
1930
Dutch
went further than anyone regarding creating imagery
representing hidden realities, eternal structure of
existence
- Reductivism: Reduced shape to horizontal and vertical,
value to black and white, color to red, yellow, blue
Dynamic Equilibriun
79.
Mondrian, Piet
Broadway Boogie Woogie
1942-43
loved jazz music
universal beauty
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Sculpture:
Between Geometric & Organic
Formalism
Alexander Calder ( )
79.
Calder, Alexander
Big Red
1959
used abstract organic forms and engineering techniques to
create sculpture which has - expresses- actual motion
to express the innate
dynamism of Reality
Constantin Brancusi
*80. Brancusi, Constantin
Bird in Space
1928
Romanian
polished bronze
uncover essential shapes hidden at core
infl.Rodin
* inner realitty lying beyond surface of physical world
- idea is the reality
imagined sculptures as being monumental in size
Page 990
“simplicity is not an end in art, but we arrive at simplicity in
spite of ourselves as we approach the real sense of
things.. is the idea, the essence of things”
infl by Tibetian monk-- universality of all life
Henry Moore (1898-1986)
81.
Moore, Henry
Recumbent Figure
193#
English
wood (mass and void)
love of nature--sat~~d forms and materials
"Material has its own individual qualities" M.
the human figure--Titian, Michelangelo, Ingres, Manet,
Canova, Maillol
Infl. Pre-Colombian figurine
Like Eskimo carvings
Universal truth--mass, simplified form, psychological
powerful mother earth-biomorphic form
Barbara Hepworth (1903-1975)
*80. Hepworth, Barbara
Three Forms
1935
Romanian
polished bronze
uncover essential shapes hidden at core
infl.Rodin
* inner realitty lying beyond surface of physical world
- idea is the reality
imagined sculptures as being monumental in size
Page 990
“simplicity is not an end in art, but we arrive at simplicity in
spite of ourselves as we approach the real sense of
things.. is the idea, the essence of things”
infl by Tibetian monk-- universality of all life
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Dada ( 1916-1921)
Marcel Duchamp
83.
Duchamp, Marcel
Nude Descending a Staircase
*84.
Duchamp, Marcel
Bicycle Wheel
original 1913
Dadaism another response to disintegration of society.
Tried to show people how to rediscover themselves as
integrated beings. (During WWI)
Dada founded in Zurich 1916- term from nonsensical word
DADA- French for hobby horse
DaDa (Back to Innocence)
1887-1948
central artist of NY Dada and Paris
performances, publications, exhibitions--with shock
obvious lack of conventional meaning
-disrupt logic — protested madness of war
Reaction to WWI
Chose objects as aesthetic. This is Duchamp's
Manmade optical effects of their motion
Art as a matter of chance and choice freed from
conventions of society
Ultimate concept of utter freedom of individual artist
85.
Duchamp, Marcel
L.H.O.O.Q.
1919
Automatism
- inspired by Cubist collage
- non-objective--visual poetry using cast-off junk from
society
“she has a hot ...”
Dada over by 1922
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Dada ( 1916-1921)
A short-lived movement of antiartists, founded in Zurich by playwright Hugo Ball (1886-1927) and poet Tristan
Tzara (18861963) whose goal was the destruction of the decadent culture responsible for World War I. Their
meeting place at the Cabaret Voltaire in Zurich was the site of numerous exhibitions, performances, and
readings, most of which involved nonsense creations based on the concept of randomness (also called
indeterminancy). Though ultimately unsuccessful in their goal of stamping out all decadent bourgeois art,
Dada experiments laid the foundation for the later Surrealist movement. According to legend the group's name
(which means "hobbyhorse") was chosen by plunging a knife blade at random into a French dictionary.
Perhaps the best known Dada member was relative latecomer to the movement Marcel Duchamp
(1887-1968) whose early work combined Cubist imagery with Futurist motion-images (see Nude Descending a
Staircase #2, 1912). (See Figure 5.103.) Duchamp's later works are almost entirely conceptual, consisting
largely of readymades, common objects which Duchamp purchased, retitled, then exhibited as "antiart." His
most famous readymade, titled Fountain (1917), is a mens' room urinal signed with the pseudonym R. Mutt
(after Europe's Mutt Ironworks Co.). Duchamp submitted the urinal to insult the judges of the art exhibition, but
they praised it instead for its formal beauty as well as its poetic allusion to the baptismal font (!), and exhibited
it in a locked closet. The exhibition program notes state simply "Mr. R. Mutt has submitted a fountain," hence
its title. Duchamp eventually gave up art to devote his full attention to playing chess, his last and grandest
Dada gesture.
Other Dadaists include:
Jean Arp ( I 887-1966): Sculptor known primarily for his abstract biomorphic forms.
Francis Picabia (1879-1952): Painter, with a reputation as a showman-opportunist, whose work included some
of the first abstract paintings, many of which bear absurd titles.
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Dada 2
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Dada
Schwitters
German
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Dada
Max Ernst
German
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Dada
Arp
Zurich
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Dada
Man Ray
Zurich
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Key 78 Fantastic art
OVERVIEW The international Dada and Surrealistic movements best exemplified fantastic art between World
War I and II.
Dada: A group of intellectuals who escaped to Zurich (in 1915), where they attacked the meaninglessness of
war and all forms of cultural standard and artistic activity, and gave themselves this nonsensical name. The
movement spread to New York, Paris, Berlin, Cologne and Hanover.
• Marcel Duchamp (1887- 1968) was the leading spirit of Dada. His Bride Stripped Bare by Her Bachelors (
1923) is an abstract image rendered in paint, lead foil, and quicksilver sandwiched between double layers of
glass. The work eludes interpretation; possibly it may depict erotic frustration. Duchamp also painted a
moustache and goatee on a print of the Mona Lisa and exhibited Ready Mades—a bicycle wheel, snow
shovel, and urinal—as art.
• Jean Arp (1887-1966) created imaginative, whimsical cardboard cut outs like Mountain Table Anchors Navel
(1925).
• Schwitters (Hanover) created Merz pictures made of objects from the gutter and trash basket like Merz
Picture 19 (1920).
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Surrealism ( 1924- 1940)
The Surrealists set out to combine everyday reality with dreamlike images of irrationality, thus creating a new
superrealism or surrealism, a term first coined by poet GUILLAUME APOLLINAIRE (188>1918). Originally a
literary movement created by the poet ANDRE BRETON (1896—1966), Surrealism experimented with various
techniques of drawing upon unconscious imagery, such as the well known exquisite corpse parlor game in
which several persons each contribute a few lines to a folded drawing or poem, never seeing what the others
have done until the very end. (The name derives from a nonsense sentence once generated in this way: The
exquisite corpse shall devour the young wine).
Perhaps the most infamous work of the Surrealist movement was the short film Un Chien Andalou (A Spanish
Dog, 1928), produced as a collaborative experiment between painter SALVADOR DALI and film maker Luls
BUNUEL (1900—1983). Intended as a tongue-in-cheek spoof of abstruse French art films, it assails the
viewer with bizarre, disturbing imagery (e.g., a closeup of a straight razor slicing through an eyeball), all
revolving around a virtually incomprehensible plot. (Un Chien Andalou is available as a rental film and
videocassette.)
Although the outbreak of World War II overshadowed the original Surrealist movement, rendering many of its
nightmare images tame by comparison, Surrealism has never completely disappeared. Today it survives,
though perhaps more as a general attitude than a distinct style, in the work of many contemporary artists and
writers, especially those whose works involve dream imagery or elements of bizarre fantasy. Examples are the
works of pop fantasist H. R. Giger, designer of the monster in Ridley Scott's film Alien (1979), or Irish painter
Francis Bacon (1910-1992), whose disturbing psychological portraits depict subjects' faces as smeared or
grotesquely disarranged. One of Bacon's best known works depicts a screaming figure seated between
butchered sides of beef whose contours resemble split human heads (Head Surrounded by Sides of Beef,
1954).
Prominent surrealist painters include:
Salvador Dali (1904 1989): Spanish surrealist painter known for his "hand-painted dream photographs." See
Slave Market with a Disappearing Bust of Voltaire, (p. 110).
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Surrealism
Salvador Dali (1904-1989)
86.
*Dali, Salvador
The Persistence of Memory
1931
9 1/2' x 13
precise rendition of irrational combination of images-hollow space, time is at end
imagery in foreground--from Garden of Earthly Delights by
Bosch
Surrealism
Precision
irrationality becomes objectively present
Compare to Bosch
Breton, Andre - Parisian writer
1920s
1930s
1924 Surrealism
psychic automatism
no control over reason
world, reality of dreams
eroticism
Rene Magritte (1898-1967)
*87. Magritte, Rene
Le Voil
1934
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Max Ernst (1891 - 1976): Surrealist painter known for his collagelike images. In his painting/relief Two
Children Threatened hy a Nightingale (1924), Ernst attached three-dimensional objects—a small wooden
house, gate, and doorbell—to an oil painting depicting several figures fleeing in panic from a tiny nightingale.
2
3
4
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Marc Chagall (1887-1983): Russian painter whose mystical images moved the poet Apollinaire to whisper the
word, "sur-reel," thus inventing the term surrealism.
2
3
4
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Meret Oppenheim (born 1913): German artist best known for his uncanny surrealist objects such as his
Fur-lined Teacup, Saucer, and Spoon (1936).
2
3
4
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Giorgio DeChirico (1888- 1978): Although technically a member of the Pitura Metafisica school of painting,
DeChirico's stark images of deserted plazas seen in exaggerated perspective and populated by featureless
mannequins associate him, in spirit, with the surrealist style (See Mystery and Melancholy of a Street (1914),
p.83).
2
3
4
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Paul Delvaux (born 1897): French painter, associated with the later Surrealists, whose dreamlike images
depict Victorian men and women wandering (sometimes nude) in a trancelike state through strange twilight
landscapes. See Avenue of the Mermaids (1942), Figure 5.104.
2
3
4
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Surrealism: Emerging out of Dada, it explored psychic experience and was influenced by Freud. Surrealists
strove to uncover the subconscious processes of thought by accidental and automatic effects that offered a
new realm of imaginative possibilities to shock the viewer.
• Jean Miro revelled in unbridled fantasy. HarZequin's Carnival (1925) is composed of flat, linear, colorful
amoeba-like shapes floating in space.
• Salvador Dali, under influence of Freud, depicted sexual symbolism and irrational objects defined with
remarkable precision, as in The Persistence of Uetnory (1931), in which the wet watches destroy the very idea
of time. Soft Construction with Boiled Beans reveals monstrous forms of astonishing power that may have
been a premonition of Civil War.
• Rene Magritte produced humorous, witty images on the absurdity of everyday life.
• Marc Chagall, noted for painting, prints, stained glass and stage designs,was among the artists who pursued
the current of fantasy. In Self Portrait with Seven Fingers (1912) he combined Cubist geometry with bright
colors and his Russian-Jewish folk tradition.
• Giorgio De Chirico painted a strange series of barren and menacing cityscapes. The Nostalgia of the Infinite
(1914) has a mysterious tower with flags and two figures sunounded by dark, disturb ing shadows.
2
3
4
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Fantasy / Abstract Figuaration
• Paul Klee, who taught at the Bauhaus (1921-31), was interested in the art of children and tribal peoples and
depicted lively, poetic fantasies like Dance Monster Atop My Soft Song (1922), in which a weird creature is
defined in a thin spontaneous line.
2
3
4
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Q
March 8, 2016
Abstract Surrealism
Joan Miro (1893-1983)
88.
Miro, Joan
Painting
1933
Spanish
Fantasy, hallucination
-chance from Surrealist poets in Paris
scatteredcollagecomposition--assembled fragments cut
from catalogue for machinery
-biomorphic black silhouettes
back and forth between unconscious and
conscious
“The first stage is free, unconscious ... the second stage is
carefully calculated.”
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3 Dada and Surrealism
The war that the Futurists so desired filled other artists with anger and disgust. A number of artists, poets, and
writers gathered in neutral Switzerland in the Cafe Voltaire in Zurich, while others settled in New York. Marcel
Janco wrote: "We were beside ourselves with grief and rage at the suffering and humiliation of mankind." They
were distressed by the false morality they saw around them and as Janco said: "We had lost the hope that art
would one day achieve its just place in our society." They named their movement Dada, which has been
explained in various ways. One explanation was that they selected a random word in a French dictionary, the
word for hobby horse, and another is that it came from the Rumanian "da da" or "yes yes.n According to the
poet Tzara, "Dada means nothing.... Though it is produced in the mouth." The poet Hugo Ball wrote "What we
call Dada is foolery, foolery extracted from the emptiness in which all higher problems are wrapped, a
gladiator's gesture, a game played with the shabby remnants . . . a public execution of false morality." Their
creations were anti-society, anti-sense, and antiart, designed to provoke
and scandalize. One of their productions consisted of young girls dressed in white reading obscene poetry in a
public lavatory. Another was a work of art with an ax attached and a sign telling the spectator to use the ax to
destroy the work of art.
One of the artists, Jean Arp, wrote: "We declared that everything that comes into being or is made by man is a
work of art." Marcel Duchamp put this idea into practice by exhibiting what he called nready-mades't: a
commercial bottle rack, a urinal, and a bicycle wheel mounted on a painted wooden stool. Figure 22-25 is a
reproduction of the lost original of the bicycle wheel. In the complex piece done on glass entitled The Bride
Stripped Bare by Her Bachelors Even (Figure 22-26), Duchamp explored ideas of chance as well as
alchemical transformation. The bride, shown in the upper section, has been transformed into a mechanistic
reproductive machine, while the bachelors, represented by so-called "mallic" molds, are grouped below,
waiting for their chance to disrobe the bride. Many elements of chance were used in the composition. One
area was created by allowing dust to settle on the surface of the glass and then fixing it. Another was
determined by photographs done by his friend Man Ray of fabric blowing in the wind. In his own work Ray
used chance to put found objects in new environments creating strangely evocative combinations. He created
photographic images that he called Rayograms (Figure 22-30) by exposing a variety of objects on
photosensitive paper. According to Duchamp, life and art are a matter of chance and arbitrary choice; the
essence of the artistic act is willful selection, and each act is individual and unique. This attitude was to be
important for artists for the rest of the twentieth century.
Dada spread to Berlin where artists like Hannah Hoch reflected the chaos of the Weimar republic in work like
her Cut with Kitchen Knife through the Last Weimar Beer Belly Cultured Epoch (Figure 22-28), in which she
used a technique she called "photomontage combining bits and pieces from books, newspapers, posters, and
leaflets. Kurt Schwitters created compositions that he called Merz pictures (Figure 22-29) and whole
environments that he called Merz out of cast off bits and pieces.
Jean Arp, one of the French Dadaists, described his discovery of the aesthetic value of chance. After doing a
drawing he didn't like he tore it up and let the pieces flutter to the floor. He liked the pattern and glued the
pieces down, accepting the decision of fate. Figure 22-27 shows a series of Squares Arranged According to
the Laws of Chance.
The concern with the purposefulness of chance transformed Dada into Surrealism. In 1919 a number of Dada
artists had gone to Paris where they were joined by other painters and poets, among them the poet Andre
Breton. In 1922 Breton met Freud and became fascinated with Freud's ideas of the control of the unconscious
mind over conscious action and art production. Breton published the first Surrealist manifesto in 1924, stating
that the purpose of Surrealism was "to resolve the previously contradictory conditions of dream and reality into
an absolute reality." Max Ernst, whose Two Children Are Threatened by a Nightingale, shown in Figure 22-34,
was one of the first artists to work in the new style, which aimed at bringing together incongruous elements in
new contexts, thereby creating a new poetic reality.
The Surrealists admired the photographs of Atget (Figure 22-32) who had the ability to see the mysterious in
the everyday. They also admired the films of Georges Melles (Figure 22-33) who created fantasies based on
the science fiction stories of Jules Verne and H. G. Wells. The American Joseph Cornell followed Ernst's lead,
creating magical boxes out of the flotsam and jetsam of daily life (Figure 22-39), while the Mexican painter
Frida Kahlo used Surrealist juxtapositions to explore the pain of human existence using a series of
self-portraits to delve ever more deeply into her own psyche (Figure 22-40).
One of the more flamboyant artists in the Surrealist group was Salvador Dali, whose Persistence of Memory is
depicted in Figure 22-36. Dali paints with absolutely photographic realism, but with complete freedom of
imagination, in a style known as Veristic Surrealism. He collaborated with Luis Bunuel to create what is
perhaps the most famous of all Surrealist films, Un Chien Andalou (Figure 22-35).
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Another Spanish artist, Mir6 (Figure 22-37), used a different type of Surrealism, known as "psychic
automatism," to demonstrate the true process of thought. Surrealism was both a literary and an artistic
movement, and this type of Surrealism was defined by the poet Apollinaire as follows: "Pure Psychic
Automatism, by which it is intended to express verbally, in writing, or any other way, the true process of
thought. It is the dictation of thought, free from the exercise of reason and every aesthetic or moral
preoccupation." The object was to free artists from the normal association of pictorial ideas and from all
accepted means of expression so that they might create according to the irrational dictates of their
subconscious minds and visions. Miro liked to work in this manner, letting his brush work without conscious
direction. This approach was to be an important source for the gestural drawing of Jackson Pollock's Abstract
Expressionism (Figure 23-1).
Suggested Images: Figures 22-25, 22-26, 22-27, 22-28, 22-29, 22-30, 22-32, 22-33, 22-34, 22-35, 22-36,
22-37, 22-37, 22-39,2240, 23-1
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L Expressionism
Expressionism is both a way of approaching art, which occurred in many historical periods, and a particular
tendency of the late nineteenth and early twentieth centuries. Expressionism is characterized by a search for
expressiveness of style by means of exaggerations and distortions of line and color, a deliberate
abandonment of realism in favor of a simplified style that can carry far greater emotional impact.
Northern artists seem more often to have worked in this mode than did those of more Latin temperament. The
Isenheim Altarpiece by the sixteenth-century German painter Mathias Grunewald (Figures 18-33 and 18-34)
clearly illustrates the Expressionist approach, as does Durer's Four Horsemen of the Apocalypse (Figure
18-35). Much of twentieth-century Expressionism can be said to spring from works like Van Gogh's Starry
Night (Figure 21-85) or his Night Cafe (Figure 21-84) with their dramatically simplified outline, marked stroke,
and very strong color. A number of artists carried on these tendencies.
The German critic, Werner Haftmann, points out that the Germanic spirit of the 1890s was torn asunder
between the poles of the self and the world. The result was a shattering doubt about the reality of the world
itself and a loss of confidence in the value of human existence, a tragic alienation between the individual and
the outside world. This alienation can best be seen in the work of the Belgian James Ensor (Figure 21-91) and
the Norwegian, Edvard Munch (Figure 21-92). Both men went through severe personality crises, and for both,
the hallucinatory images of their paintings expressed not only their own intense inner conflicts but also the
spiritual tension of their time. Both portray human beings as masks, as hollow people without real human
identity. In Munch's Scream the figure crosses the bridge of life, which crosses the abyss of nothingness, the
void, anticipating the twentieth-century Existential proposition of the essential meaninglessness of life. The
undulating contours of the screaming figure are carried out in the sky. The perspective of the bridge recedes
at a rapid rate and there are no stable elements in the picture. Munch's inner conflict is expressed by these
indirect symbols. He later wrote, "I felt the great cry ringing through nature." Munch's prints and paintings
represent the material equivalent of his spiritual world.
Expressionist distortion of the external world to present spiritual realities can be found in the work of artists
from many groups. A less agonized view of the precariousness of human existence is seen in Klimt's Death
and Life (Figure 22-2), which is linked to Art Nouveau through the sinuous patterns and lush colors.
The paintings of the French Fauves were similarly the equivalents of a spiritual world, but as you can see from
Matisse's work in Figure 22-5, Matisse's inner world was much calmer than Munch's, yet both can be included
in the larger group we call Expressionist, for the works of both correspond to the inner emotive world. Matisse
wrote: "What I seek to get above everything else is expression .... It is not possible for me to copy nature
servilely, because I am forced to interpret it and to subject it to the spirit of the picture." Matisse exhibited
some of his works at the Salon d'Automne in Paris in 1905, along with the works of other young artists like
Derain (Figure 22-4), all of whom used intensified colors for expressive purposes. The group had been
influenced by the retrospective shows of Van Gogh in 1901 and Gauguin in 1903. These works all hung
together with a small piece of sculpture done in Italian Renaissance style, and an art critic remarked that this
work looked like Donatello in the den of the wild beasts, or "fauves" in French. The name has stuck, and this
group of artists is known as the Fauves.
One of them, George Rouault, exhibited a group of darkly luminous pictures of clowns and whores that is
much closer to the spirit of Munch than was the work of Matisse with his love of life and his delight in all things.
Rouault's pictures expressed the tragedy of the human condition, of a world fallen from grace. He spoke of his
art as "a cry in the night! A stifled sob!" Rouault was deeply religious and his Old King (Figure 22-17) seems to
reflect the Biblical question that asks what a man shall gain if he gains the whole world but loses his own soul.
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At the same time the Fauves were showing in Paris, a group of German artists, known as Die Brucke, or the
Bridge, formed in Dresden, Germany. They had seen some Fauve paintings and had adopted their bright
color, but the work of Die Brucke artists is generally more coarse and robust, more primitive, than that of the
French Fauves. Ernst Kirchner's Street in Berlin (Figure 22-19) illustrates the angularity and tension of many
Brucke works. Similar angularity and distortion can be seen in the Expressionist film The Cabinet of Dr.
Caligari (Figure 22-20) created in 1919-1920. Other manifestations of German Expressionism were created by
Kathe Kollwitz (Figure 22-18), Max Beckmann (Figure 22-24), Wilhelm Lehmbruck (Figure 22-21) and Ernst
Barlach (Figure 22-23), all of whom expressed their deep concern for humanity through their art.
In Munich, another group of artists, known as Der Blaue Reiter, was also connected with Expressionism. The
two most important artists of this group were Paul Klee, a Swiss, and Vasily Kandinsky, a Russian. Like
Munch, Klee raised images from the psychic realm, but his were more often images that charm and delight,
like his famous Twittering Machine (Figure 22-42). Klee wrote extensively, and perhaps his most famous
statement was "Art does not render the visible. It renders visible." That statement has become a credo for
many twentieth-century artists. Klee felt that painting was similar to music in its expressiveness and in its
ability to touch the spirit of its viewers through color, form, and line. Art was for him an expression of the soul.
Kandinsky also experimented with the similarity of experiencing art and music. He wrote that while attending a
concert of Wagner's music he "saw all the colors in my mind's eye. Wild, almost insane lines drew themselves
before me. It became entirely clear to me that art in general is much more powerful than I had realized, and
that painting can develop just as much power as music possesses.... The harmony of colors and forms can be
based on only one thing: a purposive contact with the human soul. I sought to capture on canvas a color
chorus which, bursting from Nature, forced itself into my very soul." He began a series of Improv*ations
(Figure 22-47) that gradually became more and more abstract and that explored the way in which pure line
and pure color can become the means by which the affist closes the gulf between his inner self and the world.
Suggested Images: Figures 18-33, 18-34, 18-35, 21-84, 21-85, 21-91, 21-92, 22-2, 22-4, 22-5, 22-17, 22-18,
22-19, 22-20, 22-21, 22-23, 22-24, 2242, 2247
Objective Realism
Edward Hopper (1882-1967)
*89. Hopper, Edward
Nighthawks
1942
30” x 56 11/16”
Alienation
-loneliness and isolation of modern life
-studied in NY and Paris
-empty, muted spaces—no motion
-small figure and empty space
Compare to Card
Georgia O’Keeffe (1887-1986)
90.
O'Keefe, Georgia
Cow's SkullRed, White and Blue
1931
Inspired by light and patterns of nature—
- reduced to purist forms and colors to heighten expressive
power.
- Flowers, landscape, natural, organic objects
Precisionists
Charles Sheeler
Social Subject
Pablo Picasso
91.
*Picasso, Pablo
Guernica
1937
11'6" x 25'8"
Synthetic Cubism
3 months
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Outrage expressed regarding bombing (April 26) of ancient
Basque city by Germans acting for Francisco Franco
during Spanish Civil War. While in exile in Paris,
Spanish Republic governor asked Picasso to do piece
for Paris Expo
Dying horse - innocent victims
Bull- Brutality / darkness
Helpless terror and suffering
1
BEGINNINGS OF ABSTRACT ART
Alternative words for "Abstract” =
Theo van Doesburg suggested "CONCRETE" in 1930
Mondrian’s works and those of his followers termed
"NON OBJECTIVE
WHO FIRST ABSTRACT Painter? (Primary: Kandinsky &
Kupka)
Kandinsky prob has best claim - 1910
Were also art nouveau ptgs by Van de Velde and others
that have no recognizable subj matter
1911 Delaunay was creating color patterns from which
naturalistic subj had virtually disappeared
1911 Kupka working almost completely in an abstract
matter
Main reason given more value to Kandinsky
Jacques Vllon- 1914-Soldiers on March
Marc-1914- Fighting Forms
Severini- Spiritual Expansion of Light
Abstract- “Pure” art that is free of subject
Mary Evelyn Stringer prefers Non- Objective
2
3
4
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Other stuff to put in correct place
Jacques Villon
2
JACQUES VILLON (1875-1963)
#His house where Section d’Or group met
He was one of the orginators and theorists of grp in 1912
Most all of the Section d’Or artists were in the Armory
Show
All of the works of Villon in Armory Show Sold
Oldest of Cubist, Least known
Eatablished a personal, highly abstract, and poetic
approach to c cubism,Maintained it thru long life
1920ts-30ts---Moved back and forth betw abstraction and
a kind of
simplified realism
ABSTRACT works based on cubist forms but w/o Cubist
Subject
REALISTIC - portrait heads built up of geometric facets
comparable to Picassots first cubist heads but with
added light and color
Fine graphic artist
Passion for line led to printmaking
* One of Principal Printmakers
1894- Went to Paris. Grew up in Normandy
Grandfather did some etching.
Family obessed with Chess
Don't see much of his signif ptgs til WWII era when he
was doing his good ptgs.
Went to SW of France
Young artist realize he help keep ptg alive
1956- Ptg prize at Venice Bienale.
Show of Brothers in US
1976- Fogg Retrospective
Jacques Villon
Le Grillon
Le Grillon - c. 1890 ' s
Poster for Amer bar in Paris.
Lettering sim to Art Nouveau
Arn color 82
Jacques Villon
Soldiers on the
March - 1913
Soldiers on the March - 1913
Colors cool and delicate.
Sense if rapid and clearly defined motion repres a
peraonal exploration of cubism that was to have an
impact on the dev Of futurism.
Year before war.
Only aware of angles.
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Chapter 27: Early 20th Century: The Establishment of Modernist Art- Vital Info
Arn # 369
Portrait of Artist’s Father - 1924
Jacques Villon
Portrait of Artist’s
Father , 1924
Arn # 370
Jacques Villon
Color
Perspective,
1921
Color Perspective -1921
sole concern= formal relationships of color shapes
Seated Woman
Ptg. Sim to Sculpted Seated Woman of
Duchamp-Villon. Extension of lines.
Jacques Villon
Seated Woman,
1921
Colors.
In Armory Show
Jacques Villon
Woman,
Woman
In ARMORY Show. Red Dress.
Arbitrary use of line. ACTIVE.
Always used nature as point Of departure
Arn # 371
Jacques Villon
Chessboard: 1920
Etching
Chessboard: - 1920
Etching
Did same subj in a ptg in 1919.
Combined Renasissance perspective and cubist
fragmentation
Abstraction - 1932
ptg
Jacques Villon
Abstraction 1932,
3
_______________ - 1930's
Titles express abstract qualities i,e. GAIETY
4
After in 70ts
Jacques Villon
Portrait Of
France (The
Three Orders -
+ Portrait Of France (The Three Orders)
The Three Orders= Church,Country,
Was in the Venice Bienalle.
Grid Of Black lines.
Eatab. grid.
4
Jacques Villon
Bridge at
Beaujois -
Bridge at Beaujois
Landscape=River.
Angular grid.
4
Threshing
More simplified
Jacques Villon
Portrait -
4
Portrait
Interesting colors. With drwg.
Jacques Villon
Portrait Of Marcel
Duchamp -
4
Portrait Of Marcel Duchamp
Jacques Villon
Threshing -
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Jacques Villon
4
Bust of Baudelaire
Bust of
etching
Baudelaire linear
one of great etchings
Jacques Villon
Three Kings -
4
Three Kings
color etching
Jacques Villon
Color Litho -
4
Color Litho
can see relationship to his painting style
Series of plates done for Vergil the Roman poetg
Jacques Villon
Stained Glass
in Metz
Stained Glass Windows in 1950s for church in Metz
Cubist style is good for glass
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1
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RUSSIA
19th c. RUSSIA - WORLD OF ART movement
c.1880
(called Miriskusstva)
Movemant called WORLD OF ART under leadership
of Alexander BENOIS
Benois was entrepreneur, artist, theater
designer,cosmopolitian critic, and scholar. Preached
and practiced the integrationa and unity of the arts
Leon Bakst one of first professional artists associated
with the World of Art.
Designed some sets and costumes
Sergei DIAGHILEV - joined grp in 1890 destined to
become perhaps the grtest of all impresarios of the
ballet
Russian ballet opened in Paris in 1909
Gets artists to od sets for ballet
1898 - First appearance of the periodical also called the
World of Art
Brought French to Russia- (Post Impesionism,
Symbolism, Art Nouveau)
Au Courant
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2
* Little transition frm the 19th c academies to total
abstaction Almost in one leap
Artists participating in Transition to Abstraction include:
Painters:
Mikail LARIONOV
Natalia GONCHAROVA
Kasmir MALEVICH
El LISSITZKY
KANDINSKY
Sculptors:
Vladimir TATLIN
Alexander RODCHENKO
Naum GABO
Anton PEVSNER
In Russia since the 18th c. (Peter and Catherine the
Great) Maintained a tradition of patronage of arts and
maintained close ties w/the West
Some could afford to travel to Frande, Italy, and
Germany
Periodicals kept them posted of dev in art,music and
literature
Well posted of France and Germany
In 19th c.
Literature and music had made great strides
Theatre and ballet had made significant progress
1870’s - the WANDERERS = a colony of artists
organized by Savva MAMONTOV -- “Peredvizhniki” =
“wanderers” (Probably similar to Barbizon group
Mamontov - wealthy nationalistic connoisseur and social
idealist patron of theater and opera
Wedding of painting and opera was to become char of
art in Russia
Mikail VRUBEL- (1856-1910) draftsman saturated in
Russian Byzantine tradition. Helped bring the spirit of
Art Nouveau into Russian art
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3
4
RUSSIAN COLLECTORS:
1) Sergei SHCHUKIN (pronounce “Shoe King” ) - by
1914 his collection included over 200 works by
Impressionists, Post-Impressionists, Fauve and
Cubist. More than 50 by Picasso and Matisse. Also
had Manet, Monet, Renoir, Cezanne, and Van Gogh.
2) Ivan MOROZOV - less experimental collection. Had
130 works including Cezanne, Renoir, Gauguin, and
Matisse
Both Shchukin and Morozov made their collections
accesible to the public.
1910- JACK OF DIAMONDS grp founded by LARIONOV
Jack of Diamonds = Bubovnii Valet
Cubist ptg known in Moscow and Lenningrad almost as
soon as they were inaugurated
MARINETTI (Futurism) visited Russia in 1914
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Rayonnism
Work of Jack of Diamonds group
1911
LARIONOV and GONCHAROVA started movement
1913- First exhibition of Rayonnist works shown in show
titled "THE TARGET”
Was an off shoot of cubism
Related to Futurism in its emphasis of dynamic, linear
light rays.
Sort of Russian Futurism
Illusion of Movement of Light, Electric
At this time much progress in mathematics:
Arthur Cayley
Felix Klein
Also: Philosopher / physicist Ernst Mach
Physist Albert EINSTEIN
1913 - Larionov wrote Manifesto. Almost like a satire of
the Futurist manifesto. In it he praised the Orient as
against the West.
1914- Both Larionov and Goncharova left Russia to
design for Diaghilev
Neither artist produced more than a few signif Rayonnist
ptgs
The imp of the Rayonnist was in their ideas. Involved a
synthesis of cubism, futurism, and orphism. and in
addition " a sensation of what one may call ~the
fourth dimensions
GREATEST SIGNIFICANCE IS THEIR INFL ON
MALEVICH and the dev of Suprematism.
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Key 77 Abstractionism outside Paris
OVERVIEW Cubism exerted an impact on artists outside of Paris— Futurists (Milan); De Stijl (Holland), and
Suprematists and Constructivists (Russia).
Sculpture: Among the sculptors at the turn of the century who were related to Cubism were Maillot
(Mediterranean) and Lembruck (Standing Youth), who conceived their forms in geometric terms.
• Constantin Brancusi (1876-1957) created highly simplified shapes of universal beauty like The Kiss (1908),
block-like slabs of stone with the fewest possible elements, and bronzes like Bird in Space (1927), which
suggests a bird's sudden upward sweeping movement.
• Raymond Duchamp-Villon in The Great Horse conveys the horse's dynamic power in a twisted geometric
design with pistonrod legs.
• Umberto Boccioni, a Futurist, portrayed in bronze a dashing human figure, Universal Forms of Continuity in
Space (1913), with sweeping aerial turbulence symbolizing the dynamism of modern life.
• Henry Moore in Two Forms (1936) created slab-like metamorphic 142 images as mysterious as Stonehenge.
A series of recumbent human figures were composed of massive interlocking shapes pierced in an open
design.
• Tatlin (Russia) designed the model of tower, Monument to the Third International, as a swirling, leaning
openwork of steel, wood, and glass in cubic and pyramidal shapes.
• Pevsner and Gabo (Russia) created forms out of plastic materials that blended science with art. Torso by
Pevsnar in plastic and copper sheeting was composed of precise geometric units.
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Late Modernism (1945-1970)
In the years preceding World War II, the most fully developed indigenous stylistic trend in American art was
Regionalism, identifiable by its realistic genre images. Represented by such artists as Thomas Hart Benton
(1889-1975) and Edward Hopper (1882-1967) (see Figure 5.105), the Regionalist style flourished under
President F. D. Roosevelt's Federal Arts Project. This program of the 1930s helped subsidize out-of-work
artists during the Great Depression era by granting commissions for the mural decoration of public buildings,
photo documentation projects, and the like.
Regionalism at its best recalls the spirit of early American frontier artists like Thomas Cole (1801-1808) of the
Hudson River school, and George Caleb Bingham (1811-1879), George Inness (1825-1894), and Albert
Bierstadt (1830-1902) who, likewise, sought to foster a new cultural heritage through naturalistic depictions of
the grandeur of the American landscape. Later realist painters like Winslow Homer (1826-1910), Grant Wood
(1892-1942), Andrew Wyeth (born 1917), and Georgia O'Keefe (1887-1986) continued and expanded upon
this essentially realist tradition, reinterpreting it in terms of their own unique visions.
The enduring realist tradition in American art, however, remained mostly in the background throughout much
of the postWorld War II period, being eclipsed by a succession of avant-garde movements which built upon
the stylistic foundations of twentiethcentury European artists like Picasso and Kandinsky. Following the end of
World War II, New York City came to be recognized as the virtual art capital of the United States, due to (1)
the mass exodus
of many important artists from Europe to New York during the war, and (2) the era of postwar prosperity in
America, which fostered artistic enterprise.
The Late Modern period in America is dominated by a series of art movements that continued trends
established during the first half of the twentieth century. Like their immediate predecessors, Late Modern
artists rejected old traditions in favor of original, and highly distinctive individualistic styles achieved mainly
through abstraction.
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Short Essay Questions:
1. xxxx?
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