[CHP. 25- CUBISM, FUTURISM, AND RELATED 20TH CENTURY STYLES]
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Part --: Unit Exam Essay Questions
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Compare and contrast Expressionism with Fauvism. Use examples in your text.
Discuss the relationship between Cezanne and Analytic Cubism. How did one influence the other?
Compare Rothko and Pollock. What is similar in their respective developments. What is the essential difference in their approaches to
painting?
Compare the iconography of Pop Art with that of Realism and Impressionism. Using the examples in your text, discuss the similarities and
differences, as well as the relevance to the time and place in which the style flourished.
Using examples from the text, compare Rococo and Neoclassical style. Consider context, iconography, and formal elements.
Using the examples in your text, compare Realism with Impressionism from the point of view of style, social or theoretical intention, and
subject matter.
Compare Impressionism with Post-Impressionism. Consider style and iconography.
Compare and contrast Expressionism with Fauvism. Use examples in your text.
Discuss the relationship between Cezanne and Analytic Cubism. How did one influence the other?
Compare Rothko and Pollock. What is similar in their respective developments. What is the essential difference in their approaches to
painting?
Compare the iconography of Pop Art with that of Realism and Impressionism. Using the examples in your text, discuss the similarities and
differences, as well as the relevance to the time and place in which the style flourished.
Beginning with Impressionism, discuss the influence of photography on the visual arts.
Review the styles in which Picasso worked. What do his stylistic changes tell you about his development?
Discuss the new relationship between viewer and object in Duchamp's work.
Discuss Picasso's struggle with the iconography in the work Les Demoiselles d'Avignon.
How did Cézanne's stylistic innovations influence Analytic Cubism?
Discuss the influence of African and Native American art on the 20th century avant-garde. Use examples from the text.
Discuss the influence of Kandinsky on the Transcendentalist painters. Consider philosophy and style.
Chapter Outline
CUBISM, FUTURISM, AND RELATED STYLES
Picasso's Rose Period; Les Demoiselles d'Avignon (1907)
Analytic Cubism: Picasso; Braque
Collage and assemblage; Synthetic Cubism
Picasso's Surrealism; Futurism (Boccioni)
Artists influenced by Cubism: Léger; Mondrian; Duchamp; Brancusi; Davis; Douglas
The 1913 Armory Show, New York; Harlem Renaissance
Russia: Malevich's Suprematism
Architecture: the Bauhaus (Gropius); International Style (Le Corbusier, van der Rohe); Prairie Style (Frank Lloyd Wright)
Summary and Study Guide
Key Terms
Define or identify the following terms:
assemblage
found object (or objet trouvé)
reinforced concrete
cantilever construction
functionalism
skeletal (or steel-frame) construction
collage
installation
[CHP. 25- CUBISM, FUTURISM, AND RELATED 20TH CENTURY STYLES]
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be able to identify these by sight, explain these in relation to art, and know an example of each in relation to a work of art
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German Expressionism
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Die Brücke (“The Bridge”––founded in 1905 in Dresden, 1911-1913 in Berlin)
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European interest in African and Oceanic sculpture
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Der Blaue Reiter (“The Blue Rider”––founded in 1911 in Munich)
Concerning the Spiritual in Art by Kandinsky (written 1911, published 1912)
Neue Sachlichkeit (“New Objectivity”)
Exhibition of “Degenerate Art” (Entartete Kunst exhibition, 1937)
Fauvism = “wild beasts” (Louis Vauxcelles: “Donatello amid the fauves!”)
3rd Salon d’Automne (1905)
Cubism (invented by Picasso and Braque)
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Analytic Cubism (about 1911-1912)
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Synthetic Cubism (originates about 1912)
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papier collé (collage)
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assemblage
Orphism
Futurism (1st Futurist Manifesto published February 20, 1909 in the Parisian newspaper Le Figaro)
the Armory Show (1913)
Purism
De Stijl (“The Style”––founded in 1917 in Holland)
Suprematism
Malevich: “...the supremacy of pure feeling in creative art...”
Constructivism
the Great War (World War I–1914-1918)
Art Works
know these works by sight, title, date, medium, scale, and location (original location also if moved) and be able to explain and analyze these in
relation to any concept, term, element, or principle
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The American landscape
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Thomas Cole, Niagara Falls, 1830, oil on panel [AIC]
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George Caleb Bingham, Fur Traders Descending the Missouri, c.1845, oil on canvas
Realism in American painting
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Winslow Homer, Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x 3’ 2 1/8”.
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Thomas Eakins, The Gross Clinic, 1875, oil on canvas
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Henry Ossawa Tanner, The Thankful Poor, 1894. Oil on canvas, 2’ 11 1/2” x 3’ 8 1/4”.
American expatriates working in Europe
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John Singer Sargent, The Daughters of Edward Darley Boit, 1882, oil on canvas
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James Abbott McNeill Whistler, Arrangement in Black and Grey: The Artist’s Mother, 1871
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James Abbott McNeill Whistler, various Nocturne paintings, oils on canvas
German Expressionism: Die Brücke
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Ernst Ludwig Kirchner, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”.
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Emil Nolde, The Last Supper, 1909, oil on canvas
German Expressionism: Der Blaue Reiter
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Franz Marc, Fate of the Animals, 1913, oil on canvas
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Vassily Kandinsky, various abstract works of his mature style (Improvisations)
German Expressionism: The independents
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Max Beckmann, Departure, 1932-1935, oil on canvas
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Käthe Kollwitz, Outbreak (Losbruch), from the Peasant’s War (Bauernkrieg) series, 1903, etching
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Käthe Kollwitz, Memorial to Karl Liebknecht, 1919-1920, woodcut
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Käthe Kollwitz, Death Seizes a Woman, from the Death series, 1934, lithograph
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Kathe Kollwitz, Woman with Dead Child, 1903. Etching
Fauvism
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André Derain, The Dance, 1906. Oil on canvas, 6’ 7/8” x 6’ 10 1/4”.
[CHP. 25- CUBISM, FUTURISM, AND RELATED 20TH CENTURY STYLES]
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Henri Matisse, Portrait of Madame Matisse––The Green Line, 1905, oil on canvas
Moving beyond Fauvism
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Henri Matisse, Dance, 1909-1910, oil on canvas
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Henri Matisse, The Red Studio, 1911, oil on canvas
Earlier Picasso: The Blue Period & Wrestling with form
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Pablo Picasso, The Old Guitarist, 1903, oil on a wood panel [AIC]
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Pablo Picasso, Portrait of Gertrude Stein, 1905-1906, oil on canvas
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Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil on canvas
Analytic Cubism
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Pablo Picasso, Portrait of Ambrose Vollard, 1910, oil on canvas
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Georges Braque, The Portuguese, 1911, oil on canvas
Picasso: Synthetic Cubism
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Pablo Picasso, Still-life with Chair Caning, 1912, oil and oilcloth on canvas framed with cord
The Cubist revolution: Orphism
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Robert Delaunay, Champs de Mars or The Red Tower, 1911, oil on canvas [AIC]
Futurism
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Giacomo Balla, Dynamism of a Dog on a Leash, 1912, oil on canvas
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Umberto Boccioni, Unique Forms of Continuity in Space, 1913, bronze (cast 1931)
Other works infatuated with the modern age
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Marcel Duchamp, Nude Descending a Staircase, 1912, oil on canvas
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Fernand Léger, The City, 1919, oil on canvas
Works in avant-garde Russia: Suprematism and Constructivism
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Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915 (dated 1914), oil on canvas
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Vladimir Tatlin, Monument to the Third International, 1919-1920, model in wood, iron, and glass (original destroyed, recreated
in 1968)
Mondrian: A new universal art
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Piet Mondrian, various works of his mature style
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Piet Mondrian, Broadway Boogie Woogie, 1942-1943, oil on canvas
Later work of the Parisian “greats”
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Pablo Picasso, Guernica, May 1 to June 4, 1937, oil on canvas
Cubism (1907-1914)
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Braque, Picasso major artists
Analyzed objects from various angles simultaneously
Abstract, geometric
Emphasized form ,de-emphasized color
was developed as a way to show all sides of an object in a two-dimensions
developed by Georges Braque but made most public by Picasso
analytical Cubism worked with paint, synthetic Cubism used collaged objects.
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an innovation of Georges Braque and Pablo Picasso
Braque, Picasso major artists
Analyzed objects from various angles simultaneously
Abstract, geometric
Emphasized form ,de-emphasized color
later joined by Juan Gris and Fernand Leger.
"As with works that emerged under Fauvism and other perceived radical art movements, Cubist works were initially met with animosity. "
"The term Cubism itself originated in 1908 with the art critic Louis Vauxcelles, who, in commenting upon Georges Braque's work, used
the word "cubes." "
"Though the Cubist painters eventually adopted the term to describe their work, it was not without their denying that they were
representing a particular canon of art; rather, they claimed, they were producing works that reflected their own personal expression."
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[CHP. 25- CUBISM, FUTURISM, AND RELATED 20TH CENTURY STYLES]
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The Evolution of Cubism:
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Cezanne phase (1907-1909)
Analytic phase (1910-1912)
Synthetic phase (1912-1921)
Contrasting with the Expressionist’s emphasis on color were two Parisians that sought to concentrate on the representation of form in space. Pablo
Picasso, at age 26, painted Les Demoiselles d’Avignon, a pivotal work in the development of 20th century art. Following Cezanne’s advice on form,
Picasso rocked the art world with this shockingly geometric version of nudes. The figure-ground begins to flatten and meld together. Picasso
consciously broke traditions that had been followed since the Renaissance period. Form is fragmented like diamond facets to present multiple
viewpoints, rather than the fixed position required of linear perspective. This painting is our first glimpse of the Cubism movement. These
prostitutes are far from enticing with their disturbing, angular forms. Note the use of the Egyptian eye on the left and the “primitive” African masks
on the right. The Africans were adept at the use of abstraction to produce startling effects long before the Europeans.
Picasso’s partner in this movement was Georges Braque. Their styles became so closely intertwined that they even ceased signing their works for a
brief time. Following Cezanne’s advice, they reduced forms to the cube, cylinder and cone. They also restricted color to gray, ochre and green. As
Cubism progressed they added stenciled letters, newspaper and fabric elements, creating collage. While these two artists worked hand in hand,
Picasso receives most of the credit.
Key Points:
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Braque, Picasso major artists
Analyzed objects from various angles simultaneously
Abstract, geometric
Emphasized form ,de-emphasized color
was developed as a way to show all sides of an object in a two-dimensions
developed by Georges Braque but made most public by Picasso
analytical Cubism worked with paint, synthetic Cubism used collaged objects.
Picasso
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Spanish artist who worked in expressionist and cubist movements
Les Demoiselles d'Avignon (1907)
oil on canvas, 8'x 7'8"
o influence from African masks
o picture of prostitutes in Avignon, France done in harsh, primitive way
Analytic Cubism (1910-1912)
Pablo Picasso and Georges Braque
Georges Braque
Synthetic (1912-1921)
Typical of this phase are:
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The Aficionado (1912)
The Card Players (1914)
The Harlequin (1915).
Futurism
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believed in the positiive effects of industrialization in the Western World
in their manifesto, they included support for WWI, which they thought would be a great cleansing and would end war forever
me time.”
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The Armory Show (1913)
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Showed Americans new art from Europe
Had great impact and influence on American artists
American artist began to experiment with abstraction after Armory Show
Harlem
Kazimir Malevich and Suprematism
Sculpture
ARCHITECTURE
de Stijl
The Bauhaus
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a school in Dessau, Germany that was founded with the intention of creating a universal International Style. The basis for this aesthetic
idea was taken from the use of new materials like glass, metal, concrete, etc. The term "form follows function" was used to describe the
importance of the use of an item over its aesthetic beauty. The use had to be the most important element, then the beauty of the object
would follow.
this school worked in architecture, art, and all facets of design. The building was designed by Walter Gropius.
Le Corbusier (the Raven)
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French architect who created "machines for living," they are designed around the needs of the people who occupy them
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felt that architecture should be designed independent of nature so that it would not be tied to any one environment.
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Villa Savoye (1928-30) France
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International Style house that was not tied to any single site.
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created so that it could be mass produced.
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designed for the needs of the occupants.
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This reflects the new aesthetic that the Bauhaus was establishing. A universal style that is not tied to any one culture and is related to
simplicity. Pieces of architecture like this one are relatively inexpensive to build and materials are mass-produced. The rectangle was
regarded as an ideal form by the De Stijl artists.
USAFrank Lloyd Wright and the Prairie School
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-believed that architecture should be site-specific
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-thought that architecture should reflect the surroundings
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Falling Water, 1936, Bear Run, Pennsylvania
o specifically designed for that surrounding environment
o unique and could not be reproduced anywhere else
o used some materials that were taken from that environment, i.e. stone quarried in the vcinity of the house, wood from nearby
trees
Cantilever
International Style
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The United States from the late 19th century into the 20th century
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Louis Sullivan, Carson, Pirie, Scott Building, Chicago, 1899-1904 (with later additions)
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Frank Lloyd Wright, Robie House, Chicago, 1907-1909
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Frank Lloyd Wright, Fallingwater (Edgar J. Kaufmann, Sr. House), Bear Run, Pennsylvania, 1936-1939
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Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York, 1957-1959 (designed 1943)
Europeans in the early 20th century: Constructivism, De Stijl, and the International Style
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Vladimir Tatlin, Model for Monument to the Third International, 1919-1920 (original destroyed)
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Gerrit Rietveld, Schröder House, Utrecht, the Netherlands, 1924
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Walter Gropius, Bauhaus, Dessau, Germany, 1925-1926 (ruined)
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Le Corbusier, perspective drawing for the Domino House, Marseille, France, 1914
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Le Corbusier, Villa Savoye, Poissy-sur-Seine, France, 1929
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Le Corbusier, Notre Dame du Haut, Ronchamp, France, 1950-1955
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Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, New York, 1956-1958
The height of the International Style
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Skidmore, Owings, and Merrill, Sears Tower, Chicago, 1974
Other topics to consider:
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Review the styles in which Picasso worked. What do they tell you about his development?
Discuss the deconstructive and semiotic character of early collage. Use as an example Picasso's Man with a Hat.
Compare Mondrian's rectilinear paintings with the Schroeder House and the Lake Shore Apartments. What accounts for their similarities?
Discuss the influence of European politics on the avant-garde art of the early twentieth century.