[CHP. 24- TURN OF THE CENTURY: EARLY PICASSO, FAUVISM, EXPRESSIONISM, AND MATISSE]
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Turn of the Century: Early Picasso, Fauvism, Expressionism, and Matisse
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Modern Art
Creativity of Individual
New Realities One common theme -“art concerned itself less with exterior visual reality and more with interior vision”
Picasso said: “not what you see, but what you know is there.”
Courbet and Manet started in 19th c. “portraying contemporary life rather than historical events.”
All subjects fair game.
cubism / Fauvism - Liberated form from traditional rules and freed color from representting object accurately
Defied conventions - modern art
Gauguin- “a breaking of all the old windows, even if we cut our fingers on the glass”
Radical freedom for expression (not tied to patrons)
stressed private concerns, experience, imagery
pure abstraction (essence of nature)
Cubism, Fauvism, Surrealism - School of Paris
1950s - ABEX takes over - NY
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.
Discuss the relationship between Picasso's Old Guitarist and Wallace Stevens' "The Man with the Blue Guitar." How did Stevens interpret
the form and content of Picasso's painting?
Using the examples in the text, describe the stylistic development of Matisse.
Using examples in the text, describe ways in which European artists appropriated non-Western art.
Compare and contrast Expressionism with Fauvism. Use examples in your text.
What were the philosophies of Der Blaue Reiter and Die Brücke? How are they manifested in Expressionist art?
Compare Matisse's Icarus with Bruegel's Landscape with the Fall of Icarus (see Chapter 16). How do the artists approach the subject
matter, and how do they convey their approaches formally?
Chapter Outline
TURN OF THE CENTURY
Worringer: Abstraction and Empathy (1908); The Historical Development of Modern Art (1911)
[CHP. 24- TURN OF THE CENTURY: EARLY PICASSO, FAUVISM, EXPRESSIONISM, AND MATISSE]
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Wöfflin: The Principles of Art History (1915)
Technology advances; Russian Revolution (1917)
Picasso's Blue Period; Matisse's Fauvism
Expressionism in Germany
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The Bridge: Kirchner; Nolde
The Blue Rider: Kandinsky; Marc Kollwitz
Matisse after Fauvism; collage
African Art and the European Avant-Garde
Summary and Study Guide
American and European Art 1800‐1900
Realism, Impressionism, Post‐Impressionism, Symbolism, and More! (AP Art History)
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.
German Expressionism (c. 1910-1930)
he Bridge, The Blue Rider
Strong color
Linear pattern
Emotional subjects
Powerful
Intense
Artists experimented with media and invented new forms while retaining their uniqueness and individuality. They found in primitive art a
spontaneity, energy, and design that affected their expressions.
Expressionism: first group gathered in Dresden 1905 Leader--Kirchner
Die Bruecke: “The Bridge” between old and new
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concern for stress-filled conditions of modern life in Germany before WWI infl. Van Gogh, Muench, Fauves, primitive
harsh color, distortions
injustices of society, evils
union of nature and humans
steep perspective, angular forms, haunted people
expressed inner coruption
Early twentieth-century expressionist painting is represented by groups of well-organized German and Dutch artists who combined formal aspects
of the Fauve and Symbolist movements, always with an intense interest in color and pure design. The most prominent Expressionist groups
included:
Die Brucke (The Bridge)
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Ernst Kirchner (1880-1938)
Emil Nolde (1867-1956)
Käthe Kollwitz (1867-1945)
[CHP. 24- TURN OF THE CENTURY: EARLY PICASSO, FAUVISM, EXPRESSIONISM, AND MATISSE]
Der Blaue Reiter (The Blue Horseman)
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Wassily Kandinsky (1866-1944)
Franz Marc (1880-1916)
Paul Klee (1879-1940)
Lyonel Feininger (1871-1956)
Oskar Kokoschka (1886-1980)
Max Beckman (1884-1950)
Other Key German Expressionists
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George Grosz (1893-1959)
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