[CHP. 26- DADA, SURREALISM, FANTASY, & U.S. BETWEEN THE WARS]
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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.
Both Duchamp and Man Ray have Dada and Surrealist qualities. Discuss.
Discuss the new relationship between viewer and object in Duchamp's work.
Discuss the influence of Freud's theories of the unconscious mind on Dada and Surrealism.
Discuss Man Ray's Le violon d'Ingres in relation to Ingres' Grande Odalisque. Consider style, context, and artistic philosophy.
Discuss the influence of African and Native American art on the 20th century avant-garde. Use examples in the text.
How did American artists adapt European modernism to create art that was both modern and uniquely American? Cite specific artists
and works from the textbook.
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Chapter Outline (AAT4)
DADA, SURREALISM, FANTASY, AND THE UNITED STATES BETWEEN THE WARS
World War I (1914–1918); Dada in Zurich
Duchamp's Ready-Mades; Breton's Surrealist Manifesto
European artists: de Chirico; Hӧck; Klee; Dalí; Miró; Magritte; Ernst; Arp
Hopi Kachinas
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The Hopi pueblo
Sculptors: Giacometti; Moore; Calder (mobiles)
American painters: Wood; Lawrence; Hopper; Dove; O'Keeffe; Pelton; Moses; Pippin
Photographers: Man Ray; Van Der Zee; Evans; Lange; Weston; Stieglitz
Mexico: Rivera; Kahlo
Key Terms
beaverboard
found object
casein
mobile
conceptual art
Rayograph
Stabile
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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Dada = babytalk (German)
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hobbyhorse (French)
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yes, yes (Russian)
[CHP. 26- DADA, SURREALISM, FANTASY, & U.S. BETWEEN THE WARS]
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no, no (Romanian)
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some major Dada centers: Zurich, Berlin, New York, Paris
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chance
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photomontage
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readymade
Surrealism
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Sigmund Freud (1856-1939)
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Carl Jung (1875-1961)
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the subconscious
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surrealist games= automatism, free association, frottage
Hudson River School
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Manifest Destiny
American artist’s colony at Giverny, France
the Great Depression (1929-WWII)
Works Progress Administration (WPA)
The Mexican muralists
mobile (Alexander Calder)
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
Other sculptures from the first half of the 20th century
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Constantine Brancusi, Bird in Space, 1928, bronze
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Alexander Calder, various mobiles
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Henry Moore, Reclining Figure, 1939. Elm wood, 3’ 1” x 6’ 7” x 2’ 6”.
“Fantastic Art” and the artists of the imagination
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Marc Chagall, I and the Village, 1911, oil on canvas
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Paul Klee, Twittering Machine, 1922, watercolor and pen and ink on oil transfer drawing on paper, mounted on cardboard
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Giorgio de Chirico, Mystery and Melancholy of a Street, 1914, oil on canvas
Dada
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The Dada movement followed the Cubist style, from which it borrowed the papier colle technique.
Dada preceded and laid foundation for the Surrealist movement.
Appeared almost simultaneously in Zurich, New York, and Paris.
Works of "non-art" or "anti-art"
Expressed conviction that European culture had lost all meaning
Duchamp felt humanistic ideals had been betrayed
Works are difficult to interpret
Dada "did not represent a particular style of art as much as an intellectual rebellion of artists against the war and a general rejection of
the formal traditions of culture and society"
"These artists dismissed the canons of the traditional arts as well, considering their work to be nonart and, in some instances, even antiart."
"The term Dada was selected for the movement by opening a dictionary at random and arbitrarily selecting a word."
[CHP. 26- DADA, SURREALISM, FANTASY, & U.S. BETWEEN THE WARS]
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"This use of chance as a factor of determination and decision making would become systematized by the Dadaists in their work.”
“A precursor of the Dada movement was Marcel Duchamp (1887­1968)."
“In 1915, Duchamp moved to New York City and soon after met and became close friends with Francis Picabia (1879-1953), with whom
he would initiate the Dada movement. "
“Duchamp was also responsible for what were called readymades, mass-produced objects that, with a minimal amount of modification (if
at all), he presented as "art objects." In truth, they may, in fact, have served more as "antiart objects."
Key Artists:
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Marcel Duchamp (1887-1968) (NYC)
Francis Picabia (1879-1953) (NYC)
Hans (Jean) Arp (1887-1966)
Kurt Schwitters (1887-1948)
Man Ray (1890–1976) (NYC)
Artworks:
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Jean (Hans) Arp, Collage Arranged According to the Laws of Chance, 1916-1917, torn and pasted paper
Hannah Höch, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919-1920,
photomontage
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Kurt Schwitters, Merz 19, 1920, paper collage
More Marcel Duchamp
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Marcel Duchamp, Bicycle Wheel, 1913
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Marcel Duchamp, Fountain, 1917
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Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923
Surrealism
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Dali - Figurative
Miro - abstract
Strongly Freudian content
Images of dreams, the subconscious
Banished reason
Overview
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“Dadaism, which systematically challenged and repudiated established norms and values, set the stage for Surrealism. "
"The Surrealists' goal was to cause a shift from the traditional conscious rationality that had guided the practice of artists to the
consideration of and experimentation with the unconscious and psychic states as creative sources, through such modes as automatism,
paranoia, memory, and the exploration of dreams.”
de Chirico is considered a precursor to Surrealism. De Chirico and the Surrealists believed in uncovering new relationships between
objects. The Surrealist did this in a different way. The Surrealist abandoned tradtioional systems and norms and used the unconscious to
make these associations. "The overriding goal of the Surrealists was to remove from objects their ordinary meanings and, through the
rejuxtapositioning of elements, to imbue them with new meanings.”
Manifesto
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Manifesto of Surrealism (1924)
Andre Breton (1896-1966)
Key Artists
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Giorgio de Chirico (1888-1978) (Precusor)
Man Ray
Paul Klee (1879-1940)
Salvador Dali (1904-1989)
Joan Miro (1893-1983)
Yves Tanguy (1900-1955)
[CHP. 26- DADA, SURREALISM, FANTASY, & U.S. BETWEEN THE WARS]
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Max Ernst (1891-1976)
Rene Magritte (1898-1967)
Marc Chagall (1887-1985)
Artwork
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Max Ernst, Two Children Are Threatened by a Nightingale, 1924, oil on wood with wood construction
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Meret Oppenheim, Object (Le Déjeuner en fourrure), 1936, fur-covered cup
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Salvador Dalí, The Persistence of Memory, 1931, oil on canvas
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René Magritte, The Treachery (or Perfidy) of Images, 1928-1929, oil on canvas
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Joan Miró, Painting, 1933, oil on canvas
The emergence of a modern photography
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Eadweard Muybridge, various works of locomotion
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Gertrude Käsebier, Blessed Art thou Among Women, 1899, platinum print on Japanese tissue
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Alfred Stieglitz, The Steerage, 1907 (print 1915), photogravure (on tissue)
Among the American avant-garde
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Marsden Hartley, Portrait of a German Officer, 1914, oil on canvas
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Georgia O’Keeffe, New York, Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”.
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Georgia O’Keeffe, various flower paintings
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Joseph Stella, Brooklyn Bridge, 1917, oil on canvas
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Charles Demuth, I Saw the Figure 5 in Gold, 1928
Social Real
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Edward Hopper: Views of a desolate America
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Edward Hopper, Nighthawks, 1942, oil on canvas [AIC]
Regionalism: A rejection of modernism
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Grant Wood, American Gothic, 1930, oil on beaverboard [AIC]
Dorothea Lange
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Dorothea Lange, Migrant Mother, Nipomo Valley, 1936, gelatin silver print
A Mexican renaissance in painting:
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Diego Rivera, Detroit Industry frescoes, 1932-1933
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Frida Kahlo, The Two Fridas, 1939, oil on canvas
Jacob Lawrence and his images of the “Great Migration”
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Jacob Lawrence, The Migration of the Negro series, begun in 1941
Summary and Study Guide
Other topics to consider:
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Discuss the influence of Freud's discovery of the unconscious mind on Dada and Surrealism.
Discuss the influence of African and Native American art on the 20th century avant-garde. Use examples in the text.
Discuss Man Ray's Le violin d'Ingres in relation to Ingres' Grande Odalisque. Consider style, context, and artistic philosophy.
Discuss the new relationship between viewer and object in Duchamp's work.
Discuss the influence of Kandinsky on the Transcendentalist painters. Consider philosophy and style.
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