Here Comes Modern Art…
Materialism
• Realism
• Manet (Father of Impressionism)
• Impressionism
– Pointillism
• Post-Impressionism
Modernism
• Fauvism
• German Expressionism
• DaDa
• Abstract Art
- Cubism
- Nonobjective Art
- Surrealism
Realism
Materialism
The Gleaners, 1857—Jean François Millet
Realism (1830ish to 1880ish):
In general, realists render everyday
characters, situations, dilemmas,
and objects, all in a "true-to-life"
manner. Realists tend to discard
theatrical drama, lofty subjects and
classical forms of art in favor of
commonplace themes.
Bonjour, Monsieur Courbet, 1854—Gustave Courbet
Green Plums, 1885—Joseph Decker
The Artist’s Studio, 1854-1855—Gustave Courbet
They Did not Expect Him, 1888—Ilya Repin
Ēdouard Manet—Father of
Impressionism & controversy maker
• One of the first 19th-century artists to approach
modern-life subjects, he was a pivotal figure in the
transition from Realism to Impressionism.
• His early masterworks, The Luncheon on the Grass
(Le déjeuner sur l'herbe) and Olympia, engendered
great controversy and served as rallying points for
the young painters who would create
Impressionism. Today, these are considered
watershed paintings that mark the genesis of
modern art.
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863—Manet
It was not unusual to see nudes in paintings; however, nudes were always in reference to
mythological characters or scenes long past. This woman is seated unapologetically naked
next to clothed men in a modern (for the time), public setting.
Olympia, 1863—Ēdouard Manet
• The painting was controversial partly because the nude is
wearing some small items of clothing such as an orchid in her
hair, a bracelet, a ribbon around her neck, and mule slippers,
all of which accentuated her nakedness, sexuality, and
comfortable courtesan (prostitute) lifestyle. The orchid,
upswept hair, black cat, and bouquet of flowers were all
recognized symbols of sexuality at the time. This modern
Venus' body is thin, counter to prevailing standards; the
painting's lack of idealism rankled viewers. The painting's
flatness, serves to make the nude more human and less
voluptuous. A fully dressed black servant is featured, exploiting
the then-current theory that black people were hyper-sexed.[1]
That she is wearing the clothing of a servant to a courtesan
here, furthers the sexual tension of the piece.
• Olympia's body as well as her gaze is unabashedly
confrontational. She defiantly looks out as her servant offers
flowers from one of her male suitors. Although her hand rests
on her leg, hiding her pubic area, the reference to traditional
female virtue is ironic; a notion of modesty is notoriously
absent in this work.
A Bar at the Folies-Bergère, 1881-1882—Ēdouard Manet
Impressionism
Materialism
Impression, Sunrise, 1872—Claude Monet
Impressionism: 1870-1915
Characteristics of Impressionist paintings
include relatively small, thin, yet visible brush
strokes; open composition; emphasis on
accurate depiction of light in its changing
qualities (often accentuating the effects of the
passage of time); common, ordinary subject
matter; the inclusion of movement as a crucial
element of human perception and experience;
and unusual visual angles.
• Radicals in their time, early Impressionists
violated the rules of academic painting. They
began by constructing their pictures from freely
brushed colors that took precedence over lines
and contours. They also painted realistic scenes
of modern life, and often painted outdoors. The
Impressionists found that they could capture the
momentary and transient effects of sunlight by
painting en plein air. They portrayed overall
visual effects instead of details, and used short
"broken" brush strokes of mixed and pure
unmixed color—not blended smoothly or
shaded, as was customary—in order to achieve
the effect of intense color vibration.
Rouen
Cathedral
Monet did numerous painting of the
same cathedral at different times of day
to show how light affected a subject and
changed the “impression”.
Le Moulin de la Galette, 1876—Pierre-Auguste Renoir,
The Tub,
1886—
Edgar
Degas
The Floor Scrapers, 1875—Gustave Caillebotte
The Dance Class,
1873-1876—
Edgar Degas
The Child’s Bath,
1893—Mary
Cassatt
Hoarfrost, 1873—Camille Pissarro
Autumn, Banks of the Seine near Bougival, 1873—Alfred Sisley
Water Lilies
Series—
Claude
Monet
La Récolte des Foins, Eragny, 1887--Camille Pissarro
Pointillism is a technique of
painting in which small, distinct
dots of pure color are applied in
patterns to form an image. Georges
Seurat and Paul Signac developed
the technique in 1886, branching
from Impressionism
A Sunday on La Grande Jatte, 1884—Georges Seurat
Comblat-le-Chateau, 1886—Paul Signac
Post-Impressionism
Materialism
Post-Impressionists continued
using vivid colors, thick
application of paint, distinctive
brush strokes, and real-life subject
matter, but they were more
inclined to emphasize geometric
forms, to distort form for
expressive effect, and to use
unnatural or arbitrary color.
Starry Night, 1889—Vincent Van Gogh
Van Gogh greatly admired Gauguin, and
desperately wanted to be treated as his
equal. But Gauguin was arrogant and
domineering, a fact that often frustrated
Van Gogh. They quarreled fiercely about
art; Van Gogh felt an increasing fear that
Gauguin was going to desert him, as a
situation he described as one of "excessive
tension" reached crisis point. On 23
December 1888, frustrated and ill, Van
Gogh confronted Gauguin with a razor
blade, but in panic, left and fled to a local
brothel. Deeply lonely at the time, he often
visited the prostitutes at a brothel as his
single emotional and sensuous point of
contact with other people. While there, he
cut off his left ear, though it is often claimed
that it was only the lower part of his left earlobe. He wrapped the severed
ear in newspaper and handed it to a prostitute named Rachel, asking her to
"keep this object carefully." He staggered home, where he was later found
by Gauguin lying unconscious with his head covered in blood.
Day of the Gods, 1894—Paul Gauguin
Oeuvres de Paul
Gauguin
Paul Gauguin
1893
Musée D’Orsay
Monte-Sainte Victoire, 1902-1904—Paul Cezanne
Landscape with viaduct: Montagne Sainte-Victoire - Paul Cezanne
Still Life with a Curtain, 1895—Paul Cezanne
Tahitian Women on the Beach, 1891—Paul Gauguin
Sunflowers
#2, 1888—
Vincent Van
Gogh
The Card
Players,
1892—
Paul
Cezanne
Gauguin’s
Chair,
1888—
Vincent
Van Gogh
Fauvism
Modernism
Fauvism (1900-1910): the
classification of work of early twentiethcentury Modern artists whose art
emphasized painterly qualities or wild brush
strokes and strong color over the
representational or realistic values retained
by Impressionism. The paintings of the
Fauves (the wild beasts) focused on color
and a high degree of simplification and
abstraction.
Madame
Matisse
“The Green
Stripe”, 1905—
Henri Matisse
The Turning Road, L’Estaque, 1906—André Derain
André
Derain,
1905—
Maurice de
Vlaminck
The Red Room, 1908—Henri Matisse
Woman
with a Hat,
1905—
Henri
Matisse
Expressionism
Modernism
The
Scream,
1893—
Edvard
Munch
Expressionism was a modernist
movement, initially in poetry and painting,
originating in Germany at the beginning of
the 20th century. Its typical trait is to
present the world solely from a subjective
perspective, distorting it radically for
emotional effect in order to evoke moods
or ideas. Expressionist artists sought to
express meaning or emotional experience
rather than physical reality.
Portrait of
a Man
(Self
Portrait),
1919—
Erich
Heckel
The Drinker
(Self-Portrait),
1915—
Ernst Ludwig
Kirchner
The Dance of Life, 1899-1900—Edvard Munch
Street,
Berlin,
1913—
Ernst
Ludwig
Kirchner
Expressionism began in 1905 in
Germany as a response to
harshness of industrialization, but
faded in Germany by the end of
World War II, but was reinvented in
America as Abstract Expressionism
where it lasted until the late 1950’s.
Infant
Mortality,
1925—Käthe
Kollwitz
DADA
Modernism
Dada or Dadaism is a cultural movement that began in
Zurich, Switzerland, during World War I and peaked from
1916 to 1922. "Dada was born out of negative reaction to
the horrors of World War I. This international movement
was begun by a group of artists and poets associated with
the Cabaret Voltaire. Dada rejected reason and logic,
prizing nonsense, irrationality and intuition. The
movement primarily involved visual arts and literature, and
concentrated its anti-war politics through a rejection of the
prevailing standards in art through anti-art cultural works.
Its purpose was to ridicule the meaninglessness of the
modern world. In addition to being anti-war, Dada was also
anti-bourgeois and socialist in nature.
Bicycle
Wheel,
1913—
Marcel
DuChamp
Fountain,
1917—
Marcel
Duchamp
Abstract Art
which includes Cubism, Non
Objective Art, Surrealism
and many others we don’t
have time to discuss.
Modernism
Cubism
Modernism
Cubism (1907-1918): In cubist artworks,
objects are broken up, analyzed, and reassembled in an abstracted form—instead of
depicting objects from one viewpoint, the artist
depicts the subject from a multitude of
viewpoints to represent the subject in a greater
context. Often the surfaces intersect at seemingly
random angles, removing a coherent sense of
depth. The background and object planes
interpenetrate one another to create the shallow
ambiguous space.
Les
Demoiselles
D’Avignon,
1907—
Pablo
Picasso
Violin and
Pitcher,
1909-1910—
Georges
Braque
The Round
Table,
1929—
Georges
Braque
La Femme
au Cheval,
1911-1912—
Jean
Metzinger
Guernica, 1937—Pablo Picasso
Picasso’s later master work that relies heavily, but not
exclusively on his technique of Cubism
Non objective Art
Modernism
Nonobjective or Abstract art uses
a visual language of form, color
and line to create a composition
which may exist with a degree of
independence from visual
references in the world.
Deluge,
1913—
Wassily
Kandinsky
Le Premiere
Disque,
1912-1913—
Robert
Delaunay
Supermatism,
1916—
Kazimir
Malevich
Composition
with Large
Red Plane,
Yellow, Black,
Gray, and
Blue, 1921—
Piet
Mondrian
Composition VI, 1913—Wassily Kandinsky
Red
Balloon,
1922—
Paul Klee
The Nightingale’s Song at Midnight and Morning Rain, 1940—Joan Miro
Surrealism
Modernism
Surrealism (1920-1950):
a movement which developed
especially from dada, characterized
by the evocative juxtaposition of
incongruous images in order to
include unconscious and dream
elements.
The Persistence of Memory, 1931—Salvador Dali
The Elephant
Celebes,
1921—
Max Ernst
The Son of Man,
1964—
Rene Magritte
Street of the Trams, 1938-1939—Paul Delvaux
Rape, 1945—
René Magritte
One Second
Before
Awakening
from a Dream
Caused by the
Flight of a Bee
Around a
Pomegranate,
1944—
Salvador Dali