First Exam 20th Century ARTH

Die Brucke

-"the bridge" -established the birth of expressionism -group cofounded by Kirchner -explored the expressive possibilities of color, form, and composition in creating images of contemporary life -influenced by Edvard Munch and fauvism -raw and immediate sense of modern life/cities- place of alienation

Pablo Picasso, Les Demoiselles d'Avignon, 1907. Expressionism/proto-cubism

1. -new direction for Picasso -takes a break from his previous works (not a traditional composition or perspective) -did numerous studies for this, especially the figures -wanted to simplify the human figure- show it as flat, no chiaroscuro -space is so different than usual- play of positive and negative space, compressed space 2. -progression from left to right of sculptural styles: -egyptian/greek archaic on the left, classical in the middle, african on the right -One of the figures on the left has a slab of meat/flesh as one of the legs- shows contrast between desire for food and for sex -Greenish face on the right represents syphilis and the dangers of that (prostitution/sex to death) 3. Olympia reference -The classical figures in the middle refer to manet's olympia with their dispassionate gaze- the prostitutes are not happy to see you, which represents the alienation of modernity) 4. Influenced by African sculpture -The figures on the right connect to African masks, how these abstracted the human figure- they have a mysterious quality. Picasso was influenced by masks of central Africa- he saw African art as the next thing to move art forward. Also, the figures have a raw sexual quality. 5. Controversial -brings up the question of misogyny (sexism)- this is controversial, debated -women shown as monstrous, but not everyone sees it in this way and it's not the only way to look at it -representation of gender more complex than it seems on the surface- the women do have a sense of resistance -cubism was coined separately, so it's debated if this is cubism -it's really pre-cubism/expressionist- it has a psychological energy, showing the alienation of modernity, which is very expressionist 6. -example of trompe l/oeil- fools the eye of the viewer- table top in the front of picture plane (upturned, fruit teeters on it) -also the still life of fruit looks dangerous

Robert Delaunay, Simultaneous Contrasts: Sun and Moon, 1913. Orphism.

1. focus on color -interested in play of color in an abstract way, how it gives sensation of depth and movement -pulsating chromatic rhythm -orphism style- derived from cubism, but priority given to light and color -using color on its own to give the piece spiritual meanings 2. Science -he studied the science color theory -went beyond this into mystical belief in color -studied retinal after images, then analyzed the meaning behind these things 3. Abstract for a purpose -very flat, abstract -sense of a sun and moon -not representing/referencing anything in nature or the real world -images from reality he believed corrupted the order of color 4. Symbolism -showing movement of the rhythm of the cosmos -circular frame is a sign for the universe -colors represent day and night (flux of reds and oranges, greens and blues) -had a mystical belief that color symbolizes the possibility for harmony within the chaos of the modern world

El Lissitzky, The Constructor (Self-Portrait), 1924. Gelatin Silver print.

1. photo montage suggests the use of compass, graphic design, typography -tools of the new artist -graphic design, architectural draftsman 2. the shot highlights his eye, and we see his hand holding a compass -suggests insight is passed from the eye through the hand to the tools of the artist -combines 6 different exposures- merges himself as photographer (eye) and constructor of images (hand) into one image 3. suggests that straight photography gives single truth, but montage with layering of one meaning over another invites viewer to reconsider the world -marks conceptual shift in the understanding of what a picture can be 4. montage becomes really important to constructivism and to the russian avant garde, as well as the later Dada movement -constructivism moves beyond russia and influences art in the US -lasts longer internationally than in russia

Synthetic Cubism

A later phase of Cubism, in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent parts of a subject, in order to engage the viewer with pictorial issues, such as figuration, realism, and abstraction.

Analytic Cubism

Early phase of Cubism, developed jointly by Pablo Picasso and Georges Braque, in which the artists analyzed form from every possible vantage point to combine the various views into one pictorial whole. -1908-1911 -major characteristics: -monochromatic palette -traditional subject matter (still life, portrait) -sober, placid tone (calm, still, motionless, subdued tone/color) -by 1910/11- interest in cafe life -Picasso and Braque share info with each other, check in on each other's work

Wassily Kandinsky

Russian painter who was a pioneer of abstract art (1866-1944) -art theorist -one of the artists in the Blue Rider movement -gradually moved toward abstraction -his work was either titled: impressions (external) , improvisations (internal) , or compositions (synthesis) -a lot of his work used color like music -colors corresponded with certain notes/sounds -wanted people to be affected in the same was as music when they saw the work -pulsating rhythm of color -wanted viewer to think of their spirituality, be guided by the blue rider

Gino Severini, Dynamic Hieroglyphic of the Bal Tabarin, 1912. Futurism.

1. -actual sequins on the painting- text/collage elements- show influence of French Cubism -cubist style combined with futurism (the futurist interest of dynamism of motion) -bright 2. -speed, motion, dynamism of people dancing in a hall- connects with interests of the futurists -severini was fascinated by the dancehall as a subject for the opportunity it provided to depict a multi-sensory experience -severini saw this as the dynamism of modern life 3. -different elements of the work point to current events- the arab riding a camel to the Turco-Italian war of 1911, flags convey sentiments of nationalism -he was a devote italian nationalist, but did believe that the futurists should go to Paris to learn about the latest developments in modern art, like he had 4. futurists were very promotional -Marinetti was good at creating scandals to get his name in the press -unusual performances and evenings -wanted to irk the public to get them into a new awareness of a new italy -so his art was avant garde but also had a political dimension to it

Matisse, The Joy of Life, 1905-6. Fauvism.

1. -Matisse's major statement of his Fauvist statements -he saw it as that -large painting 2. audiences shocked but not because of the subject ( figures dancing and making music in a natural setting had been done for centuries) -it was the execution that shocked people -distorted anatomies, bold colors -jarring shifts in scale 2. Impacted artists use of color for the rest of the period -connected to music (what he wanted) -rhythmic, abstract 3. example of pastoral landscape: idealized, old tradition- harmony between humans and nature, peaceful paradise -Matisse takes this classical tradition and updates it- showing figures in a totally new and colorful way. shows the joys/pleasures of life (what Matisse thought painting should be about) -Picasso was influenced by this, although he went in a different direction showing that art should be about shock and alienation, not the joys of life -Derain was influenced by Matisse too, painted with him 4. Shows how art is changing- characteristics of the fauvist style -Subtle tones, textures- not chiaroscuro -obvious brushwork- wants you to see that -no naturalistic depth -matisse also let the raw canvas show through here to remind you of the flatness -specific brushstrokes, impasto -no shadows- fauvism moves even further from impressionism -influenced by Turner, but takes it much further with flatness 5. -not painting life because of photography- breaking ground of what was possible -wanted to do what photography couldn't- high saturated colors

Ernst Ludwig Kirchner, Street, Dresden 1908. Die Brücke/German Expressionism.

1. -colors are the usual choice of German expressionism -shrill, contrasting colors: bold -scene radiates tension -shows the influence of Fauvism (german expressionists aware of fauvist style since they traveled to paris- high key anti-naturalistic colors adopted) 2. Wanting to convey the discomforting alienation/jarring experience of modern urban streets -2 prostitute women in front of crowd -green scary hand suggests syphilis -no one is happy to see you -constricting space-crowded and cluster-phobic, but everyone seems alone -steep slope of the street- intense unsettling perspective, abrupt cropping -psychologically charged, unsettling -bold expression of the intensity, dissonance, and anxiety of the modern city -scary little girl 3. -swirling shapes, heavy contours, mask-like, expressionless faces: shows influence of Munch, who greatly influenced German expressionism -Munch connected to inner emotions, states of mind through expressive color and line- influenced these artists -gives sense that we the viewer are having a panic attack, like Munch's the scream showing himself having a panic attack 4. Part of the Brucke group (bridge), which established the birth of expressionism -name represents their enthusiasm to cross into a new future -raw and immediate sense of modern life -sought authenticity of expression they believed had been lost with the innovations of modern life

Alfred Stieglitz, The Steerage. 1907. Gelatin Silver Print.

1. -considered Stieglitz's signature work -his first "modern" photograph, many consider it to be the first modern photograph -marks his transition away from emphasis on painterly effects (pictoralist) to modernist, photos in high focus/contrast with a focus on shapes, textures, lines. 2. Photography as fine art -represents his career mission to elevate the status of photography to fine art by using the same dialogues around abstraction used by european avant-garde painters -photography is more than just documentary -instead photography can convey abstraction -photography becoming its own art form -one of the greatest photographs of all time because it documents a moment in history and is an early work of artistic modernism 3. Political subject -shows the social divisions of society, has political energy to it (people returning to Europe from US- poor, probably were trying to immigrate but turned away) -but he didn't discuss this side of the photo, he wanted to focus more on the composition and the formal elements like the relationship of shapes and lines. -steerage: part of ship reserved for cheapest tickets 4. Realism, in the moment -emphasized clarity and realism- he took photo directly as moment was happening, little planning -focus on everyday life, people- embracing the aspect of capturing modern life with a machine -he considered it an expression of his own emotions through formal composition

Picasso, Portrait of Daniel-Henry Kahnweiler, 1910. Analytic Cubism.

1. -cubist portrait- portrait was a traditional subject matter, which was what they used for cubist works to really clarify the innovation of the style -kahnweiler was an art dealer who supported cubism, and supported Picasso- displayed, publicized Picasso's work -he sat many times for the work, so Picasso was working from life/observation but experimenting with that 2. More abstracted/further exploration -much more abstract than his previous portrait, vollard. no longer seeking to create illusion of true appearances -barely hinting at figure- flattening space even more than previous portrait -represents Picasso's furthering exploration of breaking-down form to create works of abstraction -striking breakup of the figure -figure merges with surrounding atmosphere 3. -after this, cubism continued to develop into a highly experimental and complex art form 4. -playing with how shapes can signify things -painting is a play of signs -out of the context of a face, these shapes aren't a nose or mustache or hair, they are just lines 5. Trompe l'oeil -illusion of bas/low relief with the way he paints the fractured planes -and adds thick paint layers sitting on the surface for actual relief

George Braque, Houses at L'Estaque, 1908. Early Cubism.

1. -important work in the foundation of cubism -inspired the movement's name (Art critic commented that Braque reduced everything to cubes- led to the adoption of the name cubism) -debate on if this was first cubist landscape or simply a precursor to cubism, but these elements form the basis of the cubist style 2. -more monochromatic, flat than his previous work Le Viaduc- marked his stylistic change toward muted color palettes and simple geometric forms -more broken down into geometric volumes -Muted earthy color palette becomes signature of Braque's work -broke traditional rules of perspective -simplified houses and trees down to their simplest geometric forms 3. combines architecture and nature- the forms begin to blend together, this goes much further in analytic cubism. -foreground almost impossible to distinguish from background 4. Moving Cezanne forward -Braque extending Cezanne's ideas- was painting in fauvist style before, but saw Cezanne exhibition in Paris and began to experiment with his style. -reveal inner geometric essence of forms

Boccioni, Development of a Bottle in Space, 1912. Futurism.

1. -interest in conceptual ideas of time and memory, simultaneity, like the cubists -multiple elements/perspectives of a bottle all at once 2. not a sculpture of a bottle but a sculpture of the idea of a bottle -suggests movement, the bottle morphing into space -suggests how it would spin, how liquid might flow out of it 3. Futurist ideals -bottle morphing into space in a sense of dynamism and energy -uses abstract forms to convey motion -chaotic, twisting nature of the work embodies dynamism, a theme in futurist art 4. -bottle blending with its surroundings -fuses the environment with the object -didn't want to represent an object in isolation- seen as ridiculous by futurists -represents broncocci's first success at creating sculpture that molds and encloses space within itself

Umberto Boccioni, The City Rises, 1910. Futurism.

1. -key early futurist work -attempt to capture the spirit of the futurist manifesto in a painting -overturned car refers to part in futurist manifesto: marinetti was driving along, flipped his car into factory ditch, saved by workers and had an epiphany/revelation to write futurist manifesto 2. -"good synthesis of light, labor, and movement"- what boccioni said about it -unusual sense of light 3. capturing sense of swift change -rapid change- old city into the new -renaissance era building with scaffolding in the background- being changed -modern tech.- trolleys and factories -construction- laborers pulling forward draft horses- they are the construction equipment of that time 4. stylistic combination -repetitive brushstroke -before, he worked in a neoimpressionist style -high key colors come from German expressionism -had not seen cubism yet before this work

Constantin Brancusi, Sleeping Muse 1, 1909-10. Marble.

1. -moving toward abstraction -he rejected the dramatic, highly detailed sculptures of Rodin -stylized play of forms -focus on underlying form- to make abstract shapes to suggest certain ideas -just a head- emphasizes idea of sleeping/dreaming 2. -inspired by simple geometry and incised lines of Greek sculpture before the classical period -a muse is a goddess -also used fragmented bodies 3. -an egg is like sleep (inside shell, not moving/interacting with the world but actively going on inside) -egg shape- looks slightly compressed as it lays on the side -egg: basic symbolic shape -Brancusi also known for coordinating the base with the finished sculpture (reduced to its defining characteristics) 4. Inspired by non-western art -contrast of polished sections and rough hewn sections -primitive qualities seem with the rough section

Henri Matisse, The Serf, 1900-04. Bronze.

1. -rough, hand-made quality -influenced by Rodin- looks like a study: -the hand of the artist is present- you weren't supposed to do that- a high degree of finish was desired 2. Expressive possibilities of the human form -Rodin was interested in this, influenced Matisse -expressive musculature -very interested in the human figure -movement, balance and motion- important to early 20th century sculptors 3. Body as Fragment -Matisse interested in the body as a fragment, like Rodin, so the arms are missing -didn't need to show the entire body to evoke movement, feeling, an emotion, a spirit. This was inspired by the beauty of accidentally fragmented sculptures from the ancient world. -interested in ancient and master sculpture 4. Humble figures -early 20th century sculptors pushed against idealized, eroticized figures and "noble" suffering -wanted to focus on expressionism, psychological content -influenced by changes in painting, and connected into emotions of real people, not gods or goddesses -Matisse went to fine art academy, he knew how to work naturalistically -he enjoyed painting more expressively with humble figures

Wassily Kandinsky, Composition VII, 1913. Der Blaue Reiter/German Expressionism.

1. Blue rider -very abstracted blue rider (on the right) -represents the artist as a spirit guide -symbol of moving beyond realistic representation -bringing forth spiritual and artistic renewal 2. composition -composition title- used to show it's a synthesis of his impressions (response to external event) and improvisations (generated from within, internally- part of his imagination)) over time -compositions were a major statement of things he gained from his previous works 3. Very abstracted, statement of basic building blocks of what painting is -very complex, only slight sense of horizon line -disarms the viewer- no recognizable shapes or narrative, nothing familiar to latch on to, throws them in front of very complex abstract painting- encourages them to look at painting in a new way- deeper experience -he was classically trained, but rejected that -gradually moves toward complete abstraction -reduced down to line, plane, form, color 4. concert/musical sensation -pulsating rhythm of color -wanted it to be analogous to a concert- viewer would look at it as though they are listening to music -different shapes and colors same as moods from different types of music, the ebb and flow of a concert -synesthesia (kandinsky had): combines multiple senses, in this case sight and sound. Associated color to a particular sound, wanted the painting to connect to people in a synesthetic way 5. Spiritual -believed expressionism could change how people viewed the world and their own spirituality -wanted it to be looked at a little at a time, don't take it in all at once -metaphor for how you take in spirituality -movement of line, color, and form in a complex way -Kandinsky was a theosophist -progressive theology- a lot of artists were interested in this -combined all different religions -mystical -answers the question of how you represent spirituality different from traditional christian images -wanted to reach inner necessity of the modern viewer/their spiritual need (which he believed wasn't met by traditional/contemporary religion) through the painting

Boccioni, Unique Forms of Continuity in Space, 1913. Bronze. Futurism.

1. Conveys futurist manifesto -wanted to convey speed, rapid movement, dynamism- characteristics of futurist sculpture/center of futurism -conveys movement through space, drapery- very dynamic figure 2. Simultaneity -simultaneously sprinting and marching -doesn't depict a particular person in a certain moment, but rather synthesizes the process of walking into a single body -this was the ideal form- a figure in constant movement, immersed in space, engaged with the forces acting upon it 3. Rejecting the classical -shows how he wanted to move really far away from classical sculpture- art should correspond with its own time period. So for the industrial, modern 20th century, art should convey speed and movement. -updated version of the nike of samothrace classical Greek sculpture -abstract -possibly depicting a knight -head of the figure suggests a helmet 4. Chronophotography -Boccioni was influenced by photographs that capture movement (chronophotography) -especially the dynamism of a sprinter -wanted to capture involuntary muscle movement that we can't see with our eye

Matisse, The Open Window, 1905. Fauvism.

1. Important early fauvist work -high key colors, right out of tube -heavily saturated colors were very different, even for progressive work -thick, broad, expressive brushwork (impasto (thickly applied paint) ) -these were done to convey feeling, inner expression rather than directly representing nature -important in the beginning of fauvism- exhibited at the salon d'automne in 1905 where the name "fauves" was used to describe the works/artists. 2. Reminds us of the flatness of painting/basic act of painting itself -emphasizes flat surface- leaves raw canvas showing through in some areas, some areas unpainted -painting is really just distribution of colored pigment on a flat surface, artist's decision to put color on a flat surface -naturalistic, academic painting is was an "open window" onto nature- you were looking onto a naturalistic landscape (with linear/one point perspective) -so this painting is an open window that is not an "open window" because he reminds you of the flatness of the picture plane -the open window isn't really an open window: no depth, not naturalistic, not an illusion of a window onto nature: reminds you of the basic act of painting (line, plane, color on a FLAT surface) Making a statement on the concept of painting itself 3. shows the beginning of Matisse working with his distinct fauvist style. -also Influenced the shift of art as a whole further away from the things they depict- art becoming less representational, more abstract. -exemplified a new direction in modern art 4. Seen as shocking, amateur -people thought it was deliberately mocking french standards of finishing painting -especially by a celebrated artist like Matisse already was at this point

Kazimir Malevich, Suprematist Composition: White Square on White, 1918. Suprematism.

1. Shows how daring the russian avant garde was- artists were moving forward in a really bold way. with suprematism, moving as far as possible from the world of natural forms or objectivity to reach what he called "the supremacy of pure feeling and spirituality" -abandoned all references to outside world- completely non-representational 2. Takes painting back to its basic formal organization- line, color, plane -visual vocabulary of color and shapes floating on white backgrounds -reducing painting to its simplest form -treats surface very carefully- impasto, textured surface- we see the artist's hand (so emphasis on painting itself) 3. Uses these images to replace spiritual/religious imagery- connects symbolically to these images -representing higher states of spirituality 4. Suprematism wanted to be the new national russian style, so it influenced more than just painting (also theater, book design, etc) Saw this as superior to showing anything representational, that this is the new realism. he called it "new painterly realism" because it's subject is the basic components of painting's language 5. Influenced by aerial photography- studied to give a accurate feeling of floating and transcendence -asymmetrical, imprecise edges of the square give a sense of no borders, space without limits. -white background maps the boundless space of the ideal, infinity -white square signifies a realm of higher feeling- color of infinity 6. -right after russian revolution -new feeling of utopian world, only attainable through non objective art -communism was seen as utopian possibility -suggesting hope and euphoric sense of floating that people had with a new government

Vladimir Tatlin, Monument to the Third International, 1919-20. Wood, iron, and glass. Constructivism.

1. There was a shift in power (Stalin changes national style of art- soviet realism only allowed), so the project was never finished/actually built 2. -part monument, part building, part radio tower -each of the 4 geometric forms inside the structure represent/contain different bodies of the russian government. They all spun at different speeds 3. Was also meant to be a radio tower that would broadcast the message of the new communist government. Important symbolically for the new russian government to have transparent communication (czar always operated in secret) 4. demonstrates the properties of the materials it is made out of- the spiraling form suggests the ability of steel to stretch/extend, translucent glass forms 5. very daring architecture -influenced a lot of 20th century architecture even though it was never built -also influenced the constructivists

Aleksandr Rodchenko, Hanging Construction/Spacial Construction no. 12, 1920. Constructivism.

1. constructivists felt that Suprematism had an elitist quality to it- wasn't going far enough to connect with everyday people. wanted to make avant garde art out of things that people made. -wanted to get rid of painting and start making art out of industrial materials -things people would know and connect to 2. Wanted to transform the way the artist was seen by society- not a middle class bourgeois person who made paintings for wealthy people -not a painter and sculptor but an engineer, architectural draftsman, factory worker -rodchenko even designed his own suit to look like factory worker's clothes- clothes of the "new artist" -tools in the pocket are compass, slide rule, protractor- tools of the new artist (not paintbrush and palette, sculpting tools) 3. Uses industrial material Plywood, wire, partially painted with aluminum paint -hung from ceiling- kinetic sculpture affected by air, seems weightless -made from single sheet of industrial plywood, precisely cut -suggests physical properties of the materials -can be folded up and put away- has a utilitarian quality to it -interested in mathematical systems- reflects the scientific bent of the russian constructivists -constructivists aspired to create radically rational art 4. form suggests chart of planetary orbits/cosmic structure -also resembles spinning coin or bicycle wheel -something in motion (staccato repetition) 5. marks Rodchenko's progress in moving away from conventional painting toward abstraction/an art of social involvement 6. enlarged concept of art, create new understanding of beauty -designed to be what traditional sculpture is not -radical new form of sculpture

George Braque, Violin and Palette, 1909. Analytic Cubism.

1. early example of analytic cubism -has all the hallmarks of analytic cubism -breaking down, analysis of form -still life- traditional subject matter- shows how cubism engaged with european painting tradition- wasn't completely turning away from it, but updating it/making it new -by using traditional subjects, cubism's radical innovations could be clearly seen -monochromatic 2. -braque was a violin player -subject connects to him and his own experiences -braque continued to favor still life subjects moving forward in the cubist style 3. first time braque felt he was using simultaneity -simultaneity: simultaneous existence/plane being 2 things at once, simultaneous, unclear positive and negative space, they start to bleed together -more than a clever deconstruction exercise -multiple views/perspectives of an object at once -cubists interested in the 4th dimension -interested in time, space, and memory -reconstructing the memory of an object (fragmented) -objects still recognizable -composition set into motion- eye moves from one fragmented plane to another 4. -trompe l'oeil: includes curtain and palette hanging from a nail to refer to traditional naturalistic representation -presents juxtaposition of naturalistic representation and cubist representation techniques to indicate these techniques are equally successful to depict a scene

Kazimir Malevich, Morning in the Village After a Snowstorm, 1912.

1. perfect example of cubo-futurism- combination of cubist and futurist styles -futurism spreads to russia and is really important to the formation of the russian avant garde -he was interested in making cubism and futurism distinctly Russian- applying techniques to a moment that is particularly Russian -not interested in speed or technology or dynamism -Malevich was also interested in combining traditional russian/folk art subject matter with contemporary style of cubo-futurism 2. Social context: -He came from a humble upbringing in russia and had to work hard to become a sophisticated painter- this work shows how he is rooted in a distinctly russian experience as a painter. -He frequently chose to depict peasants in everyday russian life. 3. Made earlier in his career -This work was created during the stage of his artistic journey when he was still making representational work. -he had not yet designated his suprematist style/concept -continued to gradually simplify/abstract his work- you can see how he progresses with his work Woman with Pails 4. Machine like geometric forms used to create the figures shows his influence from Fernand Leger. He had continued to use these shapes to depict figures throughout this phase of his work, before shifting into suprematism.

Rodchenko, Assembling for a Demonstration, 1928. Gelatin-Silver print.

1. represents radical new way of thinking about the artist and what mediums the artist uses- he is only working with photography and industrial materials, not painting and sculpture. 2. plunging view/angle was startling and unusual at the time- was a fresh discovery -photography and cinema were very interested in radical new visions of the world 3. For rodchenko, the odd angle represented freedom and modernity -unusual angle invited people to think about familiar things in new ways -the courtyard was familiar to him, it was taken from the balcony of his own apartment 4. perfect balance between plunging depth and flat pattern -photograph is a flat piece of paper -scene looks simultaneously flat but also very deep -visual play back and forth between flatness and depth 5. He was in control in order to not have the balcony blocking the view, so he had to lean pretty far out in order to take this photo

Picasso, Still Life with Chair Caning, 1912. Synthetic Cubism.

1. work starts to get pretty daring in terms of non-art materials -first synthetic cubist painting: adds non-art materials -picasso and braque first to add found objects -starts to hint at collage but still an oil painting -an important step in art for using found objects and reference to everyday life, popular culture- becomes popular in avant garde 20th century art moving forward -oil cloth 2. -trompe l'oeil- meant to look like a glass cafe table (chair pushed underneath, items on top, rope edges) -all the items allude to the things that the artist would have over the passage of time at the cafe table- these forms morph to suggest passage of time at the cafe -like a time lapse film 3. Jou -jou, "play"- referring to play of forms -also referrs to french paper that all the artists read -also play of language, signs, spacial relations 4. Rope symbolism- also more than one thing, like jou -rope also refers to Braque (2 mountain climbers roped together) -rope- not fancy, suggests the everyday

Futurism

An early-20th-century Italian art movement that championed war as a cleansing agent and that celebrated the speed and dynamism of modern technology. -begins in italy in milan -started by FT Marinetti, a poet -interested in changing the way italian society saw the world -publishes his ideas in Paris in order to connect with the art world/the avant garde -called for sweeping change -get rid of all old italian culture/art -wanted everything to show modernity/technology -believed tech and modernity was more beautiful than the classical -war was seen as important for cleansing society -aligned with Italian fascism- wanted new, glorious italy -artists drawn to this, wanted to be a part of the movement

Fauvism

Means "wild beast". Bold, shocking color. Joyous tone, usually. Matisse -vibrant colors based on feeling, observation -nonnaturalistic use of color -not relying on nature but inner expression -scandal caused by Matisse and Derain's work exhibited- critic called them fauves (wild beasts)- the name stuck

The Blue Rider (Der Blaue Reiter)

a group of Expressionist artists led by Franz Marc and Wassily Kandinsky. One of the group's primary goals was to use art to express spirituality. -spiritually connected, lyrical style of German expressionism -key motif in Kandinsky's work (a symbol of moving beyond realistic representation) -for Franz Marc's work, the blue rider centered on animals as symbols of rebirth, that people should strive for that -although some people saw expressionism as romanticized, not dealing with the current realities (this is why there was a shift after the war)

Pastoral Landscape

idealized, old tradition -harmony between humans and nature, peaceful paradise