Art Appreciation Chapter 20
GIORGIO DE CHIRICO
*Odd juxtapositions of familiar objects *rendered: realistic manner *irrational believable *subjects from dreams *ordinary objects/extraordianry situations REALISTIC TECHNIQUE: *heighten believability of events * eeriness characteristic of dreams or nightmares. * ambiguity/uncertainity outcome * "save" ourselves from danger by awakening ART: "Piazza d'Italia" 20-21 Images: icy arcades *deserted piazzas *distent locomotive *drawn disturbing dreamlike atmosphere *juxtaposition of familiar shapes with unsettling presences *banality of danger *sense of doom *bring our own fears/superstitions
Salon d'Automne
1905 Independent exhibition: distinguish from Academic Salons-Spring French avant-garde artists: *assaulted public *bold palette and distorted forms *Critic: Saw Renaissaance-type sculpture: blasphemous forms *"Donatello among the wild beast" *Artist adopted their apithet "The Fauves" symbol of recognition
Dada
1916 WWI-International Movement *declared itself against art *responding to absurdity of war *insanity of th world DADAISTS: Declared that art *reflection of this sorry state of affairs (stupid/must detroy) Communicate: Create works of art Contradiction DADA: *chosen from random dictionary *APT EPITHET *nonsense term for nonsense art *art that is meaninless, absurb, unpredictiable *Dada poetry *consisited of nonsense veerses of random word combos DADA COLLAGES: *cosntructed of materials found by chance and mounted randomly *They intended the art to be meaningless but they were not ERA DOMINATED BY DOCTRINE OF PSYCHOANALYSIS *nonsensical words spoke something of the poet. *Constructed in random fashion *betrayed the mark of some design
Walter Gropius: director of The Bauhaus
1919 director of Wimar School of Arts and Crafts Renamed the school: Das Staatliche Bauhaus/"building house of the state" Vision: doorway to the future of art and architecture *trained architects, artists, designers, and craftspersons Moved school: Dessau in 1925 (politics) Design/Carpentry *students/faculty creating furnishings of building
ADOLF HITLER
1930's-he rose to power War threathened Europe he drove architects/refugee artist to United States Leading figures of : *Abstraction *Surrealism *joined together basis of an avant-garde American movement *Center of Art World moved to New York
THE ARMORY SHOW: Most important modern art exhibit in United States in 913
291-Toulose Laurec, Cezanne, Matisse, Braque, and Brancusi European Modern Show 1913-International Exhibition of Modern Art *69th Regiment Armory in New York City *works by Leading American Artist *impressive array of Europeans *European Artist: *Goya *Delacroix *manet *IMPRESSIONISTS: van Gogh, Gauguin, Picasso and Kandinsky *More Americans then European works exhibited *Europeans dominated the show *Raising American consciousness of Americans (raising eyebrows) ART: MOST SCANDALOUS Partisian works *Marcel Duchamps Nude Descending a Staircase Fig 2-74 *"pile of kindling wood" MESSAGE TO AMERICANs: Europe was the Center of the art world-FOR NOW!
EARLY TWENTIETH-CENTURY ABSTRACTION IN EUROPE
2ND DECADE/rise of dynamic schools of art in Russia and western Europe COSNTRUCTIVISM AND DE STIJL (NEO-PLASTICISM *dedicated pure abstraction *nonobjective art Nonobjective art: differs from abstraction of cubism or Futurism *does not use nature as a point of departure *makes no reference to visible reality Constructivism and De Stijl: Compositions of Artist *combination of geometric shapes *primary colors *emphatic black lines. *nonobjective art EARLIER EXPERIMENTS ABSTRACTING: *Cezanne/Cubists reached logical conclusion
Salon des Refuses
8 years later- Exhibition of works: Manet
Picasso
ART: Guernica *mammoth mural *Spainsh Pavilion of the Paris International Exposition of 1937 *German bombing of civilians in the BBasque town of Guernica *gruesome details *frenzied cry of one woman trapped in rubble and fire *terriorized horse *anguished mother embraces her dead child and wails futilely *Cubist planes *Palette-Harsh blacks, gray and whites *"brutality and darkness" of the age
MARCEL BREUERS
ART: TUBULAR STEEL CHAIR *Bauhaus funiture *no cushions *midair on cloth or leather slings/steel tubing *simple shapes *complex *remain popular to this day Breuers: moved to UNITED STATES Taught: Harvard University Designed: New Yorks Whitney Museum of American Art (New York Art Tour next chapter)
JOAN MIRO
AUTOMATIST SURREALIST *unconscious held such unversal imagery *spontaneous or automatic drawing attempt to reach *elimate all thought from their minds/trace brush across canvas *organic shapes drived from intersecting skeins of line *unadulterated by conscious thought *drawn from the unconscious *basic design had been outlined *conscious period of work could follow *artist intentionally applied craft to render final form AUTOMATIST METHOD: *was seen as spontaneious *employeeing chance/accident *(no conscious control was to be exerted to determine early course of design) *abstract *some shapes amoebic BORN: near Barcelona/early years local schools of art *learn to paint like French Modernist *Styles ranging from Romanticism to Realism to Impressionism *Cezanne/van Gogh (influenced him most) MOVED to Paris (1919) *receptive to different art styles *Matisse/Picasso *Rousseau primitive innocence *all on his canvas *native iconography/inclination toward fantasy ELEMENTS SHAPED: MIRO'S UNIQUE STYLE Need for spontaneity *communicating his subjects (Automatist Surrealism) *Whimsical nature subjects at odds with other members of movement ART: PAINTING *meandering lines join or intersect (forms contours of clusters of organic figures *shapes left void display nondescript background *subtly colored squares *filled in black white and bright red pigment *applied Bretons principles of psychic automatism *aesthetically pleasing, decorative manner
FANTASY AND DADA
Accurate representation of visual reality as a noble goal Artist who departed from this goal *depict their personal worlds of dreams or supernatural fantasies (not easy) Fantastic Art: Before 20th century was isolated Early 1900's: many artist exploring fanciful imagery *styles varied as their imaginations Fantastic: Derives from Greek phantastikos "the ability to represent something to the mind" or "create a mental image" Fantasy: "unreal, odd, seemingly impossible, and strange in appearance" Fantastic Art: *Incredible images from the artistis mind *joyful *horrific nightmares *capricious *grotesque
MARCEL DUCHAMP
Advertising Nihilistic Views: Dadaists assaulted the public *irreverence *attempt to negate art *advocated antisocial/amoral behavior EXHIBITION: Urnial (on back-Fountain) Dada: Sensibility ART: Mona Lisa *impudently defiled a color print of Leonardo da Vincis masterpiece (mustache and goatee) Psychoanalysis: Dada *some modifiction *provide basis for a movement called Surrealism (1920's)
291 Gallery-291 Fifth Avenue New York
American Photographer: ALFRED STIEGLITZ *propounded/supported the development of abstract art in United States Exhibited: *modern Europena works *American artist influenced by Parisian avant garde *Picasso *Matisse *others Supported: Georgia O'Keeffe
GEORGES BRAQUE (Cubism)
Analytic phase (1909-1912) Picasso/Braque art similiar Early work: Impressionism then to Fauvism then to structural compositions (Cezanne) Picasso/Braque worked together from 1914 (same artistic goal) Theory reached peaked of expression 1911 ART: THE PORTUGUESE *numerous planes intersect and congregate at center (forms perceptible triangular human figure) *constructed from and dissolved into background *dropped eyelids *mustache *circular opening of stringed instrument *time lapse (visual assimilatio of multiple views) CUBIST GRID ( structural lines) *define and fragment figure are dark and thick. *contrast: delicate modeled short choppy brushstrokes *monochromatic palette *browns, tans and ochers Braque: began to insert words and numbers and trompe l'oeil (Analytic cubist) What is reality and what is illusion
PEIT MONDRIAN
Architecture: Expression in works of Gerrit Rietvelds Schroeder House
Expressionism
Art movement Expressionistic: Germany distortion of nature: *achieve desired emotional effect or representation of inner feelings *van Gogh and Gauguin (expressionistic) *Fauves (expressionnistic) *intimate portrayal of artists subject, colored (him emotions) EDVARD MUNCH/KATHE KOLLWITZ *Expressionistic artists *paintings/prints (express anxieties, obsessions, and outrage Terms: die Brucke, Der Blaue Reiter and The New Objectivity or Neue Sachlichkeit (very different) all movements against Impressionism and Realism Communicate(inner feelings of artist)
CONSTRUCTIVISM
Born in Russia (1917 Communist Revolution) *pushed the limits of geometric abstraction *3D-Features *Geometric shapes and planes (constructed) from industrial materials *plastic *metal *glass CONSTRUCTIVISM SCULPTORS: *Challenged conventional materials and techniques * carving *modeling *casting *mainpulation of mass rather then space
Pablo Picasso
Born in Spain (son of art teacher) Barcelona Academy of Art: mastered illusionistic techniques of the realistic Academic style Age19: Paris (more then 40 years) *introducing *influencing *reflecting many styles of French art MAJOR ARTISTIC PHASE: BLUE PERIOD (1901-1904) *overall blue tonality *distortion of the human body (elongation)-El Greco/Toulouse-Lautrec *melancholy subjects (poor and downtrodden/menial tasks/loneliness) ART: The Old Guitarist *Haunting image *contorted white man sits hunched over guitar *consumed by tones that emanate from what appears to be his only possession. *eye sunken (skeletal head) *bones of hungry *poverty *unfurnished room and barren window view *monochromatic blue palette creates *unrelenting *somber mood * tones of blue eerily echo ghostlike features FOLLOWED BY ROSE PERIOD (Second Period 1905-1908): lighter in palette and in spirit *circus life *tone of pink INSPIRED: * Cezanne retrospective exhibition (Saolon d'Automne 1907 *Formal properties of ethnographic art of Africa, Oceania, and Iberia (Musee de l'Homme *dissimiliar *common framentation distortion and abstraction of form ART: LESS DEMOISELLES D'AVIGNON *Startling, innovative *primarily pink in tone Depicts: 5 women from Barcelona's red-light district line up for selection, suitors position of spectator faces primitive mask faces: simplified frontal and profile views. thick lidded eyes stare stage front (Mesopotamian votive sculptures Bodies: geometric form Collapses the space : background and foreground (same manner) between planes-insert 2D (Cezanne) Drapery: masking figure/ground Techniques: Exteme faceting of form Multiple views collapsing space Les Demoiselles(springboard for Analytic Cubism)
NAUM GABO
CONSTRUCTIVIST SCULPTOR *Created works *intersecting planes of metal, glass, plastic or wood defined space ART: Utopian "column" *Column bridges gap between fine art/industrial technologies *symbolizes Constructivist advocacy the utility of art. Postrevoluionary years progressed *Russian constructivist *censored by Communist regime found it elitist (no matter what art represented) ARTIST: Left the country *developing international Constructivist style
Analytical Cubism
Co-founded by French painter Georges Braque 1910 Coined: hostile critic (responding to predominance of geometrical forms of Picasso and Braque) Significant contribution: NEW TREATMENT of PICTORIAL SPACE that hinged upon the rendering of objects fro mmultiple and radically different views Treatment of Space (different then Renaissance) *Cezanne realized visual comprehension of objects-many views perceived at once. *information gathering *dessection and reconstruction of imagery (reporduce reality) *consolidating optical vignettes
Impressionism
Coined by hostile critic- work was just mere "impressions" quick and easy sketches
Cubist Sculpture
Cubism was born 2-D art form. *manifold aspects of their subjects as if walking around 3-D recording every angle. *intersecting planes (viewers perceive the many sides of the figure) *Communicate all visual information *medium-more natural to Cubism (viewer walk around figure) *transparent planes-Analytical cubist paintings-flat solids ART: Jacques Lipchitz's-Still life with Musical Instructments (no picture)
UMBERTO BOCCIONI
DYNAMISM *force/energy basic principle of all phenomena ART: Dynamism of a soccer Player *lines irregular/agitated (communicate energy of movement) Futurist-obsesion illustrating images in perpetual motion also found perfect outlet in sculpture. ART: Unique Forms of Continuity in Space illustrates principles of Futurism *elusive surging energy blurs image in motion *figural silhouette (devoid of representational details) *flamelide curving surfaces do not exist to define movement but consequence of it
Max Ernst's
Dada composition Two Children are Threatened by a Nightingale *irrational subjects *chance juxtaposition of everyday objects *also Realistic technique *dream imagery (Fantastic art)
Die Brucke (The Bridge)
Dresden, Germany (expressionistic) Artist chose name: *movement as bridging several disparate styles *short lived (lack of cohesion among its proponents) Artist: *common interest in techniques and subj matter *boldly colored landscapes *cityscapes *horrific/violent portraits *emotional upheaval: reflected mayhem of WWI *always used nature as a point of departure *roots of Romanticism and emotional expressionistic
THE BAUHAUS: School
Early 20th Century: Architecture American: Frank Lloyd Wright German Architect: Walter Gropius *principles to modern architecture *"form follows function"/"less is more" Gropius: *basic forms-rectangular solid *avoided ornamentation/embellisment *overriding emphasis was on simplicity *economical use of space, time, materials, and money
DER BLAUE REITER (THE BLUE RIDER) Expressionism
Emotionally charged subj matter (radically distorted) "Die Brucke art" Group Name: Proponent Wassily Kandinsky (less on content to communicate feelings/evoke emotional response from the view) WORK: *contrasts *combinations of abstract forms/pure colors. *completely without subject (at times) *nonobjective or abstract *sought to free itself from the shackles of observable reality *less dependent on subject matter *more on colors and forom from predeccessors
CHARLES DEMUTH
Following Armory Show: American Artist Explored: *abstraction to new heights *maintain solid sense of subject matter/combo geometric fragmentation/simplification Group of Artist: "Cubo-Realists" or "Precisionists" *overlaid stylist elements *from Cubism/futurism/Authentic American imagery ART: MY EGYPT *Precise rendition of a grain elevator (hometown of Lancaster, Pennsylvania) *Diagonal Lines *Contradictory rays of light/shadow *sweep across solid surface and lessen the intensity of sonelike appearance *Shapes-limestone monoliths that form gateways to ancient temple complexes (Karnak in egypt) *Title: accknowledges associaation /architectural forms & asserts a sense of American Pride and history "MY" AMERICAN ARTIST OBJECTIVE: *conversant/current Wuropean style *maintaining a bit of chauvinism/subjects (meaning own time and place)
Impressionist Movement
Founded by French artist of Salon des Refuses Exhibition
GIACOMO BALLA
Futurist suggest *subjects were less important than portrayal of "dynamic sensation" of subjects. ART: Street Light (pure Futurism) *pierces darkness *V-shaped brushstrokes (fan outward) (constant movement) *palette-complementary colors forbid eyes to rest All is movementm all is sensation FURTIST*always contain vestiges of representation (eyelid or mustache recognizable contours) CUBISM*Seeds of abstraction planted. Kandinsky artist seeked pure form unencumbered by referential subject matter
CUBISM (Second major art movement 20th Century)
Heritage: *Neoclassicism *analytical and intellecutal work of Cezanne OFFSPRING of: Cezannes geometrization of nature and abandonment of scientific perspective, rendering in multiple views, empahsis on 2-D) PICASSO-Driving force birth of Cubism MOST IMPORTANT ARTIST OF 20TH CENTURY Elements: *pictorial methods of Cezanne *formal elements from native African, Oceanic and Iberian sculpture
EARLY TWENTIETH CENTURY ABSTRACTION IN THE UNITED STATES
IMPACT ON UNITED STATES/Europe: *Fauvist and German Expressionists Before WWI America: * Realism *Subjects everyday rural and urban life Interest: European Modernism was brewing
ALEXANDER ARCHIPENKO
Innovated 3-D - Cubist sculpture-interpenetration of Cubist planes *void space as solid form ART: Walking Woman Cubist principle figure: *fragmented *contours are broken and dislocated NEW: open space of head and torso Abstract simplifications recogition of the humanity of the subject
SURREALISM (1930's developed into an international movement)
Literary movement after WWI *nonrational *naturally drawn to Dadaists. Both literary groups engaged in: *automatic writing *mind to be purged of purposeful thought *free associations expressed with pen *words-symbolize seething contents of the unconscious mind Surrealist Writers: broke from Dadaists (to academic) Leadership: Poet Andre Breton 1924 manifesto *pure psychic automaism express either berbally or in writing true function of thought. *belief of superior reality of certain forms of assoication hereto neglected Surrealism: Expounded two different methods of working 1. Illusionistic Surrealism *Salvador dali/Yves Tanguy *irrational content *absurb justapositions *metamorphoses of dream state (highly illusionistic manner 2. Automatic Surrealism *direct ooutgrowth of automatic writing *divulge mysteries of unconscious thru abstraction *Joan Miro/Andre Masson New adherents exhibiting radically different styles kept the movement alive
SALVADOR DALI
Modesty not his strong suit. "household name" Spaniard Surrealist Figure Reputation: leading unusual *surrealistic *life proceeds his art *Ed Sullivan Show: threw open cans of paint at a huge canvas Dali began: conservative manner *Impressionist *Pointillist *Futurist styles Following: Contemporary stylesl Academic training: Fine Arts in Madrid *illuusionistic realism (never abandoned) ART: The Persistence of Memory *dream like imagery *enhanced trompe l'oeil technique *barren landscape of incongruous forms *watch (time expired) Conveys: *world of dream *juxtaposing unrealted objects in extraordinary situation *haunting sense of reality threatens the line between perception/imagination SURREALITY OR REALITY ABOVE AND BEYOND REALITY
Ludwig Mies van der Rohe: director of The Bauhaus (1928)
Moved the school to Berlin Nazis: shut down the Bauhaus 1933 Faculty: United States *Gropius/Mies van der rohe Gropius: chair of architecture at the Harvard University Graduate School of Design Miles: chaired the architecture department of the school Illinoin Institute of Technology The Bauhaus : Gave birth to designers and designs that would shape much of the remaining 2/3rds of the 20th Century
FUTURISM
NEW MOVEMENT Italy-Poet Filippo marinetti. Introduced: *violence *energy *boldness free from tyranny of harmony and good taste Painting/sculpture: glorify the life of today "unceasingly and violently transformed by victorious science" Owned: much of Cubism
ANDRE DERAIN-Fauve
One-Founder of Fauvist movement London Bridge Convergence of elements: *19th century styles *new vision of Fauvism Outdoor Subj. Matter: Reminiscent of Impressionism (Monet) Unnaturalistic color (Gauguin) NEW: *Forceful contrast of primary colors and delineation of forms *Blocks of thickly applied pigment 19th Century Artist (natural light/shadows-color components) Derain and Fauvist: *evoked light *color contrasts Fauvist: negate shadow Fauvist: color to contruct forms and space Gaugin: color to express motion Building Facades: Bright blocks of pigment Oblong patches of color: define both stone and water Thickly laden brushstrokes: contour of boat/silhouette of a fisherman
GEORGIA O'KEEFFEE
Painted flowers to city buildings to skulls of animals Captured: Essence: (Simplified their form) O'Keeffee maried Stieglitz-1924 *painted enlarged flowers ART: WHITE IRIS- *magnified/abstracted details *large canvas filled with fragment of intersection of petals. *yearning, reaching, organic quality *botany function as metaphor zoology (plants are animals) *grow of will *Denied sexual imagery (those who saw it talking about themselves not her) *sense of will/reaching petals active rather than passive in sexuality (feminist polemic-express) *Invited to "Dinner Party" fig 1-10
The Twenthieth Century: The Early Years
Perpetual turmoil last 100 years Important movements born late 19th and 201h centuries met * hostile, antiseptic gloves of critical disdain
Synthetic Cubism
Picasso/Braque *added characters (newspapers and magazines and found objects-labels from wine bottles calling cards theater tickets wall paper bits of rope Technique: papier colle-Collage COLLAGE-MARKED THE BEGINNING OF SYNTHETIC CUBISM ART: The Bottle of the Suze Constructed: entirely found elements *newpaper *opaque pieces of paper functioning as shift planes hover aperitif define bottle and glass. Planes: held together by SPARSE linear structure Contrast to Analytic Cubism: *emphasis on form of the object and constructing *Color *texture *design *movement After WWII: Picasso/Braque no longer worked together Art came to differ markedly Braque-injured during war *delicate/lyrical still-life compositions *abandoning austerity of the early phase of Cubism Picasso-Synthetic Cubist idiom *artistic genius and versatility (1920) New Works: Classical Expressionist/Surrealist styles
Gerrit Rietvelds Schroeder House
Piet Mondrian: If work was Architecture *found express here *built early 20th century-inspire archtiects today *literal translation of geometry and color to architecture *broad expanses of white concrete intersect defining strictly rectilinear dwelling *appear to float in suuperimposed planes *black verticals and horizontals supporting posts or window mullions. *surface is clean/simple *occaional punctuated with color
Courbets Paintings
Rejected by 1855 Salon: set up own Pavilion of Realism he pushed the Realist Movement
WASSILY KANDINSKY (FOUNDER OF DER BLAUE REITER) recognized first painter of pure abstraction
Russian artist (left law to become influential abstract painter and art theorist.) Paris: visits (immersed in Gauguin/Fauves) inspired to adopt (Fauvist idiom) Opened eyes: *colors powerful capacity to communicate artist's inmost psycologicaal and spiritual concerns ESSAY: Concerning the Spiritual in Art *caapability and discussed the psycological effects of color ont he viewer *relationship between art /music ART: SKETCH I FOR COMPOSITION VII *bold colors, lines and shapes *dramatically across canvas (no preconceived fashion) ELEMENTS: flow freely independently "the free flow of unconscious thought" IMPORTANCT: *Early Fauvist contacts (vibrant palette, broad brushstrokes and dynamic movement) *New Art-unencumbered by referential subj matter COLOR, LINE AND SHAPE: *SPONTANEITY born of psycological process of free assoication (explored by founder of psychoanalysis, Sigmund Freud, mapping geography unconcsious mind)
Constantin Brancusi
Sculpture: versality (Mondrian)-extreme simplification *appear abstract but rooted in the figure Born: Romania (13 years after Salon des Refuses) Apprenticeship (cabinet maker) Studied at Bucharest Academy of Fine Arts Traveled to Paris: Enrolled in Ecole des Beaux-Arts 1907: exhibited at Salon d'Automne (favorable impressions) Work: Indebted to Rodin-grew in a radically differ direction 1909-"Reduced the human head" *egg shape form with sparse/facial features ART: BIRD IN SPACE *essence of subject *simplest contour / descriptive title *fire recognition in spectator *from representational versions to refined symbol of the cleaness/solitude of flight
EMIL NOLDE (Expressionist)
Supreme colorist Joined Die Brucke (year after founded) ART: DANCE AROUND THE GOLDEN CALF *Frenzied brush technique *clashing colors/lush strokes *technique/complements the nature of subject *biblical themen recounting the worshiping of an idol by the Israelites even as their liberartor, Moses, was receiving the Ten Commandments on Mount Sinai. CHARACTERISTIC FASHION: ecstasy and anguish/uncontrolled high pitch GRAPHICS: *idiosyncratic *splintered characteristics of the woodcut-medium not in vogue for centuries *create ravaged/portraits of pain/suffering
DE STIJL OR NEO-PLASTICISM
Theo van Doesburg *born-Holland (7 years before Vincent vanGoghs death REPRESENTS: *Dutch/Russian Constructivism *purity/precision of geometric shapes *compelte abstraction of reality (lead to nonobjectie works van Doesburg: *like minded artists *principal role in the dissemination of their style/theories (publication of magazine "De Stijl"-"The Style" (Neo-Plasticism) ART: van Doesburg's "Composition" *black gridlike lines intersect create geometric zones (primary colors) *void space: Active part of the work as a whole *flatness: fundamental component (Piet Mondrian) PIET MONDRIAN: Influenced by Vince van Gogh *developed his theories of painting that respected teh 2-D of the canvas
Henri Matisse-Fauve
USED: Primary colors as a structural element Reputation exceeded that of the movement Law School: 21 *illness interrupted school *started painting Early paintings: strong and traditional compositional structure First Mentor: Adolphe William Bourguereau Copying old masters in Louvre Loose brushwork: Impressionist Palette: color theories of Post impressionists. 1905: consolidated influences Exhibited: Salon d'Auomne of that year POST FAUVE WORK: *color in variety of ways (primary colors) *structurally *decoratively *sensually *expressively ART: RED ROOM (HARMONY IN RED) *all of above exist (color) *vibrant palette *curvilinear shapes (gay mood) *Red wallpaper/tablecloth (brilliance) *arabesques-vines (enticing surface pattern) CONTEST: Flatness and 3D Flatness: jumbling of patterns propels background to picture plane 2D-window in the upper left (flat-garden scene instead of distant landscape) Collapse Space: countered by *seat of the ladderback chair recedes into space *table and dishes foreshortened (combining frontal and bird's eye views. *lines expressively, moving rhythmically (complement the pulsing color) Structure: assertive BUT created a pleasing pattern Thoughts: *Painting should be joyous (palette, lyrical use of line, and brightly painted shapes) *Mental soother, a good arm chair in which to rest *distorts nature
Fauvism
Van Gogh and Gauguin Fauvist rejected *subdued palette *delicate brushwork of Impressionism (chose emotive qualities) SUBJECT MATTER: Nudes, still lifes, and landscapes Set apart: *harsh *nondescriptive color *bold linear pattening *distorted form of perspective Color: Autonomous-NOT adjunct to nature Direct form of expression (theory): *vigorous brushwork *emphatic lines INSPIRED: Skewed perspectives and distorted forms *Art from Africa, Polynesia and other ancient cultures COLORS AND FORMS of Fauvism: *explosive of modern art scene (did not last very long) Styles: *very different *never formed cohesive group FRANCE *roots romanticism and emotional expressionistic
THE NEW OBJECTIVITY (NEUE SACHLICHKEIT)
WWI to a close and WWII loomed on horizon Objectivity of the EnglishGerman Expressionism could be observed Max Beckmann *horrors and senselessness of wartime suffering *bitterly on bureaaucracy and military *ghastly visions of human torture Fig 1-19
PAUL KLEE
Whimsical yet subtle Fantastic artist Influenced: 19th Century artist Goya *touched upon fantasy Stylistic Inspiration: Cezanne 1911: joined Der Blaue reiter *theories about intuitive approaches *painting *growing abstraction *love of color were well received *innocence pervades *abandoned representational elements TURNED TO: *ethnographic/childrens art *seeking universality of expression extreme simplicity WORKS COMBINE: *charming naivete *wry commentary ART: Twittering Machine *humorous contraption composed of four fantastic irds balanced precariously on a wire attached to a crank. *Innocuous painting *contemporary technology-machines express whims/ego of the inventor *mechanical birds are traps to lure real birds to a makeshift coffin beneath *symbolize entrapement of humans by their own existence. *simple cartoonlike subjects may carry a mysterious/rich iconography
Cezannes paintings 1907
revitalized interest 19th century artist composition and constructive brush technique (odds with Fauvist manifesto)
