HA 231 OL3 Quizlet Modules 4, 5
Card Set Instructions: Fill in the blank cards with good definitions, or info about works and artists, being sure to remark the historical significance (context. Image cards WITH some info should be memorized, in addition to adding important missing info (date, points about context or meaning learned in the module). Always understand the of the particular artwork, or type of artwork (like a collage, or particular subject) in the history of modernism, or the time period. etc. Shoot for about 4-5 really good points for theses as well as [see next side]. If a term or a non-artist's name is next to an image ("the decorative", "Gertrude Stein", "Daniel henry Kahnweiler") then you should use that image and to discuss that term/person in relation to the artist who made the work shown.
...where no artist or other info is given for a work, then this is a practice for an simar "unknown" on the test. research then input basic info: Your educated guess at artist, movement, date (to the possible decade), and give 4 excellent and WELL EXPLAINED reasons for your attribution (based on formal characteristics, subject matter and its treatment, use/treatment of materials and/or any theme or trend that you identify.)
Proto-Cubism
1906-1910; Proto-Cubism was essentially Cubism in its earliest and purest form. The use of geometric/angular shapes is what characterized it and differentiated it from the other forms of Cubism. Also known as Pre-Cubism, it led into the well-practiced art style. Proto-Cubism is characterized by its familiar way of breaking down perspective and displaying the structural sense of the real-world and was initially developed by Braque and Picasso. Picasso's works, especially Les Desmoiselles d'Avignon, display Proto-Cubism and its way of breaking down its subjects through the use of shapes and angular forms. Picasso was criticized for the women of the painting for they reflected and recalls pornographic themes. The twist and representation of their bodies through the geometric shapes Picasso employed, was violent and alluring all at the same time. This painting helped establish Proto-Cubism for was it was, the raw structure of a physical subject or object. Above: Les Desmoiselles d'Avignon, Pablo Picasso; 1907. Oil on Canvas.
Synthetic Cubism
1912-1914. This form of Cubism is known for being the final rendition of the beloved style. It is characterized by being of a more vibrant color palette that the other forms of Cubism and is well-known for its incorporation of many different materials. Paper collage and papiers collés were common parts of a canvas composed in Synthetic Cubism style. Synthetic Cubism was so well-known for taking parts of the physical world (i.e. metal, paper, wallpaper, newspaper, etc.) and working them into the canvas, adding an altered and superior level to any composition. In Guitar, Sheet Music, Glass, Picasso brings outside elements into the painting. Actual pieces of paper, printed with real sheet music, are displayed. There is an additional form of paper, with a charcoal drawing of wine glass in the lower right hand corner of the composition. Wallpaper appears to serve as the background and other types of paper makeup the remaining objects. The additional elements of the real-world objects/mediums being brought into the composition really bring Guitar, Sheet Music, Glass to life, and create a work of art that seamlessly blends together several different aspects of the physical world—musical, tactile and visual. Above: Guitar, Sheet Music, Glass, Pablo Picasso; 1912. Paper/Newsprint, pasted. Gouache and Charcoal on Paper.
Apollinaire
A French art enthusiast—he was a poet, a playwright and a novelist, as well as an art critic. Guillaume Apollinaire is noted for adopting and embellishing on the term Cubism to describe the famous art movement that was made popular by Picasso and Braque. He is also famous for coining the term Orphism and Surrealism—two art movements that came later on in the century (after Cubism).
Fauvism
A style of art classified by its ability to conjure powerful emotional responses through its innovative and explorative visual form. The name is derived from Les Fauves—a term coined by art critic Louis Vauxcelles, meaning "wild beasts." Fauvism was a very ephemeral art period, and although it was developed at the start of the twentieth century, by 1910, its artists had moved away from its allure, and the style was abruptly ceased. Popular artists include: Georges Braque, André Derain, Henri Matisse, Maurice de Vlaminck, and a few others. Fauvism paintings are known for their explosively contrasting colors. Fauvism is a combination of Expressionism (vibrant color and emotional intensity) and Impressionism (images of contemporary life). Symbolism was rejected. Fauvism is known for its return to a more classic sense of painting—organized, pure color (as opposed to divisionism, where colors are broken down and divided to combine optically). Above: Woman with a Hat, Henri Matisse; 1905 - a painting of the artist's wife.
Art Nouveau
A style of art that was developed and birthed in the mid-1800s. Art Nouveau artists include, but are not limited to Emilie Gallé, Antonio Gaudí, Louis Comfort Tiffany, Henry van de Velde, René Weiner and Charles F. Voysey. Art Nouveau was characterized by the use of natural imagery, organic subjects; the use of an emphasized, supple line; and the combination of decoration/ornament with structure. Art Nouveau took organic forms and twisted them into somethings abstract by the means in which they were rendered and styled. This style of art violently rejected the academic-style of painting and instead, it favored the earlier Arts and Crafts Movement as well as elements of Japonisme and Symbolism.
Gertrude Stein
A wealthy American poet/writer who purchased Matisse's The Joy of Life. Gertrude and her brother Leo shared a home that they filled with modern art in Paris. Famous artists, such as Picasso, Apollinaire and Matisse frequented the apartment as Gertrude held her own weekly salons there. Gertrude is well known for providing financial support for the poor artists of the time. The above painting is a portrait of Ms. Stein, made by Picasso—who used primitivism to develop the places of his subject's face. When making this painting, Picasso had Gertrude Stein sit for him numerous times. This deterred him from completion, for he felt as if he had looked upon Stein's face so often that he could no longer recognize the features. Above: Gertrude Stein, Pablo Picasso; 1905-6. Oil on Canvas.
Arts and Crafts Movement
An art style that determined to reaffirm the aesthetic beauty importance of handmade objects, sculptures and artworks. At the time of the Arts and Crafts Movement, the Industrial Age was making its way into the society of the late nineteenth and early twentieth centuries. Artists that participated in the Arts and Crafts movement included Walter Crane, William Morris, Philip Webb, Norman Shaw and Charles R. Ashbee. The Arts and Crafts Movement inspired the development of the Art Nouveau movement. The Arts and Crafts movement, to look at it at a broader scale, affected the world—it advocated education, public institutions and labor available to all.
papiers collés
An artistic technique of pasting colored/printed pieces of paper on a platform (canvas, paper, cardboard, etc.) to create a composition—large pieces of colored or neutral-toned paper were cut up to suggest to a specific emotion or object; the paper was either cut to resemble the shape of the object, or was printed with a pattern, script or graphic that recalled and symbolized said object. Effectively employed by Picasso and Braque, papiers collés was used to form and shape Synthetic Cubism.
Daniel Henry Kahnweiler
An influential art dealer originating from Germany, who made his way to Paris by the beginning of the twentieth century. After his portrait was composed by Pablo Picasso, Kahnweiler commissioned the artist with an exclusive contract that secured Picasso's financial stability and provided for his needs until WWI. In Portrait of Daniel Henry Kahnweiler, Picasso breaks down all sense of form and chooses to embellish the figure in shapes, which thereby renders the subject nearly undetectable. Picasso formally experiments with a form of Cubism in this paitnign. The subject, David Henry Kahnweiler, is just noticeable in the wave of hair, presence of mustache, and faint representation of the facial features—eyes, nose and mouth. Above: Portrait of Daniel Henry Kahnweiler, Pablo Picasso; 1910. Oil on Canvas.
Louis Vauxcelles
Art critic that coined the term Les Fauves, meaning "wild beasts" to refer to the artwork displayed at the Paris 1905 Sal d'Automne, in his review of the exhibition for the Parisian journal Gil Blas. Vauxcelles referred to the salon as "Donatello surrounded by wild beasts!" or "Donatello au milieu des fauves!" due to a Renaissance-inspired sculpture surrounded by the vibrant artwork of the Fauvists.
assemblage
Assemblage is a technique of art that was made popular by Pablo Picasso. Non-artistic materials are used to create elegant and inspiring pieces (such as sheet metal and wire sued to form Picasso's Guitar). The objects and materials used are combined by many different means—gluing and welding, and thereby create a sculpture that was unique in the fact that it was art composed of/by unartistic materials and means. Due to its habit of using "real-world" materials to compose and construct art, assemblage is known for being incredibly unyielding, harsh and overall authentically unrefined, therefore crude yet vivid.
Brancusi
Bird in Space represents the flight of a bird, as we can see its wing or a feather, not the bird itself. Brancusi was inspired by primitivism and forms that were simply beautiful, unimposing and limited details. Some believe that the curve of the bronze cast represents the bill or beak of a bird as well as the head, whereas the heavy base symbolizes the feet of a bird that provide the creature with enough force to push off of it perch and achieve flight. Bird in Space has often been misinterpreted by many viewers who in various instances, believed the sculpture to be a piece of war-craft, a propeller of sorts, or simply a household item. Above: Bird in Space, Constantin Brancusi; varies—1923 to 1940. Bronze, Marble.
Truth to Materials
Brancusi, and later modern architects, determined that there is a hierarchy of materials in art. Brancusi's sculptures represent his belief in the truth of materials. All and any materials should be exhibited, represented, displayed and used in the most civil and respectively appropriate way. For example, paint should be used as paint and nothing more; concrete/cement should remain in its natural state and used in the most serving way possible. Brancusi exhibited the truth of materials in his sculptures through his bases. A sculpture should be displayed with a base of hierarchal materials; for example, Bird in Space—the base is composed of wood, a primitive substance, and then stone, which is used to stabilize (as a heavy material) the sculpture, and then bronze, which is polished and shined so thoroughly that it gleams like gold, however, it does not pretend to be. The truth of materials maintains the integrity of a material.
Brancusi
Constantin Brancusi's artwork celebrated abstraction. Mademoiselle Pogany, the bronze rendition, is cast from the original marble bust and plaster mold dating from 1912. Mademoiselle Pogany, as we see here, is actually a portrait—this fact has befuddled viewers for centuries. Brancusi's representation of the hair without curls or any true form besides what appears to be a low bun in the back led viewers to believe that the woman depicted was bald—this created unrest for it was abstract and uncommon, almost revolting for a woman to not have any hair. The plaster mold of Mademoiselle Pogany was one of the star pieces of The Armory Show in New York in 1913. The head that Brancusi sculpted was ridiculed for too closely resembling an egg. Additionally, the absence of clear facial features was troubling and absurd. Mademoiselle Pogany is another example of Brancusi's return to the simpler details and examples of art. Above: Mademoiselle Pogany, Constantin Brancusi; 1913. Bronze.
Gustave Eiffel
Gustave Eiffel was a French engineer and architect. His most famous work was named after him and is the Eiffel tower. Gustave Eiffel is also known for his contributions to the design of the United States' Statue of Liberty. The Eiffel Tower was designed and constructed before being erect in 1889 on the Champs de Mars, Paris, France. It served as the entrance to the 1889 World's Fair. It has since become a world icon. Alexandre Gustave Eiffel was also involved with the advancements and developments of meteorology and aerodynamics as well as wind tunnels which later helped with aviary technology. Above: The Eiffel Tower, Gustave Eiffel; 1889
Klimt
In Judith and the Head of Holofernes, Klimt tackles the biblical story of Judith, who, with the help of her maidservant, is said to have decapitated the war general Holofernes and thereby saving her town from his destruction and pillaging. In this painting, Judith is holding her victim's head and she gazes out from the canvas with a heavy-lidded stare. One may interpret this gaze as being filled with lust or contempt or even the expectation of respect or fear from the viewer. The nudity of her body suggests that she is unashamed of how she is presenting herself. This unabashed presentation of her nude form, paired with her gaze and the way she grips Holofernes' head, reflects the femme fatale theme of an empowered, fearless woman. The gold tones, a characteristic of Klimt's work, bring a regal air to the painting. Klimt's smooth brushstrokes create a tranquil composition that reflects the sense of serenity Judith must have felt once Holofernes, an imposing danger, was disposed of. The patterns of the composition however, on Judith's gown and the background, add vivacity to the painting and claim the action of courage that Judith enacted in decapitating her enemy. Above: Judith and the Head of Holofernes, Gustav Klimt; 1901. Oil on Canvas.
Klimt
Klimt's use of gold leaf is reminiscent of Byzantine and Medieval artwork and the painting of religious deities and figures. The rectilinear pattern on the figure on the left's gown symbolizes masculinity whereas the curvilinear lines (circles) on the figure on the right's gown represent femininity. The female and male forms are wrapped up in a tender embrace and as we can view on the woman's face, they have lost themselves to their kiss—they are seemingly immobilized, without any intention of moving. Both figures seem to be in a state of happy tranquility. While the male form seems to dominate the couple's kiss, the female does not appear to be bothered by it. The figures are embracing one another and holding each other delicately, not willing to let go of one another yet not so engrained in their activity that they could not break apart. The Kiss is a painting that is developed to capture a whole feeling, not just an action, and has been composed to relate to the sensuality and love shared between two people, rather than the angst and even more ephemeral, lust. Above: The Kiss, Gustav Klimt; 1908-1908. Oil and Gold Leaf on Canvas.
Louis Comfort Tiffany
Louis Comfort Tiffany is an American artist known for his stained glass representations of flora and fauna—a smaller, more practical sense of sculpture. Louis Comfort Tiffany was an artist of the Art Nouveau movement and created magnificent pieces of whimsical grandeur. Tiffany affiliated himself with the group known as the Associated Artists—Candace Wheeler, Samuel Colman and Lockwood de Forest—and later furthered his relationship with the group and ventured into business undertakings with them. Tiffany glass endeavors included stained glass windows and lamps, blown glass sculpture, glass mosaic, ceramics, enamels, jewelry and some metalwork. A very innovative, inventive and ambitious man, Tiffany went on to create the "copper foil" technique of glass making and developed several companies, all of which were successful.
My Educated Guess: Constantin Brancusi, Modernism, 1912. Actual: The Newborn, Constantin Brancusi; 1915. Marble.
My Educated Guess: Constantin Brancusi, Modernism, 1912. - Constantin Brancusi was a modernist sculptor. His works resembled the twist in society that developed from the advancements of technology. His artwork reflected abstract themes and subjects. The way he employed form and composed his sculptures was reminiscent of innovation and highly modern. - Constantin Brancusi's sculptures were made with the purest of materials. His preferred materials include marble and bronze. Brancusi chose to use natural materials, instead of other synthetic (manmade) materials to preserve the natural beauty behind his sculptures. - Brancusi believed in primitivism, which meant that he celebrated and emulated the most simplest and unassuming forms of art. His sculptures are always composed by the hand and can be identified as his own for they all resemble the same calling to return to nature. - Brancusi's work is also, very characteristically, simple. His forms are not just composed with primitivism in mind; they are uniquely and consistently simple in makeup. To quote the fine sculptor, "Simplicity is complexity." Brancusi believed that simpler, more humble forms, told a large story. The smoothness of this piece, the way Brancusi manipulates the marble to create a solid and gentle appearing form, recalls that idea of simplicity. The Newborn was created to represent not only an infant child, fresh to the world, but also the complicated and arduous act of labor. This sculpture is considered to be Brancusi's most radical. Originally the sculpture was aptly named Beginning of the World, and this was set in place to recall the violent manner in which we are brought into this world. The slash that breaks up the smooth surface of the sculpture, at the top, represents the ripping from a mother's womb, similarly to how the indentation and divot in the front of the sculpture refer to the pulling of a child from its mother's womb—there is a sensing of pull, or yanking into the world. The smoothness of the marble reflects the tranquility and innocence behind a sleeping baby. Above: The Newborn, Constantin Brancusi; 1915. Marble.
My Educated Guess: Edvard Munch, Symbolism. 1900. Actual: The Dance of Life, Edvard Munch; 1900. Oil on Canvas.
My Educated Guess: Edvard Munch, Symbolism. 1900. - Munch's work is discernible by the way he represents figures. Edvard Munch classically represents his human figures, in most all of his works, with curved, sweeping brushstrokes and even color. For example, Madonna, and The Scream. Munch brush must have swept elegantly over his canvas, and with great restraint and control, one can see how Munch's figures are beautifully composed and carefully executed. Every detail of the figure is always cautiously swept onto the canvas. - There is a common theme within some of Munch's paintings, and that is that there is always an imposing darkness waiting for an opportune moment to catch either the viewer or the reader. In The Scream, the imposing dark force was the unnatural orange of the sky. In Madonna, it was the dark background that surrounded her and her downcast gaze, promising danger. In The Dance of Life, it is the opposing forces of the women framing the couple in the center—on wears white, an angel perhaps, while the other wears black, perhaps the devil. - A common characteristic of Munch's work is the use of vibrant and highly chromatic colors. The bright red of the women's dress depicted in The Dance of Life, recalls the fiery sky of The Scream. The absolute blackness of the woman on the right's dress, as well as the male's suits reflects the darkness of the clothes of the main subject of The Scream and the ominous background figures. - The thicker outlines of the figures, that wrap around the people in think, thin, distorted and sharp lines is a common characteristic of Munch's work. It appears that in all of munch's paintings, he plays with the outlines of his subjects so as to provide emphasize to the subject of focuses, while still drawing the eye through the rest of the figures and/or objects with the other various outlines. It is said that the above figures are all present at a local festival that took place in Munch's hometown in Norway. The woman in white, of the left side of the painting has been identifies as Munch's girlfriend and he has depicted her in a white dress to represent her embodiment of innocence and virginity. The woman of the left, dressed in black, is said to symbolize old age. This imposing figure stares on as the couple dance, most likely envious of the way their love is palpable and almost tangible. Above: The Dance of Life, Edvard Munch; 1900. Oil on Canvas.
My Educated Guess: Georges Braque; Cubism, 1911. Actual: Violin and Palette, Georges Braque; 1909. Oil on Canvas.
My Educated Guess: Georges Braque; Cubism, 1911. - Georges and Picasso's work is often mistaken for one another's due to the pair's close working relationship. When originally viewing the work, I could tell that it wasn't Picasso's, due to the lines being more blended and less precise—my guess is based upon the fact that I knew the pair's work was so similar, but not exactly in every aspect. - Also similarly to Picasso, Braque developed his pieces around the common theme of contributing musical elements with the visual forms of art, also known as synesthesia. Braque has a familiar theme of violins in some of his works, like Picasso. Contrasting to Picasso, however, his instruments are more easily seen in his works—one can tell where the finger board and scroll of the violin are. - The colors of Georges' work tend to be more chromatic, yet muted. Picasso's work varies drastically from the very chromatic palette to the very muted. Braque ranges somewhere in between. - Due to the geometric shapes used to represent each of the subjects, the facets of each side shown dramatically to the viewer, I knew this was a Cubism piece and after some light research, I could tell it was the specific form of Cubism, Analytical Cubism. The style of this painting is in true Analytic Cubism fashion, what with the destruction of form and objectified space. Braque once said that by breaking down his objects in the Cubist fashion, he felt he was as close to representing them in a paint form than he could possibly get. There was no truer sense of painting an object, not even in the academic-style of painting with an almost mirror or photographic replication of an object. The true painting of an object was derived from capturing the forms and shapes that composed it. Playing into Synesthesia, Braque establishes the relationship between the musical elements of the violin with the visual representation of it. He uses his planes and geometrical shapes to emphasis the flat plane of the canvas as well as the flattened forms of the different objects inside of the painting, such as the sheets of music seen at the top of the painting. Above: Violin and Palette, Georges Braque; 1909. Oil on Canvas.
My Educated Guess: Gustav Klimt, Symbolism. 1905. Actual: The Three Ages of Woman, Gustav Klimt; 1905. Oil on Canvas.
My Educated Guess: Gustav Klimt, Symbolism. 1905. - One characteristic that determines this painting as a Gustav Klimt is the presence of the gold leaf. The otherwise oil paintings of Klimt's common practice are most always decorated with a touch of the gold element. This gold accents certain aspects of the painting that Klimt has deemed important, or that he has figured out to be a focal point, such as in The Kiss. - Gustav Klimt is known for his use of incredible patterns that represent/symbolize different things. In this painting, the patterns are used on the clothing on the figures, as they are characteristically throughout Klimt's paintings. Here, the patterns may or may not be used to symbolize young (the busy, vibrant blue pattern) and old (the muted gold and languid curvilinear pattern). - Gustav Klimt was a Symbolist artist, so his artwork reflects such a style. The overall composition relates to a story/there is a meaning behind this painting. This particular painting, as well as all of Klimt's paintings, is not the average portrait, still-life or landscape. Klimt comprises his image of figures that relate to a meaning. The overall painting delivers a message to the viewer and so Klimt smuggles in his Symbolism into his works without blatantly showing the people. The symbols are the entire piece, not just the individual forms and subjects depicted. - The thickness of the paint in which Klimt applies to his painting is reminiscent in his other works. While harder to see on a computer screen, one may still determine the slight thickness to the application of the paint. Some areas of Klimt's paintings display many layers of color, where undertones shine through to create translucent fabrics, such as in Judith and the Head of Holofernes or 'glowing' and realistic strands of hair. The Three Ages of Woman displays two women and one young female child. This painting was made to show the life cycle of a woman and goes as follows, from right to left, child, woman, and elderly woman. The painting may also be seen as representing birth, life, and death, or as baby, mother, and old woman. Klimt's depiction of each figure is used to show the pitfalls as well as the vibrancy of life. The young woman and child are illuminated seemingly from within. Their skin is bright and young and the central woman's hair shines gloriously. The central woman and child are wrapped in a warm embrace, symbolizing the comfort of life and love. There is beauty in the pattern that envelopes the mother and child as well as in the flowers that embellish the young woman's hair. The woman on the left symbolizes old age and her skin shows it. The sallow color represents a dying woman and her body sags and drops with the heaviness of the skin that no longer supports itself. The truth of the ugliness of age is present in every aspect of her muted body that Klimt depicts in such a negative light—it captures and represents the unknown horrors of growing old that the child and young woman have not experienced. Above: The Three Ages of Woman, Gustav Klimt; 1905. Oil on Canvas.
My educated Guess: Georges Braque; Cubism. 1915. Actual: Bottle, Glass, Pipe (Violette de Parme), Georges Braque; 1914. Cut/Pasted Newspaper, Painted paper/Wallpaper, Charcoal, Graphite, Gouache on Paperboard.
My educated Guess: Georges Braque; Cubism. 1915. - Picasso and Braque's work is often confused for one another's as the pair of artists worked so closely with one another. The duo developed Cubism as it is known today and embellished the art style thoroughly through their many works. In determining that this work was not Picasso's—the color of the piece is not distributed throughout—I could confidently label this work as Braque's. - Braque's work, similar to what is seen here, has consistently been of a higher chromatic level than that of Picasso's. In Bottle, Glass, Pipe, Braque uses what appears to be a singular hue, brown. The many different tints, shades and tones, varying between more Chroma and less Chroma, of the brown are vibrant nonetheless and give the work a simple air. - Although the objects within the piece are blended and mashed together, these objects are not as heavily faceted and broken down as Picasso's still-life might have been. The objects could stand alone, and one can clearly see what determines/objectifies them. The subjects of this assemblage piece are not as complicated as Picasso's. These objects are clear and identify themselves through their shape and the material used to represent them. - This piece varies form Picasso's own work due to the fact that the brown paper used to add an extra element to the composition appears to be placed at random intervals within the piece. The brown paper under the pipe serves as an elevating platform to call the viewer's attention to the intricate and important detail. The paper that rests in the middle of the painting however appears to present a portal into a background sheet of newsprint. This, seemingly, random spattering of brown paper tears up the composition down the middle. In this painting Braque purposely pulls together several different media forms to layer them and successfully create a composition that is full of depth, even on the flattened surface of paperboard. The layers of paper in the center of the composition seem to have dimension, they appear to be framed back into the ornate frames that sit, stacked, against a nonexistent back wall. Additionally, the pipe is rendered and positioned on top of the brown paper, which pulls the smaller object forward and pulls attention away from the layers of other papers. The pipe even has rendered shadow which further sets it apart from all of the other factors of the piece. The other objects, 'Bottle' and 'Glass' seem to fall away from the viewer who is just able to grasp at and catch a glimpse of these objects before the other subjects of the composition draw the viewer away, violently. Above: Bottle, Glass, Pipe (Violette de Parme), Georges Braque; 1914. Cut/Pasted Newspaper, Painted paper/Wallpaper, Charcoal, Graphite, Gouache on Paperboard.
Harmony in Red
Originally commissioned as "Harmony in Blue," Matisse painted over his unwanted result with his preferred, violent, red. A celebration of pattern and color in true Fauvism fashion—Matisse recalls different forms throughout the piece, such as the curvilinear sprays of the flourishes on the table being reflected in the curve of the trees outside. The perspective of the room is skewed in a similar way to his other pieces, such as The Red Studio. Matisse uses his signature red to define the canvas as a flat surface that denies space. The scene is united by the red walls that seem to spill onto the red tablecloth, and by the familiar motif of fruit decorating the room. Above: The Desert: Harmony in Red, "Red Room," Henri Matisse; 1908. Oil on Canvas.
Picasso
Pablo Picasso was a Spanish painter and sculptor who spent most of his artistic career and henceforth his adult life in France. He is well known for his different periods of art and transcends time with his skill and broad range of styles and artistic prowess. One of his most famous periods is when he developed and practically invented Cubism and its several renditions, alongside fellow artist Georges Braque. Picasso's Guitar resembles Cubism brought to physical life. Cubism, the style of art that Picasso is most known for exhibiting in his compositions, is brought to sculpture through a more literal sense of papiers collés and collage—or simply put, the assemblage fashion of Synthetic Cubism. Guitar represents the musical element of life being brought to a visual field and recalls the theme of synesthesia. Picasso displays all views of the guitar by projecting its pieces and parts, divvied up into separate facets and forms (Cubism). Above: Guitars, Pablo Picasso; 1912-1914. Cardboard, Paper, String, Wire.
Autumn Salon
Salon d'Automne—Paris: 1905—an exhibition that was set up by artists of the early twentieth century in response to the conservative policies and artistic standards of the official Paris exhibitions. At the Salon d'Automne, art critic Louis Vauxcelles coined the term Les Fauves meaning "wild beasts" to describe the exhibition's new style of art—Fauvism.
Secession (esp. in Vienna)
Secession comes from the word "secede" and refers to the action of pulling away. The German secessions of Berlin, Munich and Vienna were largely known for their huge followings and for sparking the fire that later, metaphorically, burned up the artistic world. German artists, in the twentieth century began to turn away from the artist societies and formed new ones with looser policies and more appreciation for a liberal form of art. The secessions in Vienna, Berlin and Munich later led to the secessions in New York, Paris and Moscow. Artists everywhere, all over the world, were rebelling against the Academy and its overbearing authority. The Vienna Succession was started in 1897 by Gustav Klimt. This particular secession gained support from not only German artists, but also the German government. Vienna, with its achieved approval and government support, became an artistic capital and center of the modern arts/sciences during the 1800-1900s.
degeneration
The Degeneration Theory was propositioned and acknowledged by Benedict Morel, a French psychiatrist—this concept with a theory that derived from certain scientist fear that society and civilization was on the decline. The theory began with the initial origin of the human race and how it has fallen into its state of relative upset due to societal pressures and roles. Degeneration in biological terms refers to the role of a cell as it moves from a complex structure and degenerates or deconstructs to a simpler one. As The Degeneration theory developed, more and more people believed it to be associated with nationalism and militarism.
The Armory Show (1913)
The International Exhibition of Modern Art; February 17 and March 15, 1913. The Armory Show was a large showing of approximately 1,200 works of art and was displayed in major cities such as New York, Boston and Chicago. The focus of the show was of mainly European works and particularly of the art style of modernism. The presentation of the numerous, varied works of art also showcased art from Impressionist, Neo-Impressionist, Post-Impressionist, Symbolism, Fauvist and Cubist artists—yet it virtually neglected the works of expressionist and futurist artists.
The School of Paris
The School of Paris is derived for the idea that as new artists came trickling into the city of Paris, into Montmartre and Montparnasse, in search of teachers and mentors, work and commissions, inspiration and life, the city developed into a school itself. New artists, such as Pablo Picasso, learned everything they could by seeking out older French artists as mentors and viewing exhibitions. Their subjects were people of the street, or the landscapes of the city, or just outside of the city. They took inspiration from the Parisian people and lifestyle. The young artists, the students of Paris, essentially learned how to perfect their skills and craft by entering the city and living there as they worked, amongst other artists. The wave of artists, foreign and non, that sought refuge and a home in the city became henceforth labeled as the School of Paris. The School of Paris focused on portraiture, still-life, landscapes, cityscapes and figure studies. Expressionism, Fauvism, Cubism and Symbolism were all practiced and celebrated by the artists of the School of Paris.
Munch
The Scream is a work of art that is part of the series Munch created that centered on his life, "The Frieze of Life." The painting is composed of three areas; the bridge, the landscape and the sky. In the landscape, one notes the blue and green hues. These most simply reflect upon the blue of water, as there is said to be a lake positioned in the background, as well as the green tones would recall the image of grass or grassy hills. The sky is a fiery orange, it is unrelenting in his composition, and without any breaks that symbolize it is an artistic imbalance within the composition. The sky is said to be a direct replication of what Munch must have bene looking at when composing this piece. Around the time of this painting commission, the volcano Krakatoa of Indonesia is believed to have erupted and the whole world was affected by the incredibly large amounts of ash that filled the air, blocking out the sun and tinting the sky this angry red-orange. The figures on the bridge are separated from each other as well as the background. The figures in the distance are merely imposing black forms whereas the androgynous figure in the foreground captures the viewer's attention with simply the look on its face. The wide open eyes and mouth and the hands gripping the head recall the emotion fear and give the viewer the sense that this figure is tormented. It is said that Munch painted this scene after drawing inspiration from an event he experienced, his own personal scream as he felt nature around him also scream, in either fear or torment. Above: The Scream, Edvard Munch; 1893. Oil, tempera, pastel and crayon on cardboard.
Salon des Indépendents
The artists Henri Edmond Cross, Odilon Redon, Georges Seurat, and Paul Signac, and a few other, founded their own salon in Paris in 1884. The Salon des Indépendents was a symbol of art turning away from the academic teachings of the well-known Art Academies of the eighteen hundreds. The Salon des Indépendents was a signal of the fall of the Salon—art exhibitions were artists work was chosen and critiqued in order for submission and inclusion. The salon was known for being a place where artist's work was displayed for recognition and was the source of where most artists' income came from. The Salon des Indépendents was created for all of those that wished to have their work displayed but refused to partake in the degradation that the academy Salons put artists through.
"Primitivism"
The belief that Non-Western nations, such as those from Africa, and their peoples are more attuned to the purest form of nature due to their noninvolvement in the corruption of European society. Matisse - Example: Dance, Bonheur de Vivre. Matisse approaches Primitivism by replicating the languid and sensual form of the bodies of primitive subjects. His paintings conjure up the image of cave drawings perhaps, where the bodies are simple in construction. The curve of Matisse's subjects' bodies recalls the fluidity and natural forms of the human body and relate to primitivism in this sense. Picasso - Example: Portrait of Gertrude Stein. Picasso renders Stein's features with an air of the influences of African and Iberian art. Picasso viewed primitivism as a way for art to truly expose the individual—not just his or her features. Primitivism, in Picasso's eyes, showcased the deeper meaning of a work of art through its natural means and simplistic shapes. Brancusi - Example: Bird in Space, White Negress. Brancusi uses Primitivism in his sculptures. Brancusi often viewed primitivism as a style that did not simply reflect the nascent and primeval aspects of the art of the African or Iberian nations—but as a style that celebrated the simplicity and beauty behind something so elegantly meek and unassuming. His sculptures reflected elements of primitivism for he believed, as a sculptor and artist, that one's work did not have to physical show every aspect of the message it was trying to tell—the humbleness of a work of art that celebrated primitivism's ideals, achieved the purest form of description and visual representation.
Analytic cubism
The collaboration of Georges Braque and Pablo Picasso shaped this particular faction of the art style Cubism. Analytic Cubism paintings were often still-life or portrait paintings. The overall palette used for these paintings was of muted tones of neutral hues, such as brown and gray, with the occasional green. The subjects of Analytic Cubism were composed to be as if one were looking at it, whether it be a person or object, from all angles, seemingly at once. The subject and background of these painting were broken up into interlocking/clashing geometric shapes and forms. These characteristics were used to emphasize the true makeup of the depicted objects, instead of just their aesthetic features. In The Portuguese, Braque takes his objects are fragments them so that one may be able to see all sides and views, not just the one that is most commonly presented. By breaking down the objects, the guitar player that is portrayed here, Braque provides the paintings viewer with the complete optical view of the subject, as he would see it, having painted it and viewed it from any perspective he so wished. Above: The Portuguese, Georges Braque; 1911. Oil on Canvas.
the decorative
The decorative arts can be classified as many different things. Decorative art most simply refers to the arts that are focused on creating beautiful compositions, objects and spaces that are also functional. In another sense, decorative art was the arts and crafts movement sponsored by and paid for by the Unite States government. The Federal Art Project, also known as FAP, was a program enacted upon by the U.S. government that paid artists for their artwork that was composed to decorate public buildings. Decorative art, and applied art, as mentioned above, was made to be admired and be a visually functional piece of work. Under the FAP, and until its termination in 1943, some 150,000 pieces were commissioned and composed. Artists that participated in this program include Jackson Pollock and Arshile Gorky. Above: Decorative Figure on an Ornamental Background, Henri Matisse; 1925. Oil on Canvas.
Munch
The femme fatale was a theory or belief that centered on women being inherently evil, with a dangerous penchant for lust that was tormenting and hazardous for any man. Munch uses the femme fatale theme in his painting Madonna, to symbolize the alluring charm of such an innocent figure. The way Munch curls Madonna's boy is reminiscent of a snake, which ties into the devil's allure of Eve. Madonna's arms are positioned at points behind her, behind her head and behind her body, these are symbolic towards a sense of submission. The femme fatale theme applies to Madonna's sense of allure, yet all of the signs that Munch depicts points to the abuse of Madonna. However, Munch's placing of Madonna's hands behind her back may also symbolize her possessing something of danger behind her that may be used against a man if danger were to present itself. Madonna is pictured here to be introversive; her gaze is not on the viewer. Her body is naked to the viewer, yet she seems detached, and her air of ambivalence to the viewer seeing her exposed is what sanctions and solidifies the femme fatale aspect of this dark painting. Above: Madonna, Edvard Munch; 1895-1902. Color Lithograph.
le fin de siècle
The meaning of 'Le Fin de Siècle" is "the end of the century." The philosophy behind this brief period of society was that symbolized the closing of one era and the beginning of another. Le Fin de Siècle also refers to the belief that civilization and society leads to decadence, which ties into the mindsets of the populace of the era, ennui, pessimism, and cynicism. Le Fin de Siècle brought on the onset of movements such as symbolism and modernism. Le Fin de Siècle was essentially a revolt against such ideals behind the theories of materialism, positivism, rationalism, the bourgeois society and democracy. Emotionalism, subjectivism and irrationalism were, consequently supported and celebrated. Le Fin de Siècle is said to have led to the political ideology of fascism.
Orphism
The term Orphism is derived from Orphique, a musical term that means "entrancingly lyrical" and refers to the art movement established by artists such as Robert and Sonia Delaunay and Marcel Duchamp, that brought vibrant color to the muted tones of Analytical Cubist works, as well as believed in the power of synesthesia in art—blending musical, visual, and literary sensations together to create a more powerful composition overall. Orphism is considered the first artistic movement dedicated to art that is not used to represent something and is, just art. Colorful patterns composed of geometric shapes created the makeup of this art movement and, steering away from any scene or depiction of nature of natural objects, Orphism developed into the abstraction that was later identified as Modernism. Above: Simultaneous Contrast: Sun and Moon, Robert Delaunay; 1912/1913. Oil on Canvas.
Matisse
This painting is a prime example of the well sought after effect of dismantling spatial illusion. Matisse establishes this relative destruction in three parts: the heavy use of the color red—Matisse tries to use the abrasive color to force space out of the painting, however, the red inadvertently becomes the walls and floor of the studio; the employment of illusionism—Matisse tries to dismantle perspective by distorting the room's objects, or removing stable, determining lines altogether and the pulling apart the relationship between the figures/objects of the painting and the grounds of the painting (foreground, middle-ground and background)—Matisse employs reserve lines, that places the red space on top of the lines detailing and constructing objects. Against all odds and determining factors, Matisse manages to deconstruct space by creating the space (the studio) from the painted figure on top (the red paint) and using the actual space (the canvas) to create the figures (the objects in the painting). Above: The Red Studio, Henri Matisse; 1911. Oil on Canvas.
Matisse
This painting labeled Matisse, albeit briefly, as the most daring artist in Paris. Characteristics of the painting include: skewed scale throughout the painting—the figures of the foreground are large, while the figures of the middle ground do not recede, instead, they appear to be just as large; the scene recalls a mythical location—it is not the classic park, or the River Seine background; the figures' bodies are contorted—reminiscent of Ingres' Odalisque; additionally, the figures, of the middle ground, are thickly contoured and reflect the heavy color and curvilinear edges of the trees. Above: The Joy of Life, Henri Matisse; 1906. Oil on Canvas.
Brancusi
This plaster sculpture was exhibited at the 1913 Armory Show similarly to its sister work Mademoiselle Pogany. The Kiss is known for being the most geometric of all of Brancusi's works. The couple that shares their intimate kiss, that we, as the viewers, look upon, make up the two halves of The Kiss—their forms only separated but down the middle. Their facial features, or what can be seen of their facial features, are identical. The only determining factor between male and female is the curve of the woman figure's breast and her long hair that splays down her back. Brancusi's inspiration from primitivism is staring the viewer blatantly in the face as one can take notice of the simple forms which are unassuming in makeup. Brancusi uses his simplistic forms to focus the viewer's attention on the action of a kiss, nothing else matters besides the joining of the man and woman—a sacred act, immobilized for eternity. Above: The Kiss, Constantin Brancusi; 1907-1908. Plaster.
