20Th Century Art And Architecture

Front 1

Expressionism

Back 1

a term used to denote the use of distortion and exaggeration for emotional effect, which first surfaced in the art literature of the early 20th century. When applied in a stylistic sense, which reference in particular to the use of intense color, agitated brushstrokes, and disjointed space. Rather than a single style, it was a climate that affected not only the fine arts but also dance, cinema, literature, and the theatre.

Front 2

Henri Matisse

Back 2

-The Joy of Life, 1906
-Open Window, 1905
- Woman with the Hat, 1905
-, The Green Stripe, (Portrait of Mme Matisse), 1905
-The Red Studio, 1911
-The Dance, 1910
He finally found his own style characterized by daring, bright colors executed in a broad-brush stroke.

Front 3

Les Fauves

Back 3

- which literally means The Wild Beasts
- exhibition of their works in 1905 at the Salon d’Automne
- a short-lived and loose grouping of early 20th century Modern artists whose works emphasized painterly qualities, and the imaginative use of deep color over the representational values retained by Impressionism.
-

Front 4

German Expressionism

Back 4

• The ideals that dominated German art were both more abstract and more individualistic; thus when the experimental spirit in Germany embraced modernism, it did so in forms that were more obsessive and quirky than anything created in France.

Front 5

Die Burke

Back 5

• Socially, the young artists were publicly protesting the hypocrisy and materialistic decadence of those in power. In art, they were rebelling against the old tyranny of the academy and the new tyranny of Impressionism and Neo-Impressionism, whose tasteful, painted fields of bright color no longer seemed meaningful in the fast moving, amoral, machine-age world in which the emerging generation suddenly found itself.
• The Bridge was conceived both as a return to the medieval cooperative craft guild and a 20th century approach to art.
• They used jarring contrasts of color, jagged, slashing lines, and forced distortion of natural forms.
• The subject matter was nearly always transformed, however, into new realms of meaning by the consistent distortion and bold, painterly treatment of the forms.

Front 6

Ernest Ludwig Kirchner (1880-1938)

Back 6

• He adopted a “primitive” life-style, attempted to capture in painting psychic states like those sensed in tribal sculpture, and filled his studio with batiks, tapa cloths, and rough furniture carpentered by himself
- Self Portrait with Model (1910-1926)
- Street Berlin (1913)
-

Front 7

Cubism

Back 7

Vauxcelles called the geometric forms in the highly abstracted works “cubes”. Other influences on early cubism have been linked to Primitivism and non-Western sources. painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relief like space. They also used multiple or contrasting vantage points.

Front 8

Georges Braque 1882-1963

Back 8

- House at L’estaque, 1908
- Violin and Palette, 1910
- The Portuguese, 1911

Front 9

The Rose Period

Back 9

• In 1905-1906, Picasso’s palette began to lighten considerably, bringing in a distinctive beige or “rose” tone. The subject matter also is less depressing. Here are the first appearances by the circus performers and clowns that will populate Picasso’s paintings at various stages through the rest of his long career.
- Family of Saltimbanques, 1905
- Two Youths, 1906
- Girl with a Goat, 1906
- Les Demoiselles d’Avignon, 1907

Front 10

The Blue Period

Back 10

• Shortly after moving to Paris from Barcelona, Picasso began to produce works that were suffused in blue. The particular pigment is effective in conveying a somber tone. The psychological trigger for these depressing paintings was the suicide of Picasso’s friend Cassagemas. The blue period work is quite sentimental, but we must keep in mind that Picasso was still in his late teens, away from home for the first time, and living in very poor conditions.
- Le Gourmet, 1901
- The Tragedy, 1903
- La Vie, 1903

Front 11

Les Demoiselles d’Avignon

Back 11

is one of the most important works in the genesis of modern art. The painting depicts five naked prostitutes in a brothel; 2 of them push aside curtains around the space where the other women strike seductive and erotic poses, but their figures are composed of flat, splintered planes rather than rounded volumes, their eyes are lopsided or starting or asymmetrical, and the 2 women at the right have threatening masks for heads. The space, too, which should recede, comes forward in jagged shards, like broken glass. In the still life at the bottom, a piece of melon slices the air like scythe. The faces of the figures at the right art influenced by African masks, which Picasso assumed had functioned as magical protectors against dangerous spirits: this work, he said later, was his first “exorcism painting.” A specific danger he had in mind was life threatening sexual disease, a source of considerable anxiety in Paris as the time; earlier sketches for the painting more clearly link sexual pleasure to mortality. In its brutal treatment of the body and its clashes of color and style (other sources for this work include ancient Iberian statuary and the work of Paul Cezanne),

Front 12

Synthetic Cubism

Back 12

• In 1912,Picasso took the conceptual representation of Cubism to its logical conclusion by pasting an actual piece of oilcloth onto the canvas. This was a key watershed in Modern Art. By incorporating the real world into the canvas, Picasso and Braque opened up a century’s worth of exploration in the meaning of Art. Some of the finest synthetic cubist work, both visually and conceptually, are the collages.

Front 13

Picasso's Sculptures

Back 13

- Guitar, 1912
- Still Life with chair Caning, 1912
- Guitar, Sheet Music, and Glass, 1912

Front 14

Robert Delaunay 1885-1941

Back 14

- Simultaneous Contrasts: Sun and Moon, 1913
- Joie De Vivre, 1930
- Homage to Bleriot, 1914

Front 15

Simultaneous Contrast

Back 15

Two colors side by side interact with on another and change our perception accordingly. The effect of this interaction is called simultaneous contrast. Since we rarely see the colors in isolation, simultaneous contrast affects of sense of the color that we see. For example, red and blue flowerbeds in a garden are modified where they border each other; the blue appears green and the re orange. (This is explained below) the real colors are no altered; only our perception of them changes. This effect has a simple scientific explanation that we will uncover. Simultaneous contrast is most intense when the two colors are complementary colors. Complementary colors are pairs of colors, diametrically opposite on a color circle: as seen in Newton’s color circle, red and green, and blue and yellow. Yellow compliments blue; mixed yellow and blue lights generate white light.

Front 16

The Armory Show of 1913

Back 16

officially known as the International Exhibition of Modern Art, was the first large exhibition of such works in America. The exhibit challenged and changed both academic and public definition and attitude towards art, and by doing so altered the court of history of American artist. Making the end of one era and beginning of another, the Armory Show shattered the provincial calm of American art. It rocked the public and blasted the academies of painting and sculpture. Four thousand guests visited the rooms on the opening night. For the first time, the American public, the press, and the art world in general were exposed to the changes wrought by the great innovators in European art, from Cezanne to Picasso. The exhibit led to the profound changes in the art market in the US, and to the broad acceptance of modern works.

Front 17

Futurism

Back 17

was an international art movement founded in Italy in 1909. It was (and is) a refreshing contrast to the weep sentimentalism of Romanticism. The futurists loved speed, noise, machines, pollution, and cities; they embraced the exciting new world that was then upon them rather than hypocritically enjoying modern worlds comforts while loudly denouncing the forces that made them possible. Fearing and attacking technology has become almost second nature to many people today; the futurist manifestos show us an alternative philosophy.

Front 18

Umberto Boccioni

Back 18

- Dynamism of a Soccer Player, 1913
- Unique Forms of Continuity in Space, 1913
- Development of a bottle in space, 1913

Front 19

Suprematism

Back 19

considered the first systematic school of purely abstract pictorial composition in the modern movement, based on geometric figures and was the expression “of the supremacy of pure sensation in creative art” it is Russian art movement founded in (1913) by Kasimir Malevich in Moscow, parallel to constructivism. The Suprematist projects was above all the brainchild of the painter and theoretician Malevich. According to him, Suprematism sought to liberate art form the ballast of the representational world. “The work of the painter no longer involved representing and creating chromatic harmonies of formal compositions, but rather attaining the limits of painting. It consisted of geometrical shapes flatly painted on the pure canvas surface. The pictorial space had to be emptied of all symbolic content and all content of signifying form. It has to be decongested and cleared, so as the show a new reality where thought was of prime importance. In 1915 Malevich exhibited Black Square on a White Ground. For this show he also published from cubism to futurism to suprematism, a tract in which he described a sequence of avant-garde movements within a historical perspective. 3 yrs later, Malevich painted which square on a white ground, part of his famous white on white series. Here, the abstraction of painting attainted and fully revealed the abstraction of though and embodied the movement’s principles. Malevich was given a cold shoulder by the Stalinist regime, but he carried on his exploratory work by returning to figurative forms and subjects drawn from the everyday life. Suprematism changed the future of modern art, architecture, and industrial design, through its dissemination by the Bauhaus and today continues to inspire artists throughout the world.

Front 20

Kasimir Malevich

Back 20

- Eight Red Rectangles, 1915
- Blue Triangle, 1915
- Airplane flying, 1915
- Painterly Realism of a Football Player. Color masses in the 4th dimension, 1915
- Black Square, 1929
- White on White, 1918

Front 21

Piet Mondrian, 1872-1944

Back 21

- Composition with Red, Yellow, and Blue 1921
- Composition with Gray and Light Brown, 1918
- Broadway Boogie Woogie, 1942
- Gerrit Thomas Rietveld, Red and Blue Armchair, 1918

Front 22

Dada

Back 22

• An early 20th century art movement which ridiculed contemporary culture and traditionally art forms. The movement was formed to prove the bankruptcy of existing style of artistic expression rather than to promote a particular style itself. It was born as a consequence of the collapse during WWI of social and moral values which had developed to that time. Dada artists produced works which were nihilistic or reflected a cynical attitude towards social values, and, at the same time, irrational, absurd and playful, emotive and intuitive, and often cryptic. Dadaists typically produced art objects in unconventional forms produced by unconventional methods. Several artists employed the chance results of accident as a means of production, for instance. Literally, the word dada means several things in several languages: its French for “hobbyhorse” and Slavic for “yes yes” some authorities say that the name Dada is a nonsensical word chosen at random from a dictionary. Many artists associated with this movement later became associated with Surrealism.

Front 23

Hieronymus Bosch

Back 23

The Garden of Earthly Delights, 1505

Front 24

Francisco de Goya

Back 24

Saturn Devouring His Children, 1819

Front 25

William Blake

Back 25

The Ancient of Days (God as Architect)

Front 26

Henri Rousseau 1844-1910

Back 26

known as Le Douanier Rousseau. French painter, the most celebrated of naïve artists. His nickname refers to the job he held with the Paris Customs Office. Although he never actually rose to the rank of Douanier. Before this he had served in the army, and he later claimed to have seen service in Mexico, but this story seems to be a product of imagination. He took up painting as a hobby and accepted early retirement in 1893 so he could devote himself to art. He tried to paint in the academic manner, but it was the innocence and charm of his work that won him the admiration of the avant-garde: in 1908 Picasso gave a banquet, half serious half burlesque, in his honor. His paintings are works of great imaginative power, in which he showed his extraordinary ability to retain the utter freshness of his vision even when working on a large scale and with loving attention to detail. He claimed such scenes were inspired by his experiences in Mexico, but in face his sources were illustrated books and visits to the zoo and botanical gardens in Paris.
- The Dream 1910
- Snake Charmer, 1907
- Carnival of Evening, 1886
- Tropical Forest with Monkeys, 1910
- Woman Walking in an Exotic Forest, 1910

Front 27

Marc Chagall 1887- 1985

Back 27

- Paris Through the Window, 1913

Front 28

I and the Village, 1911

Back 28

I and the Village evokes his memories of his native Hasidic community outside Vitebsk. In the village, peasants and animals lived side by side, in a mutual dependence here signified by the line from peasant to cow, connection their eyes. The peasant’s flowering sprig, symbolically a tree of life, is the reward of their partnership. For Hasid’s, animals were also humanity’s link to the universe, and the paintings large circular forms suggest the orbiting sun, moon (in eclipse at the lower left), and earth. The geometries of I and the Village are inspired by the broken planes of cubism, but Chagall’s is a personalized version. As a boy he loved geometry “lines, angles, triangles, squares,” he would later recall, “ carried me far away to enchanting horizons.” Conversely, in Paris he used a disjunctive geometric structure to carry him back home. Where cubism was mainly an art of urban avant garde society, I and the Village is nostalgic and magical, a rural fairy tale: objects jumble together, scale shifts abruptly, and a woman and two houses, at the paintings top, stand upside down. “For the cubists,” Chagall said, “a painting was a surface covered with forms in a certain order. For me painting is a surface covered with representations of things…in which logic and illustration have no importance.”

Front 29

Marcel Duchamp

Back 29

Ready-made: an object manufactured for some other purpose, presented by an artist as a work of art. Between 1914 and 1921, Marcel Duchamp who originated this concept, selected and signed, among others, a snow shovel, a comb, and a urinal. He occasionally altered readymades (sometimes called assisted readymades) the most famous of which was a cheap reproduction of Mona Lisa on which Duchamp drew a mustache.

- Bottle Rack 1914 (Replica 1964)
- In Advance of the Broken Arm, 1915
- Bicycle wheel, 1913 (Replica)
- Fountain, 1917
- The Bride Stripped Bare by Her Bachelors, Even (The large Glass), 1915-23