Art History

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Gaudi (Spanish)

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His love of nature fueled his innovative buildings, exotic

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Casa Vicens

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by Gaudi (Spanish)

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Columns in the Parc Güell

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by Gaudi (Spanish)

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Frank Lloyd Wright: (American)

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Tried to create a uniquely American style of building
-Set back from street, turned away, due to invention of automobile
-Open space (passive)
-Very detail oriented

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Robie House (1913)

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by Frank Lloyd Wright: (American)

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Cass Gilbert (American)

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• Began to build up, since we were beginning to run out of floor space
o Groundbreaking building
o Tight matrix of steel girders/ steel was not an exact science yet, and overdesigned everything to cover all of the security measures (Gothic)
o Walls held no structural function
o Height driven also by ego

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Woolworth Building (1913)

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by Cass Gilbert (American)

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Walter Gropius: (German)

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-Very Industrial architect, focused on function
-Each area is designed to cater to its specific purpose
-All areas encourage interaction, and offer little privacy (passive)
-Didn't hide industrial elements-- time had come to admire everyday objects
-Glass curtain

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Bauhaus (1919) Right after WWI

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by Walter Gropius: (German)

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cantilevering

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slabs of reinforced concrete that appear to be sticking out with no support

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Mies van der Rohe: German

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-Less is more
-Like Wright, appreciated an open, flowing plan
-glass architecture=passive architecture
-purest materials
-ornamentation was dishonest

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8. German National Pavillion (1928)

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by Mies van der Rohe: German

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God is in the details

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quote by Mies van der Rohe: German

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Walter Gropius took decorations and..

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replaced them with geometric form

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Concrete was reinforced with:

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rebar-- basic hollow form of steel

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Post WWI brought:

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a return to Classism (life-size art, human form, classic=order)

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Between the wars European art spread to the west for 3 main reasons:

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-Books were becoming more accessable
-The Armory show
-The Federal Arts Project

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The Armory Show

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A showing of all the great Modern artists from the US and Europe, inspired many to imitate or even go abroad to study

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The Federal Arts Project

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A subdivision of the WPA that commissioned artists to do works for the government, providing the means for artists to continue working during the economic fall out

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9. “Portrait of a Polish Woman” 1919—Right after WWI

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by MODIGLIANI (Italian)
-returning to classic
--Long neck, 3/4 length portrait
-Mask like (Kiershner or Picasso)

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o Mechanism, city streets, influenced by synthetic cubism=bright, collage
o At fore-front of Purism (pure, orderly, going with the post-war theme of returning to order)

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LEGER (French)

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10. “Three Women” 1921 (post WWI)

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by LEGER (French)
--Hints of Art Deco accents
-Expressionless (pure)
-Hard edges, hints of synthetic cubism
-Critics called it tubism
-Odalisque figure on the sofa (classical)

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WWI Dates

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1914-1918

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WWII Dates

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1939-1945

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11. “Women Running on a Beach” (1922) Between wars

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by PICASSO (Spanish)
-Menads frollicking
o Inflated, enlarged figures, show direction of motion
o Colors of the mediterranian

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Meanads

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Followers of Dionysis, god of wine// wild women who often lost control/ often shown in frieze’s of greek architecture// as seen in Picasso's "Women Running on a Beach"

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12. "Guernica”(1937) Right before WWII

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by PICASSO
-Commissioned by spanish government against the Spanish Civil War
-Women in window is shown shedding light ont he horrors of war
o Lightbulb translates to bombilia= bomb

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13. “City” (1928) Between wars

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ALBERS (German)
- flashed, and sandblasted glass work
-study of relationship between color and shape
-Last of pure abstraction going on at the time due to recent call to order after the war

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Pure abstraction (simplification of objects// studied the relationship between shape and color)

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ALBERS (German)

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Adds texture to glass

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Sandblasting

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technique of painting glass with a layer of color in order to allow more light than simply colored glass

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flashed glass

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Model/plan for a work, but not the actual piece

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maquette

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MONDRIAN (Dutch) movement

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De Stijl (neoplasticism)

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De Stijl

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(the style—reached pinnacle in 1917)—Netherlands equivalent of Bauhaus
o This “return to order” was based on the idea of pure-abstraction—reduction to the essentials of form and color (vertical and horizontal direction, primary colors and non colors only)

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14. “Composition 8” 1914 (start of WWI)

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by MONDRIAN
-Early pure-abstraction
-no subject matter
-influenced by cubism, especially synthetic, with use of color, mottling, and passage, but no actual analysis therefore not truely cubist
-Flatter than cubism

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17. “Composition with Red, Blue, and Yellow” 1930 (between wars)

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by MONDRIAN
-De Stijl (pure-abstraction)
-perfect balance of color and non-color
-wanted to eliminate any suggestion of depth
-simply a study of the importance of size and assembly in a composition

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Trying to eliminate all suggestions to depth

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Plastic expressionism (neoplasticism)
• No difference between neo-plasticist painting and classical painting, all have weight, emphasis, line, and composition—Mondrian’s idea was simply to show this in the simplest possible forms

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18. “Broadway Boogie Woogie” 1942-1943 (during WWII)

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By MONDRIAN
• Love for New York and its similarities to plastic expressionist ideals are demonstrated in this obsessively balanced piece

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RIETVELD (Dutch) movement

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De Stijl (neoplasticism)

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15. “Shroder House” (1924-1925) –Between wars

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by REITVELD
-De Stijl (neoplasticism)
- Cubist effects
-Divided up by color and design indicators

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16. “Red and Blue Chair” 1917 (painted in 1923-- between wars)

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by REITVELD
- 3-D representation of the De Stijl ideals (pure-abstraction)

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HENRI movement

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American Realism
-Focused on subject mater of modern American life, especially the streets of New York
-Trying to achieve American identity in art

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Group of artists that are responsible for American Realism

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The Eight

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The school for American Realists started by The Eight

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Ashcan school

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19. “Snow in New York” 1902 (pre WWI)

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By HENRI
-American Realism
-o Showed nitty gritty of city life
o Anti-impressionist in its color pallete, but some of the techniques seemed to stick

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BELLOWS style

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American Realism, of the Ashcan school

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20. “Stag at Sharkey’s” 1909 (Pre-WWI)

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by BELLOWS
-American realism
-always interested in art
-Lots of chiaroscuro and impasto
-Long, thick, brushstrokes
-Mask-like faces (Kiershner or Picasso again)

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Edward HOPPER style

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American realism, of the Ashcan school
-Most interested in Monet and Degas (flatter approach, less visible brushwork, less “grit”)
-also enjoyed chiaroscuro of rembrandt

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21. "Night Windows" 1928 (between wars)

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by HOPPER
-American Realism
o Though loss of privacy is being exhibited, colors suggest warmth
o Possibly a reflection on peoples false sense of security in the emerging trend of building upward—intimate glances
o Disaffected loneliness

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STIEGLITZ (American) movement

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Photography
o One of the first to bring modern European art to NY
o Responsible for discovering and promoting many early artists
o Was called the Father of American Photography

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Responsible for elevating photography to the level of fine art

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STIEGLITZ's Gallery 291
• Created exhibitions that mixed all different kinds of media
• Promoted even the controversial (first to bring in nude statues)

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22. “The Steerage” 1907 (Pre WWI)

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by STIEGLITZ
o Caught glimpse of the lower class of ship, while exhibiting “a study in mathematical lines... in a pattern of light and shade

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23. “Hands” 1918 (End of WWI)

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by STEIGLITZ

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Georgia O'Keefe (American) style

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Stieglitz group
Modern/ Later precisionism
-Exposed to modernism through books and exhibits at 291
-Pulls viewer close to object, yet simplifies instead of detailing
-Common themes of hers are jagged or swirling lines, organic forms
-Velvety brushwork
-Pastels and complimentary colors

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24. “Jack in the Pulpit II” 1930 (Between wars)

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by O'Keefe
-Trying to show viewer how she sees a flower
-Some passage, not always clear what is background and what is foreground

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25. “Jack in the Pulpit V” 1930 (Between Wars)

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by O'Keefe
-series progressively becomes more abstract
-Throws subject out the window and focuses on form

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26. “Far Far Away, Nearby” 1937 (Before WWII)

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by O'Keefe
-bought ranch in New Mexico
o Distant landscape/endless sky/surrealist qualities
o Very smooth, almost velvety, brushstroke
o Looks as though she painted the image of herself holding the skull before the scene, and simply didn’t paint her hand

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HARTLEY (American) style

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Stieglitz Group
Modern (American, but from England, so has European tendencies)

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27. “Portrait of a German Officer” 1914 (During WWI)

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by HARTLEY
-Influences of synthetic cubism: flat, colorful, collage, letters and numbers
-Abstraction of shape mimics a body
-Loose, European brushwork

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SHEELER (American) Style

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Stieglitz group
Precisionism

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Precisionism

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• Marked by hard edges, blocky- cezanne-esc forms/ often stripped of detail
• Guided by geometric simplification of urban themes

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28. “Ballardvale” 1946 (post WWII)

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by SHEELER
-Experimented with tilting of camera
• Urban settings
• Often merged multiple photos (photographer) and painted from photographs
• Sky simply becomes cubic expansion of forms
• Reminiscent of Mondran’s focus on simplification of form and color
• Also Romantic in idea: good, hard, clean, solid, American

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DEMUTH (American) style

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Stieglitz group
Precisionism

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29. “The Figure 5 in Gold” 1928 (Between wars)

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by DEMUTH
o Piece is a tribute to a friend’s poem about a fire truck
o Force within the lines is reminiscent of futurists, also the letters and numbers suggest Dada
o In search of American subjects, often found himself admiring signs and billboards

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American Scene

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o Among this umbrella term was the Regionalist movement, marked by illustrational-abstract style filled with American themes, and Social Realism, which was also illustrational, but more less conservative
o America was pushing abstraction in an effort to distance themselves from communist Russia
o Rolling and flowing scenes inspired artists in the mid-west

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Social Realists

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Less conservative than their American Scene counterpart, the Regionalists

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Regionalists

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More conservative portion of the American Scene

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BENTON (American) style

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American Scene
Social Realism

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30. “Archelous and Hercules” 1947 (post WWII)

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by BENTON
o Idea of man wrestling with nature// hardworking Americans
o Theme of European classism (raising everyday man to heroic level)
o Fresco, very bright

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WOOD (American) Style

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American Scene
Social Realism

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Similar style to Benton, but often uses a stippling effect along with a golden hue

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WOOD

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31. “The Birthplace of Herbert Hoover, West Branch, Iowa” 1931 (Pre-WWII)

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By WOOD
-Social Realism
o Very stylized, perfect, as if in a distant memory
o Crisp geometry
o Speaks to call for return to order, control over landscape

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In Social Realism: America's way of separating itself from Communist Russia by pushing:

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Abstraction

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Jacob LAURENCE (American) Style

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Social Realism

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32. - 35. • “Migration of the Negro Series” 1940-1941 (during WWII)

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by Jacob LAURENCE
-Social Realism
o Flat style was like textile (mother was textile weaver)
o Awkward angels reminiscent of cezanne or van gogh
o Depicted the untold story of the African Americans
o Pre-migration =despair
o Female figure- often caretaker- unable to nurture
o Sense of nothingness/ blending together
o Images of violence
o In the end they’re just as alone as the beginning
o Historical, more graphic, sharp-- jagged