Early 20Th Century Scuplture, Futurism In Italy, Russia

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Brancusi. Bird in Space. 1928.Bronze (unique cast), 137 x 22 x 17cm. Museum of Modern Art, New York.

Same subject and form in different media, Very abstract, reduced form (essence of form), Various base material (limestone, marble, wood), Base important part of design, Capturing essence of subject (as well as form)

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Brancusi. Bird in Space. 1925.Marble, stone, and wood, 71 5/8 x 53/8 x 6 3/8” (181.9 x 13.7 x 16.2cm). National Gallery of Art,Washington, D.C.

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Marcel DuchampFrench, 1887-1968

• began as painter, went through a sort of Cubo-Futurist style

• moved in a conceptual direction

• extremely influential

Originially rejected him b/c he had to much movmnt in his pieces.

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Marcel Duchamp. Nude Descending aStaircase #2. 1912. Oil on canvas, 58 x 35 in.(147.3 x 89 cm). Philadelphia Museum of Art

-mutliple povs, repetition of shapes, movement

-shown in the amory show, 1913

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Futurism

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1909-16 centered in Italy

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Umberto Boccioni

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Italian 1882 - 1916

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Umberto Boccino The City rises 1910

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States of Mind, Umberto Boccioni, 1911. Oil on canvas, 70.5 x 96.2 MOMA, NY

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Unique Forms of Continuity in Space 1913. Bronze

-Construction of the action of the body

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Giacomo Balla(Italian, 1871-1958)

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Giacomo Balla. Street Light. 1909. Oilon canvas, 175x115 cm. The Museum ofModern Art, New York

• Form (repetition of shape and color; multiple angular shapes; intense color and light contrasting with darkness)• Glorifying modern technology (new electric street lights);• Conveys movement, dynamism; light takes on material form;

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* Giacomo Balla. Dynamism of a Dog on a Leash (Leash in Motion). 1912.Oil on canvas, 35 3/8 x 43 1/4 (89.9 x 109.9). Albright-Knox Art Gallery,Buffalo, New York

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Suprematism

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Supreme statement through minimal form (nonobjective, without subject matter);Malevich’s definition of Suprematism: “The supremacy of pure feeling in creative art.”

-reduction of forms

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Kazimir MalevichRussian, 1878-1935

`Simplified work

-Non-objective

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#Kazimir Malevich. SuprematistComposition: Aeroplane Flying. 1915.Oil on canvas. 22 5/8 x 19 in. (57.3 x48.3 cm.). MOMA, NY

-Progressive rhythm

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*Kazimir Malevich.Suprematist Composition:White on White. 1918. Oil oncanvas, 31 1/4 x 31 1/4 in.(79.4 x 79.4 cm). MOMA, NY

-white could be infinity, he had confidence in the communist revolution.

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Russian Constructivism

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1914-1930

*Kazimir Malevich.Suprematist Composition:White on White. 1918. Oil oncanvas, 31 1/4 x 31 1/4 in.(79.4 x 79.4 cm). The Museumof Modern Art, New York

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*Tatlin. Monument to the ThirdInternational (model). 1919-1920(destroyed). H: 20 ft (6.1 m.)Photograph of Tatlin with model of themonument. Annenberg School forCommunication, University of SouthernCalifornia. Los Angeles

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* Gabo. Column. c. 1923. Perspex,wood, metal and glass, 104.1 x73.7 x 73.7 cm. Solomon R.Guggenheim Museum, NY

Now completely abstract; sleek, modern-looking; modern materials; hi-tech; Space important element;Intersecting planes of metal, glass, and plastic;Beauty in purity of materials, sleek design, contrast between opaque and transparent;Here the medium is the message (to a large degree): about the modern age, new technology;