20Th Century Art - Exam 1 - Professor Gross

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Henri Matisse, The Serf,1900-04. Bronze.

- Fragment of a man, no arms

-intrested in ancient and Old Master works of art. >contrapposto pose

- The sculpture is modeled in an expressive way -- Inspired by Rodin’s sculpture Walking Man

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Matisse, The Open Window,1905. Fauvism.

-Salon d'automne of 1905, "fauve" (savage beast) label the art critic Louis Vauxcelles

-leaves parts of canvas unpainted, brushstrokes

- Use of various bright colors

-When I put a green, it is not grass. When I put a blue, it is not the sky.—Matisse

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Matisse, The Joy of Life,1905-6. Fauvism.

- pastoral landscape: idealized vision of nature (nudes frolicking, sheep)

- flowing trees & color influeced by Gaugin

-unatrualistic colors, proportions, and persepective

-figures are isolated from each other, weird scale

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Matisse, Blue Nude: Memory of Biskra, 1907.

- NOT A FAUVIST PAINTING!

- inspired by small african statue bought

- Biskra is not a woman, it is a place in Algeria

- interpretationof the classical Venus pose

- exaggerationof the breasts and buttocks and the seemingly pieced together body

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Alfred Stieglitz, The Steerage. 1907.Gelatin Silver Print.

- Stieglitz was on a ship to Europe and bored of thefirst class passengers, so he left to explore

- found the perfect photography opportunity

-piece represents a collection of forms (roundstraw hat and white crossed suspenders)·

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Constantin Brancusi, Sleeping Muse 1, 1909-10. Marble.

- looks like an egg

- abstracts the human form

- a representation of creation, birth, life, and death

-Small, sharp features

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Ernst Ludwig Kirchner, Street,Dresden 1908. DieBrücke/GermanExpressionsim.

-Unsettling and unnaturalistic colors

- Mask like faces – hiding true self

- Shows prostitutes – body language, outfits, handplacements

- Hand of death

- Portrays a moment of panic and anxiety

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Wassily Kandinsky, Composition VII, 1913. Der Blaue Reiter/German Expressionism.

- Meant to be an experience

- Like listening to music

- Sought to reach inner necessity of the viewer· - Explores themes like cosmic conflict and renewal

-A spiritually cleansed world

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Pablo Picasso, Les Demoiselles d’Avignon, 1907. Expressionism/proto-cubism.

-5 women

- timeline from left to right

egyptian > classical > african art

- Influenced by Manet’s works Luncheon on the Grass andOlympia

- Shows a negative portrayal of women – green face ofdeath (syphilis)

- Tension between desire and death

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George Braque, Houses at L’Estaque, 1908. Early Cubism.

- It’s an arrangement of geometric forms

- Less attention to detail – simplified

- The forms seems to come forward rather than recede –Bas Relief or Low Relief sculpture

- There is some shading and the colors are monochromatic

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George Braque, Violin and Palette, 1909. Analytic Cubism.

- Figures are slightly abstracted but still recognizable

- Uses simultaneity – A plane that can be more than onething at the same time and can use both positive and negative space

-“Materialism of a new space”

-Trompe l’oeil – Fooling the eye (with the nail at thetop of the painting)

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Picasso, Portrait of Daniel-Henry Kahnweiler,1910. Analytic Cubism.

- The figure merges with the background

- Figure can be recognized through small details (waveof hair, clasped hands)

- Monochromatic but the variation of values create depth

- Use of triangles, planes, and angular lines

- This work is more abstract and linear than previousworks

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Picasso, Still Life with Chair Caning, 1912. Synthetic Cubism.

-1st synthetic cubism

-1st time using other materials - oil printed chair caning on fabric

- Represents the artist and the café

- JOU – means “play” – as in playing with forms andobjects

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Umberto Boccioni, The City Rises, 1910. Futurism.

-done before the discovery of cubism

-Boccioni refers to this piece as a synthesis of light,labor, and movement

- Inspired by German Expressionism and neo-impressionism

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Boccioni, Development of a Bottle in Space,1912. Futurism.

- The bottle is opened up and appears to be spinning andin motion

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Boccioni, Unique Forms of Continuity in Space, 1913. Bronze. Futurism.

- Inspired by Victory of Samothrace

- Rapid motion and speed – sprinting or marching

- Involuntary muscle movement when in motion - Motion photography

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Gino Severini, Dynamic Hieroglyphic of the Bal Tabarin, 1912. Futurism.

- takes place in a night club

- Rapid motion – large, swinging curves

- Colorful (not monochromatic) – Impressionist layout ofcolor with fauvist “boldness”

- Inspired by cubism – typography, geometric shapes

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Robert Delaunay, Simultaneous Contrasts: Sun and Moon,1913. Orphism.

- intrest in retinal after images

- Color abstractions of naturalistic observations andsubjects

- Orphism– a style based on the invention of new structures “which have not been borrowedfrom the visual sphere”

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Kazimir Malevich, Morning in the Village After a Snowstorm,1912.

-pre russain avant-garde

-Cubist influences – “Cubo-Futurist”

- Bright, contrasting primary colors

- Geometric forms in motion?

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Kazimir Malevich, Suprematist Composition: White Square on White, 1918. Suprematism.

- basic structure of painting

- Suprematist ascent toward an ideal world and acomplete renunciation of materiality, for white symbolized the “real concept ofinfinity”

- Reduction of paintings and forms to the most basicgeometric shapes

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ElLissitzky, The Constructor (Self-Portrait), 1924. Gelatin Silver print.

- Double exposure

- Represents his life as a designer and architect

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Vladimir Tatlin, Monument to the Third International, 1919-20. Wood, iron, and glass. Constructivism.

- It would have been 1,300 ft if built

- “These glass units, housing conferences and meetings,were to revolve, making a complete revolution once a year, once a month, andonce a day, respectively”

- “The industrial materials of iron and glass and thedynamic, kinetic nature of the work symbolized the new machine age”

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Aleksandr Rodchenko, HangingConstruction, 1920. Constructivism.

- Uses actual movement in the piece

- Could represent flight and a fascination with spacetravel

- Represents Constructionists’ interest in mathematicsand geometry

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Rodchenko, Assembling for a Demonstration, 1928. Gelatin-Silver print.

-deep and flat at the same time

-taken from Rochenkos apartment

- was a diffrent view for many who in a time when areial shots werent taken

- Sharp diagonals and contrasts of light and shadow

- Asymmetrical patterns

- “Seems a metaphor fora new society where outdated perspectives have given way to dramatic new ones

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Modernism

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Isn't always avant garde. progressive painting.

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Avant-garde

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Rule Breaking, pushing against conservative public views of art.

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Fauvism

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anti-naturalistic color

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Henri Matisse

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chose color based on how he felt and what fit rather than what he saw

- age of photography, rebel against naturalism

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Der Blaue Reiter

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metaphor for artist, spirit guide.

Munich as a loose association of painters They shared an interest in abstracted forms and prismatic colors, which, they felt, had spiritual values that could counteract the corruption and materialism of their age.

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Kandinsky

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Impressions - response to external

Improvisations - response to internal

Compositions - hybrid of both

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expressionism

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a style of painting in which the artist seeks to express emotional experience rather than impressions of the external world.

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Simultaneity

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a plane could stand for more than one thing

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tromp l'oeil

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to fool the eye

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Rayonism

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The Rayonists sought an art that floated beyond abstraction, outside of time and space, and to break the barriers between the artist and the public. They derived the name from the use of dynamic rays of contrasting color, representing lines of reflected light — crossing of reflected rays from various objects.

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Suprematism

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art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich

"the supremacy of pure artistic feeling" rather than on visual depiction of objects

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Constructivism

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rejection of the idea of autonomous art. The movement was in favour of art as a practice for social purposes

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Orphism

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astyle based on the invention of new structures “which have not been borrowedfrom the visual sphere”

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DieBrücke

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Die Brücke is sometimes compared to the Fauves. Both movements shared interests in primitivist art. Both shared an interest in the expressing of extreme emotion through high-keyed color that was very often non-naturalistic. Both movements employed a drawing technique that was crude

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proto-cubism

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Pre-Cubism or Early Cubism

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Analytic Cubism

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geometric shapes and by a tendency toward a monochromatic use of color.

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Synthetic Cubism

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Brighter colours

Simpler lines and shapes

Collage is used alongside paint

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Analytical Cubism

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the technique involved a close examination and analysis of the subject in order to translate it into flat geometric shapes, angles and lines.

Dark muted colors

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Futurism

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formsderived chiefly from cubism were used to represent rapid movementand dynamic motion.