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André Derain, Mountains at Collioure, 1905

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Henri Matisse, Femme au chapeau (Woman with a Hat) 1905

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Henri Matisse, Portrait of Madame Matisse/The Green Line, 1905

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Maurice de Vlaminck, Tugboat on the Seine, Chatou, 1906

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Pablo Picasso, Portrait of Gertrude Stein, 1906

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Alfred and his family traveled to Paris in Europe on the first class ship. He felt out of place and went on the deck and liked the composition of the immigrants and ran back to get his camera and take a picture. There was alot of political disagreement of immigrants at the time.

First modern photograph (fine art)

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Pablo Picasso. Les Demoiselles d’Avignon, 1907 

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The Macbeth Gallery (Ashcan School group)

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The Macbeth Gallery (Ashcan School group)

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Later called "The Eight" in 1916.
William Macbeth was the Fifth Avenue dealer for the art show.
The Ashcan School: populist, expansive, committed to documentary realism.
Starting in NYC, depict reality of the city
Unofficial Leader: Robert Henri
A new society of transition and new urban middle class and the "working poor"

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Georges Braque, Viaduct at L’Estaque, 1908

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Paula Modersohn-Becker, Poorhouse Woman, 1908

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Ernst Ludwig Kirchner. Street, Dresden, 1908

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Henri Matisse, Harmony in Red (The Dessert), 1908

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Gabriele Münter, Jawlensky and Werefkin, 1908

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George Bellows, Pennsylvania Station Excavation, 1908

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Pablo Picasso, The Reservoir, Horta de Ebro, 1909

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Vasily Kandinsky, Blue Mountain, 1908-1909

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Constantin Brancusi, Sleeping Muse, 1909

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German Expressionism: Die Brücke (The Bridge)

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German Expressionism: Die Brücke (The Bridge)

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Henry Ossawa Tanner, Angels Appearing Before the Shepherds, c. 1910

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The City Rises is “a great synthesis of labor, light and movement” because, “it constitutes one of the Futurist’s first major statements: a visual essay on the qualities of violent action, speed, the disintegration of solid objects by light, and their reintegration into the totality of the picture by that very same light.” (p.216)

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German Expressionism: Der Blaue Reiter (The Blue Rider)

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German Expressionism: Der Blaue Reiter (The Blue Rider)

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Georges Braque, Fruit Dish and Glass, 1912

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Nude Descending Staircase, Marcel Duchamp, 1912

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The French artist Marcel Duchamp painted the piece of art titled, “Nude Descending a Staircase” in 1912. The subject matter for this piece of art is a body in motion walking down a staircase. The art was created in France and then later displayed in New York City’s 69th Regiment Armory. The painting is currently located in the Philadelphia Museum of Art. The painting was created with oil paint on canvas.

The painting shows a Cubist inspired rendition of a nude female walking down a spiral staircase, in blurred motion. The figure is compiled of various geometric layered and organically arranged shapes starting from the near top left in a diagonal motion to the bottom right of the canvas.

The colors used are colors of skin tone, browns, and tans. This fits the subject matter precisely to emphasize the amount of skin showing. The separation of the shapes are marked with black strokes of paint. Some strokes are curved while others are more angular. A large part of the strokes are vertical and long to communicate the shape of the body. The value of the figure brightens towards the lower right corner of the composition. This implies the figure is most recently in the shapes with lighter values. In contrast, the shapes with darker values show where the figure had been, farther back in time. The shapes within the figure contain a variety of different values to imply three-dimensionality. The visible texture of the painting is sharp and jagged because of the angular, geometric shapes and lines. At the same time, the texture is flowing and smooth because of the implication of motion shown through each transition of movement. The composition fills the entire canvas space which scales the subject to appear large and grand.

The painting has qualities of unity in its consistency of line and shape, as well as color. There is variety in value of color and position of shapes. Repetition is shown in the similar or same shaped parts of the figure being repeated in a direction. Balance is achieved by the diagonal direction of the figure reaching all corners of the composition. There is an emphasis on the light valued figure shapes to show the figure’s location is in the most recent area of time. The stairs are subordinated to give more attention to the figure than to distract from the main subject. The rhythm of the painting is broken and choppy in the transition of the figure. Each phase of time shows a slightly different expression of motion. The contrast shown in the black outlining of the shapes helps define the separation areas.

The painting communicated realistic motion of the human figure walking in a motionless context. Although the figure had exaggerated proportions, the motion was accurate to the choppy nature of movement when walking. The blurry effect of the figure was created effectively to imply motion of the figure. This painting is on a tie between Abstract Cubism and being representational. Elements of both styles of art are shown in this painting exceptionally well.

·       The painting became successful, largely due to the “scandal” it became

·       The Painting was exhibited in the New York City 69th Regiment Armory Show

·       The painting was a push away from traditional art

·       The motion of the figure is compared to cinematic motion that hadn’t been common yet.

·       The painting abandons any resemblances of nature

·       The painting is sometimes compared to the photography of Eadweard Muybridge who invented the camera shutter in 1882. His work is the beginning of time-lapse photography

·       The painting is also compared to the sculpture by Umbertro Boccioni Unique Forms of Continuity in Space in the way it conveyed motion

·       The painting was unpopular in France but very popular in America

·       Duchamp showed the idea of industrialization in the form of a delicate subject such as a nude female body. This was a way of challenging traditional art practices

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Pablo Picasso, Still Life with Chair Caning, 1912

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Giacomo Balla, Dynamism of a Dog on a Leash, 1912

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Robert Delaunay, Simultaneous Contrasts: Sun and Moon, 1912–13

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Marc Chagall, Paris Through the Window, 1913

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Pablo Picasso, Guitar, Glass, and Bottle, 1913

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Vasily Kandinsky, Improvisation 28 (2nd Version), 1913

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Umberto Boccioni, Unique Forms of Continuity in Space, 1913

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In Boccioni’s Technical Manifesto of Futurist Sculpture, he states that futurist sculpture should be made of strong, straight lines and should not be made from traditional material such as marble or bronze. He broke his own rules in his sculpture titled, Unique Forms of Continuity in Space because the lines of the sculpture are very wavy, free formed and organic. Also, the sculpture was carved in plaster and cast in bronze.

The authors suggest that the stances of both figures are similar “a body in dramatic, mid-stride, draperies flowing out behind, and arms missing.” (p.218) This comparison is ironic because Samothrace despised Marinetti.

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Umberto Boccioni, Dynamism of a Soccer Player, 1913

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The title of the painting is used as a guide for the viewer to look for the soccer player in the composition. However, there is no soccer player but the implications of fast motion and far movement that would be present in soccer.

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Ernst Ludwig Kirchner. Street, Dresden, 1913

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Movement lead by Theo van Dosenburg and Piet Mondrian. Embraced geometric abstraction and constructivist ideas. Attempted to create a science-based, universal mode of communication for anyone and everyone to be able to understand it. This was their attempt at unifying humanity amid the war. De Stijl "Manifesto 1" was written in 1918 and published in 1922. De Stijl is the "absolute devaluation of tradition" Needed Abstraction and Simplification. The task was to create a mathematical structure to their art that had never been done before. Art was created for "clarity, certainty, and order". Qualities of De Stijl art: line, rectangular shapes, cubes, primary colors, use of black and white. Based on the theory of purity, logic, balance, proportion and rhythm.

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Piet Mondrian, Composition in Brown and Gray, 1913

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Mondrian was interested the abstract idea of spirituality.
He created this after he had moved to Paris in 1912. He made the center of the composition dense and the edges faded out.

Subject is tree, looks architectural. Wanted to push abstraction further than what cubism had done. To create "pure reality". De Stijl = "International Style" according to Mondrian.

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Dada was a reaction against WW1, focused on absurdity, an element of chance, and challenged the status quo of art.
The belief was that logic and reason and tradition lead to war.

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Marcel Duchamp, 3 Standard Stoppages, 1913-14

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1 meter is a fixed idea, he challenged the fixation and rigidness of that measurement

This was called a "ready-made" because it was a ready-made idea (a meter). He layed 3, 1-meter long pieces of string and called it the new standard.

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Giorgio de Chirico. Mystery and Melancholy of a Street. 1914

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Marsden Hartley, Portrait of a German Officer, 1914

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allegorical, symbolic portrait of a german officer who served at the beginning of WWI. Hartley was born in america, moved to NYC and then to Paris. Influences of Picasso's cubism and German Expressionism. First new portrait style. The german officer was von Freyburg. KVF (his initials), Red # is military regiment, yellow 24 is time of death, E(1) battalion marker, E(2) represents birth name or royal patron of regiment. Silver star represents officer for cavalry. Expresses rising german nationalism. Checkerboard pattern is like flag of bolivia.

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Paul Klee, In the Style of Kairouan, 1914

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Georges Rouault, Jesus Reviled, 1914-1927

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Kasimir Malevich, Airplane Flying: Suprematist Composition, 1915

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Kazimir Malevich. 0, 10 (Zero–Ten): The Last Futurist Exhibition.  1915

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Constantin Brancusi, The Kiss, limestone, 1916

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Hans Arp, Squares Arranged According to the Laws of Chance, 1916-17

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Giorgio de Chirico, The Great Metaphysician, 1917 

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Marcel Duchamp, Fountain (original), photographed by Alfred Stieglitz in 1917 after its rejection by the Society of Independent Artists

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Provoked the question what are could be. Caused a lot of shock among the public.

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New Objectivity (Die Neue Sachlichkeit) in Germany 

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New Objectivity (Die Neue Sachlichkeit) in Germany 

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German leaders did not want to acknowledge the suffering from the war.

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George Grosz, The Funeral (Dedication to Oskar Panizza), 1917-18

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This piece was meant to draw attention to the suffering of war, that there is no hope, to show the reality of war. The figures in this piece look dehumanized and distorted. This is described as hell.

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Kazimir Malevich, Suprematist Composition: White on White, 1918

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Kurt Schwitters, Picture with Light Center, 1919

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Collages of accumulated fragmented photos from collecting in the world.

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Hannah Höch, Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic, 1919

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The message of the art is, machinery advancement only lead to violence and war. There are parts of political leaders. There are 4 distinct sections, 1 in each corner to tell a different message. This was the first work of a photo montage.

Many german citizens were being attacked by the government. The montage demonstrates the feeling of disconnection, movement and disorientation.

Hannah Hoch's signature is a photo of her head.
The title use of the words "kitchen knife" describes the domestic traditional role of women.

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Vladimir Tatlin, Model for Monument to the Third International, 1919-20

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Dada in America

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Raoul Hausmann. Mechanical Head (Spirit of the Age). ca. 1920 

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Dada in Germany, technological influences of the current innovations in society, materialism and war, treating human life like it has no value (like a number)

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Although Vasily Kandinsky did not serve in during World War I, his work was heavily influenced by the war. After World War I started in 1914, Kandinsky returned to Moscow, Russia. His exploration of spirituality in art influenced his perception of the Soviet Society. His theories about art were not supported in the ideology of the Marxist-Leninist among the Soviets at the time. Shortly after returning to Germany in 1921, the Soviets banned all forms of abstract art. Their claim was the form of art was harmful to the socialist ideal. The painting titled, White Line was one of his first paintings that was completely non-representational and non-objective. There were no recognizable objects in the painting. His purpose was to make a statement in opposition to materialistic ideals. His artwork communicates his belief in abstract ideas such as the spiritual still exist and should be valued. It represents that there is more to life than material possessions.  In his first book about his art theories called “Concerning the Spiritual in Art” published in 1910, Kandinsky suggests visual arts and music are expressions that can communicate spiritualism and why materialism can get in the way of that expression. Though Kandinsky didn’t experience significant personal repercussions from the war, his statement of his beliefs through his artwork has impacted viewers of his work ever since.

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Aleksandr Rodchenko, Spatial Construction no. 12, c. 1920

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Otto Dix, The Skat Players—Card Playing War Invalids, 1920

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The subject is these war veterans who returned with missing limbs as a result of injury from war. They were ostracized and neglected in society although they served. Their service was seen as it was in vain and unsuccessful and not of worth. This subject is depicted as the way people see these returning soldiers in society.

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Oskar Schlemmer, Study for the Triadic Ballet, 1921-23 

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1. Art can be made with basic materials

2. Transformation of dancers into abstracted,

kinetic sculptures

3. Emphasis on clarity of form and the geometric

precision of machines

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Käthe Kollwitz, The Volunteers (Die Freiwilligen), 1922-23

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Soldiers heading to their inevitable death, there was no hope of victory in the war. Printmaking was a form of art that could produce multiple prints that could be available to the public, of all social and wealth status. This was meant to reach everyone.

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1. Interest in light, space, and motion

2. Alliance between art and technology

3. Scientific investigation in the classroom

He used abstract photography "Photogram"

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Vasily Kandinsky, Composition VIII, 1923

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1. Abstract forms have great expressive power

2. There is a spiritual, universal connection

between shape and color

3. Triangles are inherently yellow, circles are

inherently blue, and squares are inherently red

(not all of his colleagues agreed!)

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Gerrit Rietveld lived in the Netherlands where Neo-Plasticism was coming. This design was inspired by Mondrian's work. He started as a furniture maker and became an architect. New architectural features were invented that could satisfy both form and function.

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Max Ernst, Two Children are Threatened by a Nightingale, 1924 

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Joan Miró, Carnival of Harlequins, 1924-25

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Walter Gropius, Bauhaus in Dessau, 1925-26

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Bauhaus = Building school, a school of fine arts combined with applied (craft) arts.
The creation of design originated here.
Walter Gropius an architect was in charge of the Bauhaus school. This was in the Weimar Republic near Germany in Berlin.
The exterior architecture is made of glass to create passerby interest.
Promoted liberal freedom of communication and association and lack of censorship, major experimentation.
Bauhaus Philosophy:
1. Abstraction, simplicity, absence of ornamentation.

2. Integration of fine arts and craft, industry and

design.

3. Machine aesthetic (harmony of craftsmanship and mass production)
4.Design = form + function, "minimal" isn't an aesthetic, it is the whole point: to strip it to it's bare essentials.

5. Collaborative, community-minded approach

6. Affordable Design

7. Belief that art could improve society

The school was cancelled by the Nazis in 1933.

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1. Incorporate play into artwork.

2. View the creative act as a magical experience.

3. Combine the outer experience of the world with

an inner vision, which can be expressed in the

very process of creation.
4. Paul Klee saw the creative act as a magical experience;

teachers at the Bauhaus also sought to bring a magical element into the classroom. (at Bauhaus)

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Anni Albers, Black, White, Yellow, 1926 

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1. Wanted to erase the distinction between

fine art and commercial art
2. Helped to develop the new field of graphic

design (form + function)
3. Herbert Bayer created Sans Serif Type

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Yves Tanguy, Mama, Papa is Wounded, 1927

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My Egypt: Abundance of resources of grain and prosperity, subject is grain elevators to represent prosperity in America. Style is called Precisionism.

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Georgia O’Keeffe, Radiator Building—Night, New York, 1927

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1. Design should be simple, functional, and

reproduceable. Design = Form + Function

2. Design should be beautiful and affordable

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Charles Demuth, I Saw the Figure 5 in Gold, 1928

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American Art before WWII: Precisionism and Modern Art

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American Art before WWII: Precisionism and Modern Art

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Precisionist: cubism and dynamism of futurism to American Factories and cities. "Immaculates": smooth surfaces, clean lines, and geometry. Inspired by poem by William Carlos Williams about fire truck. (initials WCW). Also used as a portrait of the poem writer.

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1. Become well-acquainted with art medium.

2. Be “true” to your materials.

3. “Less is more.”

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René Magritte, The Treachery of Images, 1928-29

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Piet Mondrian, Composition No. II, with Red and Blue, 1929

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Salvador Dalí, Accommodations of Desire, 1929

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Thomas Hart Benton, City Building, from the mural series America Today, 1930

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American Art before WWII: American Regionalism

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American Art before WWII: American Regionalism

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American Art before WWII: American Regionalism

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American Art before WWII: American Regionalism

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Piet Mondrian. Composition II (Composition with Red, Blue, and Yellow),  1930

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His goal was to achieve the balance of unequal opposites. (balanced asymmetry). To further remove the background implications, he worked on a checkerboard grid. Neo-Plasticism = New Image/Form. He felt that certain colors receded and others came forward. To fix this problem of 3-dimentionality, he added heavy black strokes between the blocks of color. He was influenced by American Jazz Music.

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Edward Hopper, Early Sunday Morning, 1930 

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American Art before WWII: Social Realism

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American Art before WWII: Social Realism

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Feeling of loneliness and alienation