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Contemporary Art

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Installation Art
Art as experience
Not collectable
Performance Art
Art as life
Improvisation; unpredictable

Installation Art

Allan Kaprow, Yard, 1961

Yayoi Kusama, Infinity Mirrors, 2017

Performance Art

Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

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Activist Art: Art as political statement

Activist Art

Betye Saar, The Liberation of Aunt Jemima, 1972

Feminist Art

Judy Chicago. The Dinner Party. 1979

Video Art

Nam June Paik. Electronic Superhighway: Continental U.S. 1995

Installation Art

Yayoi Kusama, A Dream I Dreamed, 2014

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supremacy of feeling;” pro-Russian revolution; wanted to create a new
vocabulary and language of art removed from the elitist past

Kazimir Malevich. Suprematist Composition: Airplane Flying. 1915 (dated 1914)

Kazimir Malevich, White on White, 1918

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Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912

Marcel Duchamp. Bicycle Wheel, 1913

Marc Chagall. I and the Village. 1911

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

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

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

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After the Futurists visited Paris together in 1911, several of them adopted aspects of Cubism, though they altered the technique to focus more clearly on Futurist concerns like modern technology, movement, and speed

More than one moment at a time; impermanence;  influence of Cubism, photography

Optimism of modernity: machines, motion, etc.

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Ife Portrait Heads, c. 14th-15th century, brass, 35 cm high, Ife, Africa

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Ife Portrait Heads, c. 14th-15th century, brass, 35 cm high, Ife, Africa

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Not all African art is abstract

Discovered near a palace in Ife (in Nigeria); believed to have been used in royal burials/funerary ceremonies

Portrait quality

Ife believed to be the land of the gods, first holy city, center of creation

Related to the garden of Eden

Head=center of power

Lost wax casting technology

scarification

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What Postmodernism ISN’T:
-A single style
-Easily definable
-A term just for art
-A unified group of artists/philosophers

In 1949 the term was used to describe a dissatisfaction with modern architecture and led to the Post-modern architecture movement. Post-modernism in architecture is marked by the re-emergence of surface ornament, reference to surrounding buildings in urban architecture, historical reference in decorative forms, and non-orthogonal angles.

After that, Post-modernism was applied to a whole host of movements, many in art, music, and literature, that reacted against tendencies in the imperialist phase of capitalism called ”Modernism," and are typically marked by revival of historical elements and techniques.

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japanese came to america to make a name for herself in art, she also did infinity mirrors, emmersed in the art

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Nam June Paik. Electronic Superhighway: Continental U.S. 1995 

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Nam June Paik. Electronic Superhighway: Continental U.S. 1995 

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Nam June Paik, electronic Superhighway: Continental U.S., 1995:

Video art

Monitors behind each state with different imagery

Prevalence of tv in America, rapidly changing

Most Americans experience the world through tv screens; tv=real life

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started out as a minimalist, did art show, but her name wasn't listed except for the men so she did a work of art about women in history and art history that were written out of the history books, got a lot of women together to put this together not doing this alone, painted women's genitalia on the plates

Began feminist art movement

Background as a minimalist (one of the boys); not included in reviews of shows

Cutting edge group of artists still very traditional in one way: domination by males

Decided to pay homage to important women throughout history, many ignored in history books

Extensive research

39 place settings, 13 at each side (symbolism?)

919 other women’s names inscribed in tiles

Hand-painted ceramic plates in period style, embroidered runner also in period style: mediums associated with women: needlework, painted china, ceramics

Sense of community and ritual (Last Supper now spiritual communion of women)

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Betye Saar, The Liberation of Aunt Jemima, 1972

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Betye Saar, The Liberation of Aunt Jemima, 1972

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“Aunt Jemima has been armed and empowered with a new identity. She’s done making pancakes.”

take a stereotype and and use an icon and empower it, doesnt believe in violence but saw that was empowerment so a rifle is added

Betye Saar’s found object assemblage, The Liberation of Aunt Jemima (1972), re-appropriates derogatory imagery as a means of protest and symbol of empowerment for black women.

Emerging from a historical context fraught with racism and sexism, Saar’s pivotal piece works in tandem with the civil rights and feminist movements. The cotton balls at the feet of the Jemima figure, the broom, and the image of the woman with the white child each speak to specific roles into which African American women were historically allocated. Saar takes these painful memories and alters them, arming the stereotypically docile mammy figure with a gun and hand grenade and giving agency to the traumatized icons of the past.

Aunt Jemima has been armed and empowered with a new identity. She’s done making pancakes.

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Christo and Jeanne-Claude.  Running Fence, Sonoma and Marin counties, California. 1972–76

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Christo and Jeanne-Claude.  Running Fence, Sonoma and Marin counties, California. 1972–76

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only up for 2 weeks, nylon fence on steel poles, all of the art includes the many drawings of this and the hearing he had to go through to get permission, the workers that he hired to set it up and the protests against putting it up, ribbon of light

How can art compete with mass media? The masses don’t go to art museums, so he decided to bring art to the people

Not lasting museum pieces: felt that the creative process was more important than the finished work:

the recording of the work by the media (let the media work for you—like Salvador Dali, Andy Warhol)

working with farmers to get their permission to use their land

getting local people to help with the construction

beauty of finished project: Jars us into seeing the environment in a new way; natural element of wind

Local people skeptical at first, but many were proud of it at the end; hard-hat workers moved by the experience; also by his total belief in what he was doing; charismatic, converted people to his art (story about one rancher who had fought it slept next the the fence one night with his son and had a transformative experience

Not elitist—brought art experience to normal people; link between fine art and real world

Cost 3 million dollars; Christo funded himself through drawings, but hundreds of thousands saw it vs. painting sold to private collector and never seen

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Robert Smithson. Spiral Jetty, Great Salt Lake, Utah. 1970 *FINAL TEST*

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Robert Smithson. Spiral Jetty, Great Salt Lake, Utah. 1970 *FINAL TEST*

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This work is usually described as Minimalism, One of the goals of this artist was to make art less elitist by taking it out of the gallery,

social-historical: Artists of this period were interested in environmental issues.

Robert Smithson, the creator of Spiral Jetty, wanted touse the earth as his canvas, suggest ancient symbolism, and make art less elitist, It can be seen on the shore of the Great Salt Lake.

this work of art you can go see today, artist wanted to show the flux of nature and how things in nature change, the spiral is a symbol pf eternal life, sometimes the spiral was completely covered by water now there is no water around it, its a work that's never the same, its open to everyone not like an art piece in a gallery

The earth is the canvas; environmental scale

Just as time erodes civilizations and all things, the jetty will eventually disappear

Subject is entropy and change (salt encrusted, etc.)

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Also called Land Art or Environmental Art

The earth is the canvas
Interactive
Out of the gallery—less elitist
Not collectable

Robert Smithson. Spiral Jetty, Great Salt Lake, Utah. 1970

Christo and Jeanne-Claude. Running Fence Sonoma and Marin counties, California. 1972–76

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Questions traditional categories of painting and sculpture

Reliance upon geometry, mathematical measurements; emphasized conceptual rather than emotional content; favored materials and processes of mass production

Lacks artists’ hand; not personal; no sign of artist except in concept

Non-art materials: plexiglass, fluorescent tubes, galvanized steel

Wanted to make art that did not look like art—nothing but what you see; no references

Admire what you see: scale, color, texture, proportions; takes away base, glass case—props that announce an object to be a work of art

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shapes =star=Stella

Entirely flat, pinstripes=lines of canvas showing through

Canvas now has a life of its own—not rectangular; sculptural (blurs distiction between painting and sculptures)

No push-pull of space

“What you see is what you see.” No hidden meanings, symbols, references: stripped down vocabulary=Minimal Art

(so why title?)

Geometrical precision

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Unemotional
Reduced to most basic parts
“What you see is what you see”—denial of meaning

Ellsworth Kelly. Red Blue Green. 1963

Frank Stella. Empress of India. 1965

Donald Judd, Untitled. 1969

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Roy Lichtenstein. Drowning Girl. 1963 &*FINAL TEST*

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Roy Lichtenstein. Drowning Girl. 1963 &*FINAL TEST*

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cultural stereotype,

Imagery of mass media; took “low art” forms (commercial art) and made it into “high art”; Revealed manipulative impact of mass media

Make art that doesn’t look like art (idea from Environments, Happenings)

Looked to comic books, newspapers; liked the bold outlines, lack of depth/dimension

Known for seeing beauty in low art

Blurs distinctions between fine art and mass culture

Used benday dots; when seen up close, they become flat abstract patterns

Reveals cultural stereotypes of men and women at the time

Artist’s hand/presence not visible; machine-like (opposite AE artists)

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Reaction to elitism of Abstract Expressionism; unemotional
Similar to Dada in love of ready-made, common objects
Sought a mass-produced look—accessible
Interested in mass media and pop culture

Roy Lichtenstein. Drowning Girl. 1963

Andy Warhol. Campbell’s Soup Cans. 1961–64

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Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

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Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

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Performance art/conceptual art

Autobiographical: fighter pilot in Hitler’s Luftwaffe in WW2; told story that his plane was shot down in a snowstorm over Crimea and that nomads saved him from freezing by covering him in animal fat and felt (materials here reflecting humanity and spirituality: felt on shoe, fat on chair; steel attached to right foot to show hard reason; face covered in honey (life force) and cold—magical, shaman-like

Moved lips for 3 hours instructing dead hare about pictures surrounding him; meaninglessness of conventional picture-making that has to be explained; art should be spiritual, direct, understandable to viewer.

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Response to Happenings/Performance ArtFrozen environments; white, plaster figures (plaster casts using plaster medical bandages)Alienation of contemporary life; lethargic, very alone, drained of lifeModern objects, advanced technology, but meaningless; no spirituality or human interactionWhat is the meaning of modern existence? Like Edward Hopper

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installation art, be apart of the art,

Environments or installations

Interested in Rauschenberg, Nevelson using objects from everyday life

Allover look of Jackson Pollock (wrote that the next step after Pollock was to make environmental art)

Not permanent

Walk through it, experience

No meaning attached; left to viewer

Performance Art, Happenings

Simultaneous actions: painting, juicing oranges, speaking fragments of sentences: human participation, element of change

Like a combine in time and space

Reminds me of switching channels on tv or radio

Lots of performance art followed

George Brecht: Motor Vehicle Sunset Event: people drew cards with instructions: at a parking lot revved engines, honked horns, rolled down windows, slammed doors shut, opened and closed hoods and trunks

Finding beauty in everyday ordinariness?

How different from theater? Takes place in an art context

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Friends with Rauschenberg; began as a window decorator

Chose everyday, familiar forms

Takes readymades and paints over them

Paintings about painting: non-illusionistic, no specific meaning or emotion (can you remove emotion from flag?)

Wax-based encaustic; painterly

3 canvases stacked: 3-D from canvases, not from illusionistic painting; an image is a sign or symbol of something else, not the thing itself (this is a painting of a flag, not a flag—Magritte: This is not a Pipe)

Predecessor to Pop Art

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similar to the Egyptian obelisk, a bit of nonsense but grounded in the rea world

New generation of artists rejected Abstract Expressionism

Rauschenberg: “It was all about suffering and self-expression and the State of Things. I just wasn’t interested in that, and I certainly did not have any interest in trying to improve the world through painting.”

Took off where Duchamp left off: painted canvases completely white; in response, avant-garde composer John Cage wrote a piano piece called 4’33”, first performed in Woodstock, NY in 1952: pianist opened keyboard, did nothing else for 4 minutes and 33 seconds; audience listened to sounds of the real world; then the keyboard case was shut, signaling the end of the piece

“I don’t want a picture to look like something it isn’t. I want it to look like something it is. And I think a pictures is more like the real world when it’s made out of the real world.”

Combines: works that combined painting, sculpture, collage, found objects

Odalisk: lamp (electric light inside); magazines, newspapers, thrift shops, garbage—mass production, throwaway

Title: pun on odalisque and obelisk; sexual allusions but no explanation; this is life

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Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60 

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Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60 

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very large floor to ceiling, transform something ugly like trash on the street to create art and make it beautiful,

Black boxes filled with found objects; fragments of furniture and architecture; also became larger, wall-sized

Fragments of civilization, of one’s life, of the cosmos

Nevelson wanted her black works to be illuminated by a blue light, suggesting twilight, when things begin to look different and to change into something else—moment of transformation

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Helen Frankenthaler. Mountains and Sea. 1952 

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Helen Frankenthaler. Mountains and Sea. 1952 

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puts paintings on floor and didn't paint with brushes and would thin her oil paint and pour it on to unprimed canvas and would tip the canvas to make these large stained paintings

Developed Stain painting: put canvas on the floor like Pollock, made quick charcoal sketches, poured thin oil paint on it, tilted it to allow paint to run (didn’t use brush)

Paint bled into unprimed canvas; translucent like watercolor; not tactile like impasto; couldn’t see artist’s hand: post-painterly abstraction (evolved from abstract expressionism)

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Abstract Expressionism: Color Field Painting

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Mark Rothko, No. 61 (Rust and Blue), 1953 *FINAL TEST*

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Mark Rothko, No. 61 (Rust and Blue), 1953 *FINAL TEST*

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non objective, on a large scale

quote by Mark Rothko - "I am not interested in relationships of color or form or anything else . . . I am interested only in expressing the basic human emotions—tragedy, ecstasy, doom, and so on—and the fact that lots of people break down and cry when confronted with my pictures shows that I communicate with those basic human emotions. The people who weep before my pictures are having the same religious experience I had when I painted them.  And if you . . . are moved only by their color relationships, then you miss the point!”

Flip side of Abstract Expressionism: Color-Field Painting

Mystical quality: Large meditative planes of color to express universal forces; sublime (vast, large canvases)

Main color-field painters: Mark Rothko, Barnett Newman, Clifford Still; all started out by making Surrealist paintings based on mythical themes

Rothko: flat planes of color; no storytelling, no symbols; mystical, oneness with cosmic forces

Thin layers of paint; glowing,  “spiritual light”; ragged edges, cloudlike, organic; suggest infinity, spiritual aura

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The United States became the center of the art world with the advent of Abstract Expressionism

Postwar to Postmodern (1945-1980)

Theme: Breaking Boundaries

Abstract Expressionism = Action Painting

artists/abstract artists were limited during the war and moved to America to have more freedom to do it here

Breaking Rules!
Abstract Expressionism (two branches—Action Painting and Color Field Painting):

Influenced by Surrealism
Art about emotion, myth, universal forces
Brought attention to the paint on the canvas (rather than hiding)
Brought NYC to the center of the art world

Post-Painterly Abstraction
“Stain painting”

Post Abstraction
“Combines”

Action Painting

Jackson Pollock Autumn Rhythm: Number 30. 1950

Color Field Painting

Mark Rothko No. 61 (Rust and Blue), 1953

Post-Painterly Abstraction

Helen Frankenthaler. Mountains and Sea. 1952

Postwar Sculpture

Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60

Post Abstraction

Robert Rauschenberg. Odalisk. 1955–58

Jasper Johns. Three Flags. 1958

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It was inspired by a real event, It has become a universal anti-war statement, and It is an enormous oil painting.

Fascist rise to power: Mussolini in Italy, Hitler in Germany, Franco in Spain, Hirohito in Japan

Spanish Civil War: Hitler provided military support for the Nationalists under leadership of fascist dictator Franco; Nazi pilots used saturation bombing to attack the undefended Basque town of Guernica, killing thousands of civilians.

Painted as a protest;  This large canvas embodies for many the inhumanity, brutality and hopelessness of war (compare to Goya 3rd of May); crucifixion pose

Why black and white? Thought color would distract

Why lines of hatching? Newspaper look; immediacy of journalism; contemporary event

Bull=forces of brutality and darkness; horse=the people

Bird=dove of peace (annihilated)

Picasso refused to let Gernica be displayed in Spain while Franco was still alive

Last major history painting; end of belief that a painting can be a catalyst for change (we are too bombarded by images daily)

Pablo Picasso, “Guernica”.  Oil on canvas. 1937.

This painting of Pablo Picasso has a very strong and emotive purpose. The storyline is very powerful and he knew how to narrate it in a perfect way. What I admire the most about this painting is that Picasso portrayed in a marvelous way the drama and effusion of the moment where the people of Guernica were attacked by a bomb in the Spanish civil war. The colors are very cold and hopeless which portray a sense of despair, sadness and drama. The subjects in the painting are disfigured and portray a feeling of pain and destruction. The painting is a symbol of the terrible suffering that the war violates human beings. I believe that Picasso wanted to show how art has always been and will be a form of social expression, a way to "speak without words" and sensitize the viewer. We should look at art not in the simple forms or colors, but to look beyond and try to perceive what the author wants to tell us.

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Influences of Cubism reaches US

Grain elevators

Hard-edged, geometric, Cubist; Precisionism (not only because of precise line, but also because of precision of machines and industry; unlike Cubism, not distorted

Title: Americas pyramids; mighty

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 Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940.

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 Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940.

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cubism, fractured planes, large painting, lots of energy and feeling of New York City, flashing lights, busy cars, intense lights and sounds

Essence of the modern experience through abstraction—influenced by Armory Show: flying in an airplane, looking down from a towering skyscraper, riding in a speeding car, advertising, jazz, pulse and energy

Like synthetic Cubism

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Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

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Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

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with surrealists,

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make flower large, soft color but strong edges, First showed her work at Alfred Stieglitz’s gallery (“At last, a woman on paper”)

Close-ups of flowers; image so magnified it becomes abstract (influenced by close-up photography of Paul Strand)

Critics felt it had sexual references

O’Keeffe denied that they were about sexuality;  “if you see other things in the flower, it is because of the universality present in nature”

Quote: “I’ll paint it big, and they will be surprised into taking time to look at it. . . I will make even busy New Yorkers take time to see what I see of flowers.”

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Dorothea Lange. Migrant Mother, California. 1936

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Dorothea Lange. Migrant Mother, California. 1936

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1930s great depression, not many people can get jobs, photograph of mom and sons starving, a pic what makes the world a better place, this photo was shown in many places and when the gov saw the photo and the story behind it they set up relief camps

Grant from FSA (Farm Security Administration) under Franklin D. Roosevelt’s New Deal

Captures destitution, emotional distress of migrant workers

Immediate impact: government sent food to CA and opened relief camps for migrant workers; power of images

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empty street, everyone is at war, loneliness, alienation, Garish light and colors of Van Gogh’s Night Café, 1888, little interaction, even while the others are together they are still alone, fishbowl feel trapped,

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Same girl not twins, organs on outside shows how she feels and the pain she's in, her locket is an image of her ex love, Frida cutting the line bw love,

Frida Kahlo, The Two Fridas, 1939: began painting while recovering from a bus accident at age 18; interested in native folk art and dress; introspective and about emotional and physical pain

Left: European Frida; pale, Victorian dress (father was Hungarian Jew); right is Mexican Frida, darker and in peasant costume (mother Indian and Creole)

European Frida cuts the blood connection to the indigenous self

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Grant Wood, American Gothic, 1930 *FINAL TEST*

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Grant Wood, American Gothic, 1930 *FINAL TEST*

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steeple in the background indicating a church prob bc that is where they are headed, cross symbolism everywhere

Shown at the Art Institute of Chicago in 1930 (still there), brought Wood to national attention

Window into Midwest world where Wood grew up and lived

What can you tell about these people?

Fictitious father and spinster daughter, God-fearing descendants of settlers

Religious: numerous crosses: windows, porch, overalls (repeats pitchfork pattern), church steeple, Gothic window

Neat and clean: crisp drawing, verticals and horizontals

Industrious: pitchfork, plants on porch

Frugal: old-fashioned clothes, nothing modern (time of Depression)

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Dutch movement

Sought to create utopian environment through geometric abstraction

Sought universal order that would make nationalism obsolete

Also called International Style and Neo-Plasticism

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Piet Mondrian. Composition No.II/Composition I// Composition en Rouge, Bleu et Jaune (Composition with Red, Blue, and Yellow). 1930 *FINAL TEST*

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Piet Mondrian. Composition No.II/Composition I// Composition en Rouge, Bleu et Jaune (Composition with Red, Blue, and Yellow). 1930 *FINAL TEST*

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This artist of this work believed that art should create a utopian environment, unite nations that had been at war, and show the order and harmony of the universe

formal elements: The artist used primary colors plus black and white, The artist tried to eliminate perspective in this work, The artist used smaller blue and yellow rectangles to balance the large red square

called it the international style, he wanted everyone to have this style

Mondrian with other artists in Amsterdam founded a movement called De Stijl:; spiritual mission;

Friend and philosopher Schoenmaekers wrote that there was an underlying mathematical structure to the universe that constituted true reality;

Mondrian based art on this theory; called it Neo Plasticism

Asymmetrical but harmonious; no foreground or background; all on same plane (asserts the presence of the picture plane—going back to Manet, Cezanne, etc.)

Tries to convey complexity and simplicity of universe; everything fits together

Mondrian felt that art can be a catalyst for change; new language (like Malevich)

Cubist influence; also stained glass

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American Art between the Wars

Georgia O’Keeffe, Yellow Calla, 1926

Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940

American Regionalism

Representational
Local (Midwest) imagery

Georgia O’Keeffe, Yellow Calla, 1926

Georgia O’Keeffe, Deer’s Skull with

Pedernal, 1936

Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940

Harlem Renaissance

“In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro
series, 1940-41

Mexican Art between the Wars

Diego Rivera, Flower Carrier, 1935

Frida Kahlo, The Two Fridas, 1939

Protest Art

Pablo Picasso. Guernica. 1937

Social Realism

Edward Hopper, Night Hawks, 1942

Dorothea Lange. Migrant Mother, California. 1936

Precisionism

Charles Demuth, My Egypt, 1927

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someone reclining, relaxed, there's some negative space that could represent a place for bearing children, looks like a landscape like the legs/knees looking like mountains, the stone has some roughness and texture and timeless, something thats ancient yet modern,

Influenced by Brancusi, Arp, Miro, Picasso

Also non-western art, including Pre-Columbian art

Reminiscent of a Classical reclining river-goddess; but based more directly on Pre-Columbian figures.

Interested in portraying elemental and universal

We see woman but know it is also stone; millions of years old; one with the stone

Earth goddess or fertility figure; also a landscape; mother earth

Interplay between solid and void; suggests womb or tide pools

Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire. His ability in later life to fulfill large-scale commissions made him exceptionally wealthy. Yet he lived frugally and most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.[1]

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Alexander Calder. Lobster Trap and Fish Tail. 1939 

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Alexander Calder. Lobster Trap and Fish Tail. 1939 

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inventor of haning sculptures, drawing in space, both flat and dimensional, very playful,

American, settled in Paris, befriended Miro and Mondrian

Started making mobiles in the early 1930’s; painted sheet metal, balanced so that movement in air makes them glide and turn in space

Organic shapes like Miro and Arp; suggest natural forms

Sculpture? Flat; like drawing in air; but moves in space

Simple colors: primary, secondary, black and white

Childlike, joyous

Flat space and depth combined

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Alexander Calder. Lobster Trap and Fish Tail. 1939

Henry Moore. Recumbent Figure. 1938

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Meret Oppenheim. Object (Luncheon in Fur). 1936 

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Meret Oppenheim. Object (Luncheon in Fur). 1936 

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had lunch with Picasso and she had a fur bracelet and Pic complemented it and said anything could be covered in fur so she took that thought and decided to make this work

Daughter of a Jungian psychologist

Juxtaposition two desirable things; becomes disturbing

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Surrealist object

Gift for composer Erik Satie

Tacks glued onto flat side of an iron

Suggests pain, violence, uselessness?

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Salvador Dalí. The Persistence of Memory. 1931 *FINAL TEST*

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Salvador Dalí. The Persistence of Memory. 1931 *FINAL TEST*

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Interest in exploration of the unconscious mind and dream states, oil paint, artist born in Spain, detailed irrational images,

the artist brings up a push and pull between naturalism and abstraction, objective vs. subjective reality, and the irrationality of memories and dreams

It is an example of Surrealism, The medium is oil on canvas, It was inspired by scenery from Spain, the artist's native country.

very small painting, clocks are melting, merging and changing shapes like dreams, insects swarming objects, very irrational, Dali came from Spain the cliffs and ocean side came from his countryside and this painting represents, a memory and time seems to go very slowly,

Stream of consciousness process: one thing led to another

Time? Rational, measured

Death, deterioration

Everything is irrational—attack on the rational

Viewers’ own unconscious

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not see things objectively, don't see what is inside

Focus on ideas, Not all surrealist art was nonrepresentational

Claims superiority of unconscious mind over conscious mind

Iris like eclipsed sun, behind which lies unconscious; eye absorbs only the visual world, but not the inner world of the unconscious

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René Magritte, The Treachery of Images, 1928-29

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René Magritte, The Treachery of Images, 1928-29

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it is a painting/image of a pipe not a pipe all art is an image not real, not abstract but an abstract idea

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“Biomorphic forms”

flat lines and shape

From Barcelona, went to Paris, started painting from his imagination (or hallucinations brought on by starvation, he claimed)

Wiry line, childlike drawing of Paul Klee

Biomorphic forms float on top of minimal color field (behind drawings)—oil, but thin like washes

Suggest microscopic forms, spirits, prehistoric forms; mythic images, primal state

(how many ways can we not show depth?)

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Joan Miró. Composition. 1933

René Magritte, The Treachery of Images, 1928-29

Salvador Dalí. The Persistence of Memory. 1931

Man Ray. The Gift. 1921 (1958 replica)

Meret Oppenheim. Object (Luncheon in Fur). 1936

1930’s
Element of chance (like Dada)
Randomness related to dream states
Juxtaposition of unrelated objects
Exploration of the subconscious mind
Dream images
Stream of consciousness

Exploration of the unconscious mind
Dream images
Juxtaposition of unrelated objects
Randomness related to dream states
Stream of consciousness

In common with Dada: element of chance, randomness (not politically charged); also nonsense

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artist saw a lot of suffering in life and her son and grandson dying in war, wasn't able to get into the art academy bc she's a women so she made art that wouldn't be in the academy and made an anti war statement and didn't care too much if the quality was good

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

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

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protest work photo collage, lots of machinery which has led to ward destruction and bad gov, dada side (artist) and anti dada side (gov),

Photomontage

Images of contemporary life made by photographers for popular press; camera is another machine associated with technological advances that led to war

Manipulated images by hand; cut with kitchen knife (no machinery); humanized the mechanical; antiwar

Antiwar Kathe Kollwitz at center, antidada at sides

Didn’t use collage to make something beautiful or refined; looked crude and anti-art; message of protest about modern society and regime of Weimar Republic

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

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

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responding to gov that came to Germany that he wasn't a fan of, just put found objects together that seem fairly random but they have numbers on them and Germany is held on precision and wanted to express that, criticizing and heads are empty and being controlled and accepting whatever comes to them

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Reaction against World War I; focus on absurdity, element of chance
(Enlightenment values of logic and reason only lead to war); challenged status quo in art,
culture, etc.

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

Marcel Duchamp. Fountain. 1917

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

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

Käthe Kollwitz. Never Again War! 1924

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

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

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night club where people did art, poetry nights as well, Dada poetry: random words, pulled out of a hat, nonwords (abstract)

was going to let fate/chance decide where the squares go and how he made art

Movement started in Zurich (center for war protests)

Made abstract collages by dropping pieces of torn rectangular paper on the floor; where they fell determined the composition (chance=nature, truth)

Sought to capture abstract universal forces (like Kandinsky)

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Dada, Surrealism, Organic Sculpture, De Stijl are apart of it

Art=Mondrian animation

Wars=Newsies I’m the King of New York

Theme= I Will Survive (Covid)

Inward=O Holy Night

looked to art that was irrational instead of rational

Reaction against World War I
Focused on absurdity, element of chance
(Enlightenment values of logic and reason only lead to war)
Challenged status quo in art, culture, etc.

French word for “hobbyhorse.”: Two German poets stabbed knife into dictionary and point landed on that word; association with childishness, chance, absurdity

Logic and reason (Enlightenment) only leads to war

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Super simple, wanted to express universal truths and space and movement, anti arictocracy

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Kazimir Malevich. Suprematist Composition: Airplane Flying. 1915 (dated 1914) *FINAL TEST*

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Kazimir Malevich. Suprematist Composition: Airplane Flying. 1915 (dated 1914) *FINAL TEST*

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oil paint of squares painted in, interested in tech and machines and planes and painted not what an airplane looks like but more of a feeling of flying, and he wanted viewers to feel something

Malevich called his style "Suprematism," based on the "supremacy of feeling." In this work, Malevich wanted to make art that only the educated could understand

Trying to show experience of flying; new relationship to the universe

Reproductions don’t show organic qualities, hand of the artist

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Kazimir Malevich. Installation photograph of the artist’s paintings in 0, 10 (Zero–Ten): The Last Futurist Exhibition. St. Petersburg, December 1915

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Kazimir Malevich. Installation photograph of the artist’s paintings in 0, 10 (Zero–Ten): The Last Futurist Exhibition. St. Petersburg, December 1915

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this is a photo of a real art exhibit, the black square at the top is very radical, he wanted his art to support the Russian revolution, he wanted to get rid of the past where only the rich could enjoy art so we wanted to create art that brings in a new side of art for others to enjoy it

Suprematism: refers to the “supremacy” of feeling

Influences: Russion icons (corner of room), folk art

Trying to portray feelings through a new language, new vocabulary

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

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

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seems spooky

Strong diagonal lines, disjointed space like Cubism

Classical buildings, figurative=allegiance to classical past

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Chagall's painting I and the Village shows a strong influence of Cubism, Stained glass, and Folk art

relationship between animals and people, tree of life,

Influences: Cubism (fracturing), stained glass windows (worked in that medium), folk art

symbolism?: circles=cycles of life

Blooming bush=birth

Farmer with scythe=death

Tree of life

Having been in Paris for just one year, Chagall painted this work from memories of his native village outside Vitebsk, Belarus. The cow and the man stare directly into one another’s eyes, suggesting the mutual dependence of peasants and animals. For orthodox Jews, animals were humanity’s link to the universe; look closely and you’ll see the sun, the earth and the moon in orbit. In reference to his very personal response to Cubism, Chagall once said "Lines, angles, triangles, squares, carry me far away to enchanting horizons.”

Chagall saw Jesus on the Cross as a universally recognizable symbol of human suffering. Chagall hoped that Jews and non-Jews alike would be able to relate to this symbol. By making Jesus unmistakably Jewish, he was highlighting the fact that the Romans crucified Jesus as a Jew. In the midst of the Holocaust, Chagall wanted to make the universality of Jesus’ crucifixion specific again, he wanted the world to look at Jewish suffering.

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Marcel Duchamp. Bicycle Wheel.
1913/1951 (third version, after lost original of 1913)

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Marcel Duchamp. Bicycle Wheel.
1913/1951 (third version, after lost original of 1913)

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Art is about ideas

he chose this art bc he is the artist and put these 2 together to show how art can just be anything an artist creates/

Significance of “Readymades”: Art is about ideas, not just something beautiful to look at

Challenges notion that art requires technical skill and craftsmanship

Interpretations? Pedastol with bust?

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Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912 

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Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912 

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Americans got their first glimpse of modern art from Europe at the 1913 Armory Show in NYC and it was singled out for ridicule.

theres a machine like quality

Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912: (2-minute masterpieces: start at :27)

Influenced by Cubism, Futurism

Machinelike: idealizes progress, motion, modernity, science’s ability to improve the world

1913 Armory show: an art critic for the New York Times wrote that the work resembled "an explosion in a shingle factory," and cartoonists satirized the piece. It spawned dozens of parodies in the years that followed.

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Umberto Boccioni. Unique Forms of Continuity in Space. 1913 (cast 1931)

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Umberto Boccioni. Unique Forms of Continuity in Space. 1913 (cast 1931)

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influence of Cubism on Dada and Futurism can be seen

bronze sculpture, look to the future, speed, and machines, movement in space, there is an indication of a moving figure

The Futurists said they were inspired by

Cubism

Photography

New machines and technology

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Works to Know

Umberto Boccioni. Unique Forms of Continuity in Space, 1913

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

sought to reject the past and bring Italy into the future; interest in new
technology, speed, and movement

Wanted to convey motion, dynamic imagery, and social progress

extreme naturalism, felt they were behind in tech and the artists wanted to catch up so they broke away from Italian renaissance, burned books, war would be a great cleanse, moving photography was a start to futurism and were trying to figure out how the horse moved properly and proved the horses legs are always on the ground in movement

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29. Artist who created it?

A Pablo Picasso

30. Painting created bw

B 1901-1920

31. artist used all skills except

B a clear relationship bw figure and ground

32. Works reflects the artist interest in

D multiple view points

33. Paul Cezanne's work was a catalyst for this artist development

C

34. They style is Cubist

B

35. Georges Braque also worked in this style

B

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guashe watercolor, oil, childlike imagination, playful, innocent,

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Swiss German artist, abstract mount tree moon star, art inspired by medieval manuscripts, stained glass, Egyptian art, folk art, and children's art, wanted to bring a childlike simplicity and spirituality, watercolor, sun like hyroglyphs, jewish star, tree of life, half moon,

Combined influences found in The Blue Rider Almanac, including children’s art, tribal art, music

Grid of Cubism

Colors like Matisse, Kandinsky

Directness and naivete of children’s and folk art

Luminescent colors of stained glass windows

Sense of spirituality

Symbols: Jewish star of David, Islamic crescent moon, primitive hieroglyphic suns

Tree: life (same rays as suns: earth and sky connected)

Rectangular planes: trees, ,plants, fire, sky, earth?

Understated; strips everything inessential

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Vasily Kandinsky. Sketch I for “Composition VII.” 1913 

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Vasily Kandinsky. Sketch I for “Composition VII.” 1913 

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“A scientific event cleared my way of one of the greatest impediments. This was the further division of the atom. The crumbling of the atom was to my soul like the crumbling of the whole world.”

artists were talking about universal truths, which is not a particular religious belief but still wants us to feel something spiritual with the art and he feels that we should feel something when we see art

Completely non-objective; wanted to express universal spiritual forces, abstract mystical powers;

Simple, direct, spiritual

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Vasily Kandinsky, Improvisation 28 (second version), 1912

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Vasily Kandinsky, Improvisation 28 (second version), 1912

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Musical titles: focus on communicating directly with the senses

Like Whistler

Felt music was free from imitation: color, line, form counterparts of notes, chords, rhythms, harmonies

improvisation can also be a term for music and incorporated that into his paintings, he had synesthesia where he can se colors for different music notes and saw certain shapes as colors, oil paint, one of the 1st artists that broke the rules of art and shows abstract art

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Ernst Ludwig Kirchner, Street, Berlin, 1913

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Ernst Ludwig Kirchner, Street, Berlin, 1913

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artists looking for a "bridge" to a better future, the angles and gagged sharpness showing the awful modern society

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Alphonse Mucha, Dreaming (Reverie), lithograph, 1897

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Alphonse Mucha, Dreaming (Reverie), lithograph, 1897

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Advertisement for publishing house

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Victor Horta. Interior stairwell of the Tassel House, Brussels. 1892–93

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Victor Horta. Interior stairwell of the Tassel House, Brussels. 1892–93

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Style began in Belgium

Wrought iron columns, railings in stairwell; linear patterns of sinuous curves; organic fluidity (things growing)

furniture, jewelry, interiors; related to styles of Beardsley, Munch, Gauguin

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Escaping modernity

What do the Post-Impressionists share in common with the Impressionists? Where do they vary?

Symbolism: Emphasized world of dreams, moods, fears, and desires over the everyday, contemporary world; dissatisfaction with modernity

Art Nouveau (1890-1900): Mostly architecture and decorative arts; characterized by abstract organic forms; influenced by William Morris’s Arts and Crafts Movement

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Victor Horta. Interior stairwell of the Tassel House, Brussels. 1892–93

Alphonse Mucha, Dreaming (Reverie), lithograph, 1897

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Auguste Rodin. Burghers of Calais. 1884–89 

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Auguste Rodin. Burghers of Calais. 1884–89 

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commissioned to commemorate 6 citizens who agreed to sacrifice themselves during the 1347 siege of Calais in the Hundred Years’ War;

In exchange for the 6 burghers, the English agreed to lift the siege and spare the town (6 were eventually freed)

Emotionally charged: confront death with fear, resignation, anguish

Study question: The city of Calais commissioned this sculpture to memorialize an event from the city’s past. Discuss ways in which the sculptor’s conception, which was not acceptable to city officials, broke with traditional notions of heroic sculpture.

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Henry Ossawa Tanner. Angels Appearing before the Shepherds. ca. 1910 

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Henry Ossawa Tanner. Angels Appearing before the Shepherds. ca. 1910 

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African American; studied with Thomas Eakins in Philadelphia, but went to Paris because little hope of opportunities for black artist in America

Son of a preacher; religious imagery

We are in the sky with the angels looking down on holy land; shepherds and fire

Material world dissolved, ethereal

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Gustav Klimt. The Kiss. 1907–08 *FINAL TEST*

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Gustav Klimt. The Kiss. 1907–08 *FINAL TEST*

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Inspired by Munch “The Kiss” 1897, and Rodin’s sculpture “The Kiss”

Fascination with patterns and shapes, jewel like (gold like Byzantine mosaics)

Passion beautiful, dangerous (abyss)

Decorative; wanted to break down the hierarchy between fine arts and decorative arts (Vienna Secession: avant-garde artists’ organization; anti academic art)

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Edvard Munch. The Scream. 1893 *FINAL TEST*

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Edvard Munch. The Scream. 1893 *FINAL TEST*

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Express anxiety, expressive brushstrokes influence from Van Gogh, The strong diagonal and the tilted picture plane can be seen as an influence from Japanese prints

(Norway)

Influences?

Influenced by curvilinear forms of Gauguin, intense brushwork and color of Van Gogh

Explored psychology, subconscious

About deep, inner anxiety; universal anxiety of modern man

Skull-like head, compressed, writhing

Landscape is oozing, unstable

Violent perspective

(forget what we know about perspective, modeling, etc.)

A passage in Munch’s diary dated January 22, 1892, and written in Nice, contains the probable inspiration for this scene as the artist remembered it: “I was walking along the road with two friends—the sun went down—I felt a gust of melancholy—suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death—as the flaming skies hung like blood and sword over the blue-black fjord and the city—My friends went on—I stood there trembling with anxiety—and I felt a vast infinite scream [tear] through nature.”

We don’t hear the scream, but we feel it resonating inside of us.

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Henri Rousseau, The Sleeping Gypsy, 1897  

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Henri Rousseau, The Sleeping Gypsy, 1897  

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Self-taught, labeled “primitive painter” because of naïve style

Hard edges of Ingres, looks simplistic, charming, direct

Also seeking simplicity of pre-civilization

Not widely recognized during his lifetime; later Picasso and his circle admired his flatness, abstraction, directness, untaught style

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Odilon Redon. The Eye Like a Strange Balloon Mounts Toward Infinity, from the series Edgar A. Poe. 1878

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Odilon Redon. The Eye Like a Strange Balloon Mounts Toward Infinity, from the series Edgar A. Poe. 1878

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Influenced by Goya, psychological tales of Edgar Allan Poe (popular in France)

Visual poems (not illustrations); evoke world of Poe’s imagination

Soft, hazy, indistinct

Balloon morphs into a hairy eyeball, head severed at the nose

Life, death, eternity; uncertainty, troubling

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Emphasized world of dreams, moods, fears, and desires over everyday, contemporary world;

Dissatisfaction with modernity

Began as literary movement

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Paul Gauguin, The Vision after the Sermon, 1888 *FINAL TEST*

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Paul Gauguin, The Vision after the Sermon, 1888 *FINAL TEST*

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In Paul Gauguin's Vision after the Sermon, the artist uses color expressively and symbolically

Paul Gauguin imitates each of these characteristics of Japanese woodblock prints

the flat shapes

the strong diagonal cutting across the compositionthe strong outlines and lack of modeling

Felt western civilization lacked spirituality—too materialistic

Believed art of ancient and non-western cultures had more spiritual strength

Went to Brittany (western France) to live among peasants; seeking a simpler society in tune with nature

Religion still part of everyday life for peasants; still wore distinctive regional costume? tried to depict their simple, direct faith through art that was direct, authentic, and free of civilized influences (perspective, shading)

Looked at folk art, children’s art, medieval art, medieval stained glass windows

Women have just heard a sermon about Jacob wrestling with the angel; they see a vision of the story along with a cow (spirituality in every thing—struggling shapes have shape of cow)

Shapes reduced to flat, curvilinear, outlined areas; little shadow (like Japanese prints and stained glass)

Background plane tilted up, flat red (mystical; felt deep space was distracting to message)

Diagonal of apple tree like Japanese prints

Perspective of Degas

Hats, bonnet strings look animated

Influenced a lot of other painters

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Vincent van Gogh. Starry Night. 1889 *FINAL TEST*

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Vincent van Gogh. Starry Night. 1889 *FINAL TEST*

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iconography: The cypress tree is a symbol of eternal life.

The main reason this work is part of Post Impressionism is that It emphasizes the artist's inner state of mind rather than physical reality.

Painted after he committed himself to a mental institution

Mood?

Emotional intensity

Surging, rhythmic lines

Everything in the landscape is echoed in the town:

Cypress trees planted beside graveyards as symbols of eternal life (echoes church steeple)--spiritual

Lit houses in rural village protected by surrounding hills

Yellow in windows and in the stars; light, spiritual light

Expressive: not realist or Impressionist

People in harmony with the universe (Van Gogh’s desire); commitment to humanity

Committed suicide 1 year later

“I think my favorite piece was probably Van Gogh’s “Starry Night.” As cliché as it sounds, I just really love this painting, and I have loved it since I was a kid. I’ve always admired Van Gogh’s use of color and his thick, loose brushwork. Also, I’m a huge fan of the swirls in the sky and the stars. A spiral pattern is my favorite shape and composition to work with, so the fact that Starry Night is full of swirls and spirals just makes me love it more. Plus, I really love night scenes.” Anna Earley

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Used color and brushwork to express emotion

Wanted to “express the terrible passions of humanity by means of red and green”

Symbolic use of complementary colors: makes harsh, acidic, sour (green light in waiter’s hair)

Also tipped perspective: puts us at dis-ease; looks threatening

Psychological isolation

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Henri de Toulouse-Lautrec. La Goulue. 1891 *FINAL TEST*

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Henri de Toulouse-Lautrec. La Goulue. 1891 *FINAL TEST*

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Became widely known for his lithographic posters

Influence of Japanese prints: flat silhouettes, block shapes, cropping, tilted space,

Influence of Degas: above and subject matter

Different: more abstract, cartoonish, caricature, simplified; minimum of marks, more flat planes and outlines

Makes very 2-D

Moulin Rouge--Cabaret

Dancer: Louise Weber, credited with creating the cancan

Profile in front: “Valentin the boneless,” known for his idiosyncratic dancing

Satirical: Appealing? Illusion of gaiety, but emptiness:

Psychological isolation of dancer, weary expression;  lurking profile of Valentin; dark shapes of onlookers

We can feel rhythm of the dance: repeated feet, movement, repeated words, yellow gas lamps (rhythm), lines of floorboards)

Yellow shape on left: globes of the modern electric chandelier that hung over the dance floor

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Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892

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Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892

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the compositional function of the ballustrade in the foreground pulls us into the scene & separates us from the activity of the people

In his painting Moulin Rouge, the artist Henri de Toulouse-Lautrec included:

Famous performers

A self-portrait

Unusual cropping

Painted night life of Paris; optimistic? Garish light, cropped

Self-portrait in back (crippled by a genetic disease; very short); Spent life in night spots of Paris, died of alcoholism

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Georges Seurat. A Sunday Afternoon on the Island of La Grande Jatte. 1884–86 *FINAL TEST*

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Georges Seurat. A Sunday Afternoon on the Island of La Grande Jatte. 1884–86 *FINAL TEST*

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Avoided using the color black, pointillism, This work shows a classical calm, which the artist developed in part through an interest in Science

this differed from impressionists in the method of paint application

The technique shown in this work, described by Georges Seurat as Neo-Impressionism but also known as divisionism or pointillism, received these names because the artist wanted to let our eyes blend the colors instead of mixing the colors on the palette

Georges Seurat was interested in:

Portraying mixed social classes

Using scientific color theory

Bringing a sense of classicism to modern painting

Made a few very large paintings with dozens of preliminary studies; only lived to be 31

Felt art should be based on a scientific system

Impressionist influence: subject (middle class leisure activities), brilliant colors, sunlight; shows social types (boatman on left corner, courtesan on right with monkey)

Different: very controlled: firm contours, frozen formality, calm, timeless stability instead of fleeting moment (like Renaissance); structure

Classical: figures silhouetted in profile, ¾ view, or frontally (not casual placement); said he wanted to make modern figures file past like figures on the frieze of the Parthenon;

6x10 feet—like monumental history painting

Did detailed studies—like a stage set: made monumental

Brushstoke: broken, but systematic, impersonal

Brushstrokes became dots (theory that they would merge in the viewer’s eye and produce more luminous color than if mixed on palette (pointillism, divisionism)

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Paul Cézanne. Mont Sainte-Victoire Seen from Bibemus Quarry. ca. 1897–1900

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Paul Cézanne. Mont Sainte-Victoire Seen from Bibemus Quarry. ca. 1897–1900

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Compare with first Mont Sainte-Victoire

Becomes increasingly abstract

More compressed; less depth

Balance between observation of nature and a desire to abstract nature: show things as color, shape

Paint strokes stand on their own; Freed painting from representational role

Had a powerful influence on Picasso and Matisse

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Paul Cézanne. Mont Sainte-Victoire. ca. 1885–87 

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Paul Cézanne. Mont Sainte-Victoire. ca. 1885–87 

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Like Impressionism: Painted outdoors, bright outdoor colors, broad brushstrokes, flickering light

Different: structural, formal, frozen; even sky looks structural

Push and pull between depth and flat space: brushstrokes are flat marks asserting the surface of the canvas (conflict between abstraction and representational: we know it’s a real scene, and we also know it’s a flat canvas with lines, color, and paint; no longer a window onto nature—ideal since Renaissance)

Looks quickly done, but meticulous about every mark (each painting took a couple of years)

looked for geometric substructure in all things; shapes echo each other (curves in tree, slope; diagonals in field, mountains, paint strokes

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Japanese Prints:

WORKS TO KNOW:
Kitagawa Utamaro, Naniwa Okita Admiring Herself in a Mirror, ca. 1790–95
Katsushika Hokusai, The Great Wave, from the series Thirty-six Views of Mount Fuji, c. 1830-32
Utagawa Hiroshige. Plum Estate, Kameido, from the series 100 Famous Views of Edo. 1857

INFO: In 1854 Commodore Perry, US naval officer, led an expedition that forced Japan to end its policy of isolation

This opened up trade between Japan and US and Europe

Japanese prints were shown in the Paris Universal Exposition of 1867; these prints influenced art in US and Europe

Woodblock printing had begun in China in the 4th cent. AD; in the 6th Cent Buddhist missionaries brought the technique to Japan

First used for printing words; in the 16th cent.  Artists began to use them to illustrate texts

17th-cent they began using color

Ukiyo-e (Japanese prints)
flat shapes
sharp contours
compressed space
cropping
angles
asymmetry
Color Theories: Optical Blending, Complementary Colors
Leisure Time (upper and upper-middle classes)
Art for Art’s Sake
Communist Manifesto (support of workers’ rights)
Independent Art Shows

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William Morris (Morris & Co.). Green Dining Room (William Morris Room). 1867

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William Morris (Morris & Co.). Green Dining Room (William Morris Room). 1867

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John Ruskin writer, artist championed PRB and urged creation of beautifully designed, hand crafted objects that workers could take pride in producing over mass-produced products;

Morris started company that manufactured beautifully crafted fabrics, wallpaper, tapestries, carpets, tiles, furniture, and stained glass; he designed most of the wallpaper and fabrics

From nature, considered spiritual

Gold background above wainscoting=12 months of the year; like late Gothic art, cycles of seasons and life

Emphasized truth and quality: no disguising materials, no pre-fabricated materials, no cheap materials

Launched Arts and Crafts movement, which soon spread to the US

helped to erase Renaissance-influenced perceptions that valued the so-called “higher” art forms over the “lower” work of traditional craftsmen.

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The Aesthetic Movement: Art for Art’s Sake

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The Aesthetic Movement: Art for Art’s Sake

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WORKS TO KNOW

James Abbot McNeill Whistler. Nocturne in Black and Gold: ca. 1875
John Singer Sargent, Madame X, 1897
John Singer Sargent, Carnation, Lily, Lily, Rose, 1885-86

INFO

Art that focused on formal elements of art rather than story-telling or symbols

Whistler compared art to music, which depends on harmony and form rather than subject
matter

“As music is the poetry of sound, so is painting the poetry of sight, and the subject matter has nothing to do with harmony of sound or of color.” - James Abbott McNeill Whistler

art is like music and it can have a subject matter but still very abstract, art can be about harmony, texture, rhythm, mainly just be about formal elements, doesn't have to mean anything

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Reaction to Industrial Revolution and mass production of items with poor quality

William Morris started a company that made items for homes with hand-crafted, beautifully made items

Nature was an important inspiration

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Pablo Picasso. Guitar, Sheet Music, and Wine Glass. 1912

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Pablo Picasso. Guitar, Sheet Music, and Wine Glass. 1912

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the artist shows he loves to play and shows how abstract things are, art doesn't have to be real like music and letters and the guitar and cut out paper shows how it is more flat instead of things going back into space, the wine glass is the only thing with dimension with shading but it too is still very abstract,

Synthetic Cubism: in 1912 Braque and Picasso began working in collage; complicates notion of real and illusion; paper/ wallpaper/ chair caning is real and an illusion (a picture)

Pablo Picasso, Guitar, Sheet Music, and Wine Glass, 1912.

complicates notion of real and illusion; paper/ wallpaper/ chair caning is real and an illusion (a picture)

Woodgrain was painted by Picasso and cut out

“Instead of a window, the picture surface became a tray on which art was served.” (art is on top of the canvas, not behind)

What has the most depth? She modeled glass, which is the only thing drawn?

Instead of breaking down images, now building up

Introduced a variety of textures and colors  (in analytic Cubism they used monochromatic colors)

Used musical themes because music is abstract, like their art; also notes are abstract symbols

Play with space: guitar soundhole should be negative space, but it is a solid circle of paper

Le Jou—again, pun about Le Journal, jouer (to play)

La Bataille s’est Engage (the battle is joined): First Balkan war in Europe; also battlefield between Picasso and Braque working on a new medium

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It is a fractured image showing bits and pieces of the art like shards of broken glass and put together to represent not just a singular object, but an object of vision. Gives all points of view in one painting

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Pablo Picasso. Les Demoiselles d’Avignon (The Young Ladies of Avignon). 1907 *FINAL TEST*

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Pablo Picasso. Les Demoiselles d’Avignon (The Young Ladies of Avignon). 1907 *FINAL TEST*

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very big painting, shocking, the modeling and colors and space dont make sense, 8ft tall 7in wide, prostitutes, acient art in spain, african mask influence,

Pablo Picasso, Les Demoiselles d’Avignon (The Young Ladies of Avignon), 1907 (stop at 7)

What rules of western art from the past 400 years does Picasso break?

Forms unreadable

Perspective skewed

No shadow or doesn’t make sense

Color--not representative

Space—impossible to read

Notions of feminine beauty

Influences?

Manet—women look straight at us, confront viewer

Cezanne-planes, different points of view

Matisse-color

African and Iberian masks

Opened up artistic freedom: line, plane, color, mass, void all freed from representational roles and can take on a life of their own

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Abstract art vs. Non-objective art, Non-narrative art, Non-representational art

Die Brücke: dissatisfaction with industrial modern life; looking to German past with woodblock prints

Der Blaue Reiter: looking for spirituality and “universal truths;” Abstract art vs. non-objective art, non-narrative art, non-representational art

German Expressionism: Die Brücke (The Bridge)

Ernst Ludwig Kirchner. Street, Dresden. 1908

Ernst Ludwig Kirchner, Street, Berlin, 1913

German Expressionism: Der Blaue Reiter (The Blue Rider)

Vasily Kandinsky, Improvisation 28 (second version), 1912

Vasily Kandinsky. Sketch I for “Composition VII.” 1913

Paul Klee. The Niesen. 1915

Paul Klee, Twittering Machine, 1922

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Henri Matisse. Femme au chapeau (Woman with a Hat). 1905 *FINAL TEST*

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Henri Matisse. Femme au chapeau (Woman with a Hat). 1905 *FINAL TEST*

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Many important modern movements in art developed before the end of World War I. Fauvism appeared in 1905 in the work of Matisse and Derain, Fauvist art may be characterized by its startling use of color,

colors do their own thing, freedom with color