# data[].attributes.headline
Installation Art | Yayoi Kusama | Infinity Mirrors | 2017

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Installation Art | Yayoi Kusama | Infinity Mirrors | 2017

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- Eternal unlimited universe, love for humanity, and longing for peace in the world—these concepts become increasingly serious through the development of my philosophy of life and art.

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Installation Art | Yayoi Kusama | A Dream I Dreamed | 2014 

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Installation Art | Yayoi Kusama | A Dream I Dreamed | 2014 

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Video Art | Nam June Paik | Electronic Superhighway: Continental U.S | 1995 

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Video Art | Nam June Paik | Electronic Superhighway: Continental U.S | 1995 

# data[].attributes.body
- 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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 Feminist Art | Judy Chicago | The Dinner Party | 1979 

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 Feminist Art | Judy Chicago | The Dinner Party | 1979 

# data[].attributes.body
- 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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Feminist Art | Betye Saar | Shield of Quality | 1974 

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Feminist Art | Betye Saar | Shield of Quality | 1974 

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- “brazenly representational”: no attempt to accommodate art establisment

- Also dedicated to African-American heritage

- Like Louise Nevelson but personal objects, meaningful, intimate

- Objects and pictures relating to her great aunt; triptych like—portable altar

- Small!

- Focuses on women and important role of women

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Earthworks | Christo and Jeanne-Claude | Running Fence, Sonoma and Marin counties, California | 1972-76

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Earthworks | Christo and Jeanne-Claude | Running Fence, Sonoma and Marin counties, California | 1972-76

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- 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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Earthworks | Robert Smithson | Spiral Jetty, Great Salt Lake, Utah |  1970 

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Earthworks | Robert Smithson | Spiral Jetty, Great Salt Lake, Utah |  1970 

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- Some felt minimalists were escapists, not confronting issues of the day; wanted to put emotion back into art

- 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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Minimalism | Dan Flavin | the nominal three (to William of Ockham) | 1963 

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Minimalism | Dan Flavin | the nominal three (to William of Ockham) | 1963 

# data[].attributes.body
- Medium is fluorescent tubes of light; reduced to bare essentials (no paint, no canvas, etc.); where else could you go?

- Art that can’t be collected; Is there anything still traditional? museum setting

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Minimalism | Donald Judd | Untitled | 1969 

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Minimalism | Donald Judd | Untitled | 1969 

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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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Minimalism | Frank Stella | Empress of India | 1965 

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Minimalism | Frank Stella | Empress of India | 1965 

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- 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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Minimalism | Ellsworth Kelly | Red Blue Green | 1963 

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Minimalism | Ellsworth Kelly | Red Blue Green | 1963 

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- Reaction to Abstract Expressionism; sought to make unemotional art

- Eliminated any sense of space

- Art for art’s sake

- Hard-Edge Abstraction

- More than 11 feet wide;

- Reduced painting to a barebones simplicity: Hard-Edge Abstraction; machine precision

- Geometric shapes in solid primary and secondary colors; no figure and ground; all on same plane

- Only about color and movement; no reference to artist; no reference to  subject or meaning; strips everything else away

- Left side fixed, right side has movement?

- Figure/ground relationships change?

- Acrylic

- Influenced by contours of typeface

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Pop Art | Andy Warhol | Campbell’s Soup Cans | 1961–64 

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Pop Art | Andy Warhol | Campbell’s Soup Cans | 1961–64 

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Andy Warhol: Next to Dali, most publicity prone; kept himself in the news, outlandish, threw spectacular parties

Was making art based on comic books at exactly the same time as Lichtenstein; turned to commercial design

Began as illustrator of women’s shoes; fascinated by manipulative role of advertising and product packaging; also by impact of mass media on public opinion

“I want to be a machine.” opposite Pollock (wanted to be one with nature)

- Soup=letter

- Andy Warhol, Campbell’s Soup Cans, 1961-64: images from everyday life (like Dutch art) but no reverence, not carefully arranged, no hidden symbolism or meaning

- All 32 types of Campbell’s soups at the time; monotonous, repetitive (indifferent vs. emotionalism of abstract expressionism)

- Called studio the Factory; used silkscreen process; removes artists’ hand, individualism

- Workaholic, highly involved in process; but gave illusion of barely touching work

- Art is a commodity; name brand product, not necessarily about technique or craftsmanship (you want to buy a Warhol)

- Pervasiveness of advertising, mass production, uniformity, consumerism: a portrait of America

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Pop Art | Roy Lichtenstein | Drowning Girl | 1963 

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Pop Art | Roy Lichtenstein | Drowning Girl | 1963 

# data[].attributes.body
- Reaction to elitism of Abstract Expressionism
- Sought a mass-produced look—accessible
- Similar to Dada in love of ready-made, common objects

- Pop art—term coined in Britain in 1950’s; pop culture

- Abstract Expressionism had become “high art;” new artists wanted something less elitist

- Sought a mass-produced look; everybody can understand, available to all (but not! Irony)

- Similar to Dada in love of ready-made common objects

- 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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Performance Art | Joseph Beuys | How to Explain Paintings to a Dead Hare | Nov. 26, 1965

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Performance Art | 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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Installations | George Segal | The Gas Station | 1963

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Installations | George Segal | The Gas Station | 1963

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- Response to Happenings/Performance Art

- Frozen environments; white, plaster figures (plaster casts using plaster medical bandages)

- Alienation of contemporary life; lethargic, very alone, drained of life

- Modern objects, advanced technology, but meaningless; no spirituality or human interaction

- What is the meaning of modern existence? Like Edward Hopper

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Installations | Allan Kaprow | Yard | 1961  

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Installations | Allan Kaprow | Yard | 1961  

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- 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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Post Abstraction | Jasper Johns | Three Flags | 1958 

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Post Abstraction | Jasper Johns | Three Flags | 1958 

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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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Post Abstraction | Robert Rauschenberg | Odalisk | 1955–58 

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Post Abstraction | Robert Rauschenberg | Odalisk | 1955–58 

# data[].attributes.body
- Combines: works that combined painting, sculpture, collage, and found objects

- 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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Post-War Sculpture | Louise Nevelson | Sky Cathedral—Moon Garden Plus One. | 1957–60 

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Post-War Sculpture | Louise Nevelson | Sky Cathedral—Moon Garden Plus One. | 1957–60 

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- 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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Post-War Sculpture | David Smith | Cubi series as installed at Bolton’s Landing, New York | 1964

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Post-War Sculpture | David Smith | Cubi series as installed at Bolton’s Landing, New York | 1964

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- Left: Cubi XVIII, 1964. Center: Cubi XVII, 1963. Right: Cubi XIX, 1964

- Contemporary of abstract expressionists; began as a painter, started welding steel; drawings of organic forms in space

- Began using reserves of metal he had on hand, unplanned

- In Cubi series, he ordered precut stainless steel and assembled; geometric, but unemotional?

- Giant, monumental (size influenced by AE artists); precarious—impermanence of all things

- Burnished the steel to give it a textured, painterly surface

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Abstract Expressionism | Helen Frankenthale | Mountains and Sea | 1952 

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Abstract Expressionism | Helen Frankenthale | Mountains and Sea | 1952 

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- 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 Expression | Mark Rothko | No. 61 (Rust and Blue) | 1953

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Abstract Expression | Mark Rothko | No. 61 (Rust and Blue) | 1953

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- 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

- Said he had religious experiences while painting:

- “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!”

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Abstract Expressionism | Jackson Pollock | Autumn Rhythm: Number 30 | 1950 

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Abstract Expressionism | Jackson Pollock | Autumn Rhythm: Number 30 | 1950 

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- After WWII: Turning point in the art world: focus shifted from Paris to NY

- America’s first major art movement, Abstract Expressionism; evolved from Surrealism; influence of many European artists in NY during wars

- Like Matisse, Picasso, Kandinsky—breaking new rules (how many?)

- Story: Asked his wife Lee Krasner “Is this a painting?”

- Gesture paintings: about process; Allover paintings: no focal point; culmination of trend of the emergence of the picture plane as an independent entity (since Cezanne—even Manet)

- Existentialism reaction to destruction of world wars: no absolute truths

- “The one thing that could be trusted and believed in was the self, and that became the sole subject of Abstract Expressionist painting”—individualism; no mistaking one artist for another (story about art teacher; students all did Pollock style);

- Precedent to performance art; canvas totally gone, spontaneous, end product unknown

- "It is impossible to make a forgery of Jackson Pollock's work," Time magazine critic Robert Hughes claimed in 1982. "It is what his imitators could never do, and why there are no successful Pollock forgeries: they always end up looking like...spaghetti, whereas Pollock--in his best work--had an almost preternatural control over the total effect of those skeins and receding depths of paint. In them, the light is always right. Nor are they absolutely spontaneous; he would often retouch the drip with a brush."
from Cody, Wyoming

- Made NYC center of art world for the first time

- As the term suggests, their work was characterized by non-objective imagery that appeared emotionally charged with personal meaning.  The artists, however, rejected these implications of the name.

- They insisted their subjects were not “abstract,” but rather primal images, deeply rooted in society’s collective unconscious.  Their paintings did not express mere emotion.  They communicated universal truths about the human condition.

- “On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting, similar to the Indian sand painters of the West.”

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Protest Art | Pablo Picasso | Guernica | 1937 

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Protest Art | Pablo Picasso | Guernica | 1937 

# data[].attributes.body
- 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.

- "No, painting is not made to decorate rooms. An instrument of offensive and defensive war against the enemy; art does not die but is an eternal value, which survives after the chaos." Pablo Picasso

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Precisionism | Stuart Davis | Hot Still-Scape for Six Colors - 7th Avenue Style | 1940

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Precisionism | Stuart Davis | Hot Still-Scape for Six Colors - 7th Avenue Style | 1940

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- 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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Precisionism | Charles Demuth | My Egypt | 1927

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Precisionism | Charles Demuth | My Egypt | 1927

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- 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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Social Realism | Dorothea Lange | Migrant Mother, California | 1936

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Social Realism | Dorothea Lange | Migrant Mother, California | 1936

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- 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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Social Realism | Edward Hopper | Nighthawks | 1942

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Social Realism | Edward Hopper | Nighthawks | 1942

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- Garish light and colors of Van Gogh’s Night Café, 1888

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Mexican Art | Frida Kahlo | The Two Fridas | 1939

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Mexican Art | Frida Kahlo | The Two Fridas | 1939

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- 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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Mexican Art | Diego Rivera | Flower Carrier | 1935

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Mexican Art | Diego Rivera | Flower Carrier | 1935

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- Echoed forms of Aztec and Mayan art

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Harlem Renaissance | Jacob Lawrence | “In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro series | 1940-41

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Harlem Renaissance | Jacob Lawrence | “In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro series | 1940-41

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- Jacob Lawrence, In the North the Negro Had Better Educational Facilities, from the series The Migration of the Negro; tempera on hardboard

- Series of 60 paintings documenting mass migration (6 million) of African Americans from the south to the north

- Factors included racism and Jim Crow laws, but also jobs to fill in the industrialized north

- About movement and change

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Harlem Renaissance | Jacob Lawrence | Self-Portrait | 1977

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Harlem Renaissance | Jacob Lawrence | Self-Portrait | 1977

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Lawrence called his style “dynamic Cubism” but said he was influenced less by French art and more by the shapes and colors of Harlem

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American Regionalism | Grant Wood | American Gothic | 1930

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American Regionalism | Grant Wood | American Gothic | 1930

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- 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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Art in America | Georgia O'Keeffe | Black Iris III | 1926

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Art in America | Georgia O'Keeffe | Black Iris III | 1926

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- 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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Art in America | Georgia O’Keeffe | Jimson Weed | 1932

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Art in America | Georgia O’Keeffe | Jimson Weed | 1932

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- Sold for 44.4 million in 2014,  breaking record for female artist (last record was -11.9 million by Joan Mitchell)

- Overall record 450 million (Salvator Mundi)

- Sold by O’Keeffe Museum in Santa Fe, NM (WHY?)

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De Stijl | Gerrit Rietveld | Schröder House | 1924

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De Stijl | Gerrit Rietveld | Schröder House | 1924

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De Stijl | Gerrit Rietveld | Armchair | 1917

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De Stijl | Gerrit Rietveld | Armchair | 1917

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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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De Stijl | Piet Mondrian | Composition No.II/Composition I// Composition en Rouge, Bleu et Jaune (Composition with Red, Blue, and Yellow) | 1930

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De Stijl | Piet Mondrian | Composition No.II/Composition I// Composition en Rouge, Bleu et Jaune (Composition with Red, Blue, and Yellow) | 1930

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- 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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Organic Sculpture | Dame Barbara Hepworth | Oval Sculpture (No. 2) | 1943

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Organic Sculpture | Dame Barbara Hepworth | Oval Sculpture (No. 2) | 1943

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Organic Sculpture | Henry Moore | Recumbent Figure | 1938 

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Organic Sculpture | Henry Moore | Recumbent Figure | 1938 

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- 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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Organic Sculpture | Alexander Calder | Lobster Trap and Fish Tail | 1939 

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Organic Sculpture | Alexander Calder | Lobster Trap and Fish Tail | 1939 

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- 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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Surrealism | Meret Oppenheim | Object (Luncheon in Fur) | 1936 

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Surrealism | Meret Oppenheim | Object (Luncheon in Fur) | 1936 

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- Daughter of a Jungian psychologist

- Juxtaposition two desirable things; becomes disturbing

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Surrealism | Man Ray | The Gift | 1921 (1958 replica) 

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Surrealism | Man Ray | The Gift | 1921 (1958 replica) 

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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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Surrealism | Henri Cartier-Bresson | Behind the Gare Saint-Lazare | 1932 

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Surrealism | Henri Cartier-Bresson | Behind the Gare Saint-Lazare | 1932 

# data[].attributes.body
- Sought to find the extraordinary in the ordinary; turned to photography

- “decisive moment”: “using intuition you ask your artistic question and decide almost simultaneously.”

- Surreal juxtaposition; shapes, water, ladder, suspension in air

# data[].attributes.headline
Surrealism | Salvador Dalí | The Persistence of Memory | 1931 

# data[].attributes.subject
Surrealism | Salvador Dalí | The Persistence of Memory | 1931 

# data[].attributes.body
- Stream of consciousness process: one thing led to another

- Time? Rational, measured

- Death, deterioration

- Everything is irrational—attack on the rational

- Viewers’ own unconscious

# data[].attributes.headline
Surrealism | René Magritte | The False Mirror | 1928 

# data[].attributes.subject
Surrealism | René Magritte | The False Mirror | 1928 

# data[].attributes.body
- 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

# data[].attributes.headline
Surrealism | René Magritte | The Treachery of Images | 1928-29

# data[].attributes.subject
Surrealism | René Magritte | The Treachery of Images | 1928-29

# data[].attributes.body
- The Treachery of Images is a painting by the Belgian René Magritte, painted when Magritte was 30 years old. The picture shows a pipe. Below it, Magritte painted, "Ceci n'est pas une pipe.", French for "This is not a pipe."

- "The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture "This is a pipe", I'd have been lying!"[2]

# data[].attributes.headline
Surrealism | Joan Miró | Composition | 1933 

# data[].attributes.subject
Surrealism | Joan Miró | Composition | 1933 

# data[].attributes.body
- 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?)

- Oil on canvas

# data[].attributes.body
- 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

# data[].attributes.headline
Dada | Käthe Kollwitz | Never Again War! | 1924 

# data[].attributes.subject
Dada | Käthe Kollwitz | Never Again War! | 1924 

# data[].attributes.body
- Made drawings and prints because they could be mass-produced, wider audiences;

- Didn’t like elitist nature of art, academies (couldn’t get in because she was a woman)

- Sympathized with working class and victims of war; husband was a doctor who treated the poor; became the subjects of her art

- Reminds me of Liberty Leading the People (new cause)

# data[].attributes.body
- Couldn’t get into art academy in Germany because she was a woman

# data[].attributes.headline
Dada | Hannah Höch | Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic | 1919 Photomontage

# data[].attributes.subject
Dada | Hannah Höch | Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic | 1919 Photomontage

# data[].attributes.body
- Hannah Höch, Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic, 1919, collage of pasted papers, 90 x 144 cm, Staatliche Museen, Berlin (Smarthistory: 12:00)

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

# data[].attributes.headline
Dada | Raoul Hausmann | Mechanical Head (Spirit of the Age) | 1920 

# data[].attributes.subject
Dada | Raoul Hausmann | Mechanical Head (Spirit of the Age) | 1920 

# data[].attributes.body
- Raoul Hausmann, Mechanical Head (Spirit of the Age), c. 1920: (Berlin)

- Assemblage: made of found objects assembled

- Mindless, lifeless dummy; mechanical, robotic, no personal identity

- “The typical German has no more capabilities than those which chance has glued onto the outside of his skull; his brain remains empty.”

# data[].attributes.headline
Dada | Marcel Duchamp | Fountain | 1917 | Photograph by Alfred Stieglitz, from The Blind Man | May 1917

# data[].attributes.subject
Dada | Marcel Duchamp | Fountain | 1917 | Photograph by Alfred Stieglitz, from The Blind Man | May 1917

# data[].attributes.body
- Duchamp went to NYC to escape war

- “DADA” applied in retrospect; similar goals

- “Readymade”; entered in 1917 independent art show

- Rejected (although non-juried show); Duchamp knew committee would not consider it art

- Issues: What is art? Does it have to be created? (He CHOSE it); art is about ideas

- Defies conventional notions of beauty

- HUMOR

# data[].attributes.headline
Dada | Hans Arp | Squares Arranged According to the Laws of Chance | 1916-17

# data[].attributes.subject
Dada | Hans Arp | Squares Arranged According to the Laws of Chance | 1916-17

# data[].attributes.body
- Dada poetry: random words, pulled out of a hat, nonwords (abstract)

- 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)

# data[].attributes.body
- 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.

- Dada: 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

# data[].attributes.headline
Response to Modernism | Kazimir Malevich | White on White | 1918

# data[].attributes.subject
Response to Modernism | Kazimir Malevich | White on White | 1918

# data[].attributes.headline
Response to Modernism | Kazimir Malevich | Suprematist Composition: Airplane Flying | 1915 (dated 1914)

# data[].attributes.subject
Response to Modernism | Kazimir Malevich | Suprematist Composition: Airplane Flying | 1915 (dated 1914)

# data[].attributes.body
- Trying to show experience of flying; new relationship to the universe

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

# data[].attributes.headline
Response to Modernism | Kazimir Malevich | Installation photograph of the artist’s paintings in 0, 10 (Zero–Ten): The Last Futurist Exhibition. St. Petersburg, December 1915

# data[].attributes.subject
Response to Modernism | Kazimir Malevich | Installation photograph of the artist’s paintings in 0, 10 (Zero–Ten): The Last Futurist Exhibition. St. Petersburg, December 1915

# data[].attributes.body
- 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

# data[].attributes.headline
Response to Modernism | Giorgio de Chirico | Mystery and Melancholy of a Street | 1914 

# data[].attributes.subject
Response to Modernism | Giorgio de Chirico | Mystery and Melancholy of a Street | 1914 

# data[].attributes.body
- Strong diagonal lines, disjointed space like Cubism

- Classical buildings, figurative=allegiance to classical past

# data[].attributes.headline
Response to Modernism | Marc Chagall | I and the Village | 1911 

# data[].attributes.subject
Response to Modernism | Marc Chagall | I and the Village | 1911 

# data[].attributes.body
- 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.

# data[].attributes.headline
Response to Modernism | Marcel  Duchamp | Bicycle Wheel | 1913/1951 (third version, after lost original of 1913)

# data[].attributes.subject
Response to Modernism | Marcel  Duchamp | Bicycle Wheel | 1913/1951 (third version, after lost original of 1913)

# data[].attributes.body
- Marcel Duchamp, Bicycle Wheel

- 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?

# data[].attributes.headline
Response to Modernism | Marcel Duchamp | Nude Descending a Staircase, No. 2 | 1912 

# data[].attributes.subject
Response to Modernism | Marcel Duchamp | Nude Descending a Staircase, No. 2 | 1912 

# data[].attributes.body
- 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.

# data[].attributes.headline
Italian Futurism | Umberto Boccioni | Unique Forms of Continuity in Space | 1913 (cast 1931)

# data[].attributes.subject
Italian Futurism | Umberto Boccioni | Unique Forms of Continuity in Space | 1913 (cast 1931)

# data[].attributes.headline
Italian Futurism | Giacomo Balla | Dynamism of a Dog on a Leash | 1912

# data[].attributes.subject
Italian Futurism | Giacomo Balla | Dynamism of a Dog on a Leash | 1912

# data[].attributes.body
- 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.

# data[].attributes.headline
Italian Futurism | Eadweard Muybridge ) Untitled (sequence photographs of the trot and gallop) | 1878

# data[].attributes.subject
Italian Futurism | Eadweard Muybridge ) Untitled (sequence photographs of the trot and gallop) | 1878

# data[].attributes.body
- Pioneering work in photographic studies of motion

# data[].attributes.headline
Abstract Art | Paul Klee | Twittering Machine | 1922 

# data[].attributes.subject
Abstract Art | Paul Klee | Twittering Machine | 1922 

# data[].attributes.headline
Abstract art | Paul Klee | The Niesen | 1915 

# data[].attributes.subject
Abstract art | Paul Klee | The Niesen | 1915 

# data[].attributes.body
- Paul Klee, The Niesen, 1915:

- 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

# data[].attributes.headline
German Expressionism Der Blaue Reiter (The Blue Rider) | Vasily Kandinsky | Sketch I for “Composition VII.” | 1913 

# data[].attributes.subject
German Expressionism Der Blaue Reiter (The Blue Rider) | Vasily Kandinsky | Sketch I for “Composition VII.” | 1913 

# data[].attributes.body
- Vasily Kandinsky, Sketch I for “Composition VII.” 1913: Smarthistory 11:00 (watch 2:28-6:00)

- “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.”

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

- Simple, direct, spiritual

# data[].attributes.headline
German Expressionism Der Blaue Reiter (The Blue Rider) | Vasily Kandinsky | Improvisation 28 (second version) | 1912

# data[].attributes.subject
German Expressionism Der Blaue Reiter (The Blue Rider) | Vasily Kandinsky | Improvisation 28 (second version) | 1912

# data[].attributes.body
- 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

# data[].attributes.headline
German Expressionism Die Brucke (The Bridge) | Ernst Ludwig Kirchner | Peter Schlemihl: Tribulations of Love | 1915 

# data[].attributes.subject
German Expressionism Die Brucke (The Bridge) | Ernst Ludwig Kirchner | Peter Schlemihl: Tribulations of Love | 1915 

# data[].attributes.body
- Die Brucke artists drawn to woodblock prints because they liked the crude, unsophisticated look and rawness;

- Nationalistic mood; used by German artists during early Renaissance

# data[].attributes.headline
German Expressionism Die Brucke (The Bridge) | Ernst Ludwig Kirchner | Street, Berlin | 1913

# data[].attributes.subject
German Expressionism Die Brucke (The Bridge) | Ernst Ludwig Kirchner | Street, Berlin | 1913

# data[].attributes.body
- Critique of modern society

# data[].attributes.headline
German Expressionism Die Brücke (The Bridge) | Ernst Ludwig Kirchner | Street, Dresden | 1908 (dated 1907 on painting) 

# data[].attributes.subject
German Expressionism Die Brücke (The Bridge) | Ernst Ludwig Kirchner | Street, Dresden | 1908 (dated 1907 on painting) 

# data[].attributes.body
- Influences: Van Gogh, Matisse, Munch

- Feelings of modern society in Germany: decadent, immoral, materialistic; monstrous women

# data[].attributes.headline
Assemblage | Pablo Picasso | Violin | 1915

# data[].attributes.subject
Assemblage | Pablo Picasso | Violin | 1915

# data[].attributes.body
- Pablo Picasso, Violin, 1915:

- Sculpture has always been: solid mass surrounded by space

- things in nature—people, animals

- Logical extension of Synthetic Cubism: Construction, or assemblage; redefines sculpture as he had painting: assembled instead of carved, molded, etc.

- Most musical instruments

- Painted (irony: cross hatching to show shadow, unnecessary on sculpture)

- Visual equivalent of music: rhythm of shape, color, texture

- Visual game

# data[].attributes.headline
Synthetic Cubism | Pablo Picasso| Guitar, Sheet Music, and Wine Glass | 1912

# data[].attributes.subject
Synthetic Cubism | Pablo Picasso| Guitar, Sheet Music, and Wine Glass | 1912

# data[].attributes.body
- Pablo Picasso, Guitar, Sheet Music, and Wine Glass, 1912.

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

# data[].attributes.headline
Analytical Cubism | Georges Braque | The Portuguese | 1911

# data[].attributes.subject
Analytical Cubism | Georges Braque | The Portuguese | 1911

# data[].attributes.headline
Fauvism | Henri Matisse | The Red Studio | 1911 

# data[].attributes.subject
Fauvism | Henri Matisse | The Red Studio | 1911 

# data[].attributes.headline
Fauvism | Henri Matisse | Portrait of Madame Matisse/The Green Line | 1905

# data[].attributes.subject
Fauvism | Henri Matisse | Portrait of Madame Matisse/The Green Line | 1905

# data[].attributes.headline
Fauvism | Henri Matisse | Femme au chapeau (Woman with a Hat) | 1905 

# data[].attributes.subject
Fauvism | Henri Matisse | Femme au chapeau (Woman with a Hat) | 1905 

# data[].attributes.body
- Asserts that the artist is free to use color independently of natural appearance, building a structure of abstract color shapes and lines

- What are the jobs of color in classical painting? What are the jobs of color in Matisse?

- Flattens

- Abstracts

- Expressive

- Forces us to look at color, not objects

# data[].attributes.headline
African | Ife Portrait Heads, c. 14th-15th century, brass, 35 cm high, Ife, Africa

# data[].attributes.subject
African | Ife Portrait Heads, c. 14th-15th century, brass, 35 cm high, Ife, Africa

# data[].attributes.body
- Ife=Ife Uncovered (5:10)

- Portrait = Ife Remembered (4:33)

- 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

# data[].attributes.headline
African | Akua’ba, n.d., (Asante people) Ghana, wood

# data[].attributes.subject
African | Akua’ba, n.d., (Asante people) Ghana, wood

# data[].attributes.body
- Used to help with conception

- Demonstrates three important qualities of womanhood (wisdom (large forehead), girth (ringed neck is intended to denote rolls of fat, showing that woman is capable of bearing a healthy child), and the prime of life) that relate to her physical and mental abilities.

- Akua’ba figures were important fertility aids among Akan-speakers in Ghana in the past. They depict an abstracted female form in wood and were created by male carvers.

- Depicts a highly abstracted and idealized woman in the prime of life

- The figure is also always female, since Akan culture is matrilineal.

- Taken out of the Akan context, altered by Western tastes (which might add beads and paint), and marketed as a universal symbol of Africa, the akua’ba figure is now part of Western popular culture.

# data[].attributes.headline
African | Headdress: Female Antelope (Ci Wara), 19th–20th century Mali, Bamako region, Bamana, wood, metal bands

# data[].attributes.subject
African | Headdress: Female Antelope (Ci Wara), 19th–20th century Mali, Bamako region, Bamana, wood, metal bands

# data[].attributes.body
- In performance, the paired dancers symbolize the union between men and women, essential for the continuity of the community. The formal features of the headdress also reference elements of nature necessary to sustain life. The male serves as a metaphor for the sun, while the female is associated with the earth. The long strands of raffia fibers attached to the headdress, concealing the dancer, are likened to streams of water.

- Elegant play of positive and negative space.

# data[].attributes.headline
African | Headdress: Male Antelope (Ci Wara), 19th–20th century Mali, Bamako region, Bamana, wood, metal bands

# data[].attributes.subject
African | Headdress: Male Antelope (Ci Wara), 19th–20th century Mali, Bamako region, Bamana, wood, metal bands

# data[].attributes.body
- Refer to the mythic culture hero Ci Wara, a divine force conceived of as half man and half antelope. Bamana oral traditions credit Ci Wara with introducing to humanity agricultural methods and an understanding of earth, animals, and plants

- Worn in village-wide performances that celebrated the skills of successful farmers. These performances featured a pair of dancers wearing sculpted headdresses, one representing a male antelope and the other a female. They held sticks in their hands to paw the earth just as the mythic Ci Wara did when he first taught men to plant seeds.

# data[].attributes.headline
African | Kota (or Bakota), Gabon, Republic of the Congo: Reliquary guardian figure ‘mbulu ngulu’, from before or around 1920.

# data[].attributes.subject
African | Kota (or Bakota), Gabon, Republic of the Congo: Reliquary guardian figure ‘mbulu ngulu’, from before or around 1920.

# data[].attributes.body
- Wood covered with metal sheets of brass or copper

- Formal elements? Geometric shapes, flat

- Headdress

- Body abstracted to diamond shape framing empty space (negative space)

- Also covered a reliquary containing ancestral bones; traditional (ironically inspired breaking with tradition in western Europe)

- Ancestor cult: they lay the deceased out in the forest and later buried in the earth; later, skulls of important leaders were excavated and placed in large baskets with other remembrance objects.

- Baskets sealed and preserved in sacred shrine huts

- Reliquary guardian figures attached to each vessel with triangular portion reaching into the vessel

- Baskets brought out for important ceremonies, opened and contents presented, explained, honored

# data[].attributes.headline
African | Reliquary Guardian Figure (Eyema-o-Byeri), Gabon, Fang peoples, mid 18th to mid 19th century, wood and iron

# data[].attributes.subject
African | Reliquary Guardian Figure (Eyema-o-Byeri), Gabon, Fang peoples, mid 18th to mid 19th century, wood and iron

# data[].attributes.body
- Formal elements?

- The Fang people of Gabon associate large heads with infancy, an age in a state of greater harmony with ancestors

- Placed on a reliquary chest as a guardian figure

- Symbolizes connection with ancestors and desire for continuation (children)

- timelessness

# data[].attributes.headline
Modernist | Constantin Brancusi | Bird in Space | 1928 (unique cast) 

# data[].attributes.subject
Modernist | Constantin Brancusi | Bird in Space | 1928 (unique cast) 

# data[].attributes.body
- Constantin Brancusi, Bird in Space, 1928: (Smarthistory: 2:38)*

- Worked on a few things over and over again, used different materials

- Also designed pedastol, height of display (low for newborn, high for bird in space)

- We don’t see a bird; Spirit of flight

# data[].attributes.headline
Modernist | Constantin Brancusi. The Newborn. 1915 

# data[].attributes.subject
Modernist | Constantin Brancusi. The Newborn. 1915 

# data[].attributes.body
- Constantin Brancusi, The Newborn, 1915:

- More abstract; Egg shape suggests birth and fertility

- Resembles head with mouth open; first cry

- “Simplicity is not an end in art, but one arrives at simplicity in spite of oneself, in approaching the real sense of things.” Essential truths without clutter of visual naturalism; essence of perfection

- Elemental power of Cycladic sculpture and African masks (studied by Brancusi, Picasso, Mattisse, etc.)

# data[].attributes.headline
Modernist | Constantin Brancusi | Sleeping Muse | 1909

# data[].attributes.subject
Modernist | Constantin Brancusi | Sleeping Muse | 1909

# data[].attributes.body
- Constantin Brancusi, Sleeping Muse, 1909:

- Minimized, abstracted

# data[].attributes.headline
Modernist | Constantin Brancusi | Sleeping Muse | 1906

# data[].attributes.subject
Modernist | Constantin Brancusi | Sleeping Muse | 1906

# data[].attributes.body
- Constantin Brancusi, Sleeping Muse, 1906 (Romanian, went to Paris—center of art world)

- In the tradition of Michelangelo, Rodin; he was an assistant to Rodin at beginning of career

# data[].attributes.body
- rapid change
- individualism
- exploration
- new inventions
- challenging assumptions of the past

- Changes in society: first airplane, Einstein’s theory of relativity (time, space, and motion not fixed but all relative in relation to observer’s own position), Freud’s Interpretation of Dreams, new discoveries in quick succession, splitting of atom; world now seen as constantly shifting and fractured

- Where is the center of the art world? (Paris)

# data[].attributes.headline
Art Nouveau | Antoni Gaudí | Casa Milà, Barcelona | 1905–10

# data[].attributes.subject
Art Nouveau | Antoni Gaudí | Casa Milà, Barcelona | 1905–10

# data[].attributes.body
- Antoni Gaudi, Casa Mila, Barcelona, 1905-10 (La Pedrera):

- Barcelona; style reflects Catalan nationalism

- Large apartment house: devoted to the ideal of “natural” form; believed there are no straight lines in nature

- Destroyed architectural box; undulating façade, irregularly shaped interior spaces

- Evokes sand castles, seaside cliffs, waves, wrought iron balconies like seaweed (Mediterranean coast)

# data[].attributes.headline
Art Nouveau | Alphonse Mucha | Dreaming (Reverie), lithograph | 1897

# data[].attributes.subject
Art Nouveau | Alphonse Mucha | Dreaming (Reverie), lithograph | 1897

# data[].attributes.body
- Advertisement for publishing house

# data[].attributes.headline
Art Nouveau | Victor Horta | Interior stairwell of the Tassel House, Brussels | 1892–93

# data[].attributes.subject
Art Nouveau | Victor Horta | Interior stairwell of the Tassel House, Brussels | 1892–93

# data[].attributes.body
- Victor Horta, Interior Stairwell of the Tassel House, Brussels, 1892-93:

- 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

# data[].attributes.body
- Mostly architecture and decorative arts
Characterized by abstract organic forms
Influenced by William Morris’s Arts and Crafts Movement

- (also Jugendstil—Germany;
Secession Style—Vienna)
- Mostly architecture and decorative arts
- Characterized by abstract organic forms
- Influenced by William Morris’s Arts and Crafts Movement
- Different: embraced mass production and new industrial materials; sometimes purely abstract

# data[].attributes.headline
Symbolism | Auguste Rodin | Burghers of Calais | 1884–89 

# data[].attributes.subject
Symbolism | Auguste Rodin | Burghers of Calais | 1884–89 

# data[].attributes.body
- Auguste Rodin, Burghers of Calais, 1884-89

- 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.

# data[].attributes.headline
Symbolism | Auguste Rodin | The Thinker | 1879–87

# data[].attributes.subject
Symbolism | Auguste Rodin | The Thinker | 1879–87

# data[].attributes.body
- Auguste Rodin, The Thinker, 1879-87

- From Gates of Hell (inspired by Michelangelo’s Last Judgment)

- Represents: poetry? Philosophy? Variety of interpretations; Huge hands and feet; indecision; so muscular

- Combines traits of reflection and action

- Complexity admired

- Not conceived as single figure but as part of gates of hell

# data[].attributes.headline
Symbolism | Henry Ossawa Tanner | Angels Appearing before the Shepherds | 1910 

# data[].attributes.subject
Symbolism | Henry Ossawa Tanner | Angels Appearing before the Shepherds | 1910 

# data[].attributes.body
- Henry Ossawa Tanner, Angels Appearing before the Shepherds, c. 1910

- 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

# data[].attributes.headline
Symbolism | Gustav Klimt | The Kiss | 1907–08

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Symbolism | Gustav Klimt | The Kiss | 1907–08

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- Gustav Klimt, The Kiss, 1907-08 (Vienna)

- 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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Symbolism | Edvard Munch | The Scream | 1893 

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Symbolism | Edvard Munch | The Scream | 1893 

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- 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.