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Lindsay - "Cut with the Kitchen Knife..." Hannah H

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Lindsay - "Cut with the Kitchen Knife..." Hannah H

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Her photomontage “Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany” reflected her views of the political and social issues that arose during this transitional time in German society.

I read somewhere that she used media (newspapers, magazines) from that time period. I think she uses photos of politicians from the newspapers which gives depth to her use of media.

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“The hat is splendid, but slightly crushing. It casts an implacable green shadow straight along Parayre’s forehead, and its blue all but annihilates the red of her hair. But the hat is abstract: the painter does not seem interested in making its extravagance palpable. It is a set of signs for hat-ness, for puffing up and profusion, for Fashion at war with Death.” “This is because I believe the painting expects its viewer not to see straight away, and even when she has seen, to be unsatisfied, or unsure, that the best-case scenario adds up.”   http://www.lrb.co.uk/v30/n16/tj-clark/madame-matisses-hat
http://www.webexhibits.org/colorart/color.html

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Joel  -  Lady In the Hat (1905) Pablo Picasso 

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Joel  -  Lady In the Hat (1905) Pablo Picasso 

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"Woman in a hat" is a oil on canvas painting depicting Pablo Picasso wife.

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Critic Louis Vauxcelles, in comparing the paintings of Matisse and his associates with a Renaissance-type sculpture that shared the room with them, used with the phrase "Donatello chez les fauves..."[3] (Donatello among the wild beasts).[4] His comment was printed on 17 October 1905 in Gil Blas,[3] a daily newspaper, and passed into popular usage.[4][5] Woman with a Hat was at the center of the controversy that led to the term Fauvism.[2] It was also a painting that marked a stylistic shift in the work of Matisse from the Divisionistbrushstrokes of his earlier work to a more expressive style. Its loose brushwork and "unfinished" quality shocking viewers as much as its vivid, non-naturalistic colors.[2]

Although the Fauve works on display were condemned by many—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair—they also gained some favorable attention.[4] The painting that was singled out for attacks was Matisse's Woman with a Hat, which was bought by Gertrude and Leo Stein: this had a very positive effect on Matisse's morale, which had suffered with the bad reception of his work.[4]

Sarah Stein, the wife of Gertrude and Leo's elder brother Michael, claimed to have been the original purchaser of this painting, not Gertrude (Leo did not like the painting at first). One can see it in photographs of Sarah and Michael's home on Rue Madame. It was a centerpiece in Sarah's home in Palo Alto, California for many years. During the 1950s, in San Francisco, it was bought by the Haas family. In 1990 Elise S. Haas bequeathed thirty-seven paintings, sculptures and works on paper to the San Francisco Museum of Modern Art, among themFemme au chapeau.[2]"

- https://en.wikipedia.org/wiki/Woman_with_a_Hat

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Picasso - Still Life with Chair Caning (1912) – copy/paste of my research – Maria

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Picasso - Still Life with Chair Caning (1912) – copy/paste of my research – Maria

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https://www.khanacademy.org/humanities/art-1010/early-abstraction/cubism/a/picasso-still-life-with-chair-caning

Braque and Picasso introduced a “fake” element on purpose, not to mislead or fool their audience, but rather to force a discussion of art and craft, of high and low, of unique and mass-produced objects. They ask: “Can this object still be art if I don’t actually render its forms myself, if the quality of the art is no longer directly tied to my technical skills or level of craftsmanship?"

https://www.coursehero.com/file/p57rcfq/Pablo-Picasso-Still-Life-with-Chair-Caning-1912-Picassos-mixed-media-work-uses/

Picasso aligns himself with other modern artists in asking the questions of what painting really is and whether or not painting should be confined to the imitation of the real. Further calling into question the reality of painting even at its most realistic, he drags strokes of paint across the surface of the wrapping paper to illustrate that the wicker pattern is mere optical illusion, a trickery of vision. The insertion of extraneous materials such as the wrapping paper into works of art—one of many forms of mixed media—is known as collage, and Picasso was one of the first artists to use this kind of mixed media. Newsprint and other printed matter became a staple of Picasso’s early collages. Notice too the innovative framing of the work with a coarsely braided rope.

Jou - journal (newspaper), game - deception by media.

Like the Analytical phase of Cubism, the Synthetic phase conveyed a sense of the tableau-objet (painting as a subject in itself). However, this was brought to a new level where non-artistic materials in the painting were used to create its own reality. This work is revolutionary in that the inclusion of exterior materials into art was to transform Cubism and to become the source for much of 20th century art. As the first Cubist Collage, Still Life with Chair Caning creates a reality without using illusionism. Instead of using traditional painting methods, Picasso incorporates a piece of commercially made oil cloth printed with a cane chair pattern, and thick textured rope as a frame. Cubists wanted to regain and recreate a genuine sense of reality in their artworks and through this collage, Picasso challenges the ‘false’ sense of reality in painting, implying that artworks through the history of art are only imitations of the real world. This is the first instance that an artist has used such a vulgar and rough material in his work in order to challenge his audience’s perceptions of so-called “high art”. Still Life with Chair Caning shows not only faux chair caning, but a pipe, glass, lemon, oyster and newspaper. While there are no figures in this work, the chair caning and the letters ‘JOU’ (as part of the French newspaper title ‘Journal’), suggest a cafe setting that encompasses the human audience. https://artmusette.wordpress.com/2013/10/26/whaddaya-lookin-at-picassos-still-life-with-chair-caning/

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Violent colours and brush strokes, violent times

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Violent colours and brush strokes, violent times

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The expressionists utilised painterly processes which gave voice the the violence and trauma of the society they existed within

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Distortion e.g. geometric distortion, fluid distortion
Emotive colour
Visible brush strokes
Symbolism - using symbols

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Geometric shapes and distorted images were often used to represent people People

Colours = Emotions & Feelings