20 pics a student revised
TRANSCRIPT
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Chapter 33The Development of Modernist
Art:The Early 20th Century
Gardner’s Art Through the Ages, 12e
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Colonial Empires About 1900
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Historical Context 1
• First half of 20th century generally called Modernism
• Decisive changes Events:• Contrasts of ideals• Intellectual challenge
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Historical Context 2
• Revised views • Art reflects new discoveries & theories
–• Discoveries • Advances in all science fields• Nietzsche
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Historical Context 3
• Marxism• Anxiety• Living conditions• Nationalism/Imperialism leads to WWI – • End of Imperial Russia, rise of
Communism -
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Historical Context 4
• Great Depression • WWII =• Ends using military technology =
atomic bomb• Avant-garde became major force =• “Search for new definitions of and uses
for art in radically changed world”• Some
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I. Expressionism
“art that is the result of the artist’s unique inner or personal vision and
that often has an emotional dimension”
“Sought empathy – a connection between internal states of artists and
viewers, not sympathy”
• color and space issues of• styles of the German Expressionists –• Abstract Expressionism –
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Expressionism
Der BlaueReiter
(German)
Die Brücke(German)
Fauvism(French)
Abstract Expressionism
Cubism(France) Purism
[machine esthetic]
Futurism (Italy)[motion + sociopolitical
Agenda]
Analytic[analyzing form]
Synthetic[no relation to
tangible objects]
Matisse
Derain
KirchnerKandinsk
y
Marc
Picasso Braque
Le Corbusier
Boccioni
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The Art of the Fauves• French: “?”• Directness of Impressionism, but • Outward Expressionism –• Simplified designs• Distorted• Vigorous• Flat• Bare _____________ as part of design
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Figure 33-1 HENRI MATISSE, Woman with the Hat, 1905. Oil on canvas, 2’7 ¾” X 1’ 11 ½”. San Francisco Museum of Modern Art, San Francisco.
“Color was not given to us in order that we should imitate Nature, but so that we can express our own emotions.” - Matisse
“It’s not a woman; it is a painting.” Exactly the point.
“I did not create a woman. I made a picture.” Art does not represent reality; it reconstructs it.
Feel-good paintings – should bring pleasure to the viewer
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11Figure 33-2 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx. 5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
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12HENRI MATISSE The Bare Mount
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HENRI MATISSE The Green Stripe
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14HENRI MATISSE The Joy of Life
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Figure 33-3 ANDRÉ DERAIN, The Dance, 1906. Oil on canvas, 6’ 7/8” x 6’ 10 1/4”. Fridart Foundation, London.
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The German Expressionists
• Art should express the artist feelings rather images of the real world
• Use of distorted exaggerated forms, ragged outlines, agitated brushstrokes, and colors for savage, emotional impact
• Die Brucke – “bridge”, connecting old and new Kirchner
• Der Blaue Reiter – “blue rider” Kandinsky, Klee
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Die Brucke
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Figure 33-4 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. Museum of Modern Art, New York (purchase).
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Figure 33-5 EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych, oil on canvas, approx. 2’ 10” x 3’ 3”. Hamburger Kunsthalle, Hamburg.
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Der Blaue Reiter
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Figure 33-6 VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3’ 7 7/8” x 5’ 3 7/8”. Solomon R. Guggenheim Museum, New York
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22Figure 33-7 FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”. Kunstmuseum, Basel.
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The Beginnings of Abstraction
• the rejection of illusion and the develp of early cubism
• the Cubists dismissal of naturalistic depictions
• the forms and concepts of analytic and synthetic cubism
• the materials and forms of cubist sculpture.
• other forms of Cubism: purism and futurism
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Early Cubism
• the fragmentation of form and the rejection of illusion in early Cubism
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Figure 33-8 PABLO PICASSO, Gertrude Stein, 1906–1907. Oil on canvas, 3’ 3 3/8” x 2’ 8”. Metropolitan Museum of Art, New York (bequest of Gertrude Stein, 1947).
• Could draw before he could talk
• First word was “pencil”
• Blue period – poor period, reflected his life
• Rose period – happy subjects, life
• Negro period – African influence
• Cubism – painting & sculpture
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Figure 33-9 PABLO PICASSO, Les Demoiselles d’Avignon, June–July 1907. Oil on canvas, 8’ x 7’ 8”. Museum of Modern Art, New York
Harbinger of cubism
Effectively ended
Hazy on anatomy
Fractured perspective
“I paint what I know, not what I see”
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PABLO PICASSO Guernica, 1937, Reina Sofia Art Center, Madrid
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The Development of Cubism
• the concepts behind analytic and synthetic cubism, and the other forms of cubism in the early 20th century.
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Analytic Cubism
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Figure 33-10 GEORGES BRAQUE, The Portuguese, 1911. Oil on canvas, 3’ 10 1/8” x 2’ 8”. Öffentliche Kunstsammlung Basel, Kunstmuseum, Basel (gift of Raoul La Roche, 1952).
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Figure 33-11 ROBERT DELAUNAY, Champs de Mars or The Red Tower, 1911. Oil on canvas, 5’ 3” x 4’ 3”. Art Institute of Chicago, Chicago.
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Synthetic Cubism
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Figure 33-12 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas, 10 5/8” x 1’ 1 3/4”. Musée Picasso, Paris.
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Figure 33-13 GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass, 1913. Charcoal and various papers pasted on paper, 1’ 6 7/8” x 2’ 1 1/4”. Private collection, New York.
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Cubist Sculpture
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Figure 33-14 PABLO PICASSO, Maquette for Guitar, 1912. Cardboard, string, and wire (restored), 25 1/4” x 13” x 7 1/2”. Museum of Modern Art, New York.
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Figure 33-15 JACQUES LIPCHITZ, Bather, 1917. Bronze, 2’ 10 3/4” x 1’ 1 1/4” x 1’ 1”. Nelson-Atkins Museum of Art, Kansas City (gift of the Friends of Art). Copyright © Estate of Jacques Lipchitz/Licensed by VAGA, New York/Marlborough Gallery, NY.
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Figure 33-16 ALEKSANDR ARCHIPENKO, Woman Combing Her Hair, 1915. Bronze, approx. 1’ 1 3/4” high. Museum of Modern Art, New York (bequest of Lillie P. Bliss).
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Figure 33-17 JULIO GONZÁLEZ, Woman Combing Her Hair, ca. 1930–1933. Iron, 4’ 9” high. Moderna Museet, Stockholm.
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Purism
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Figure 33-18 FERNAND LÉGER, The City, 1919. Oil on canvas, approx. 7’ 7” x 9’ 9 1/2”. Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection).
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Futurism - Italy
• Interest similar to Cubists, but with sociopolitical agenda
• Wash away with war• Influence of modern technology-
cars, etc.• Focuses on movement in time and
space, kinetic art
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Figure 33-19 GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York
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Figure 33-20 UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 3’ 7 7/8” high x 2’ 10 7/8” x 1’ 3 3/4”. Museum of Modern Art, New York
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Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190 BCE. Marble, figure approx. 8’ 1” high. Louvre, Paris.
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Dada: A State of Mind
• Dada emphasizes institution, spontaneity, anarchy and chance as elements in art
• Dada rejects artistic convention• Nonsense word, seems
nonsensical – protesting insanity of war
• Denouncing, shocking, awaken the imagination
• “Chance” collage
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Figure 33-21 GINO SEVERINI, Armored Train, 1915. Oil on canvas, 3’ 10” x 2’ 10 1/8”. Collection of Richard S. Zeisler, New York.
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Figure 33-22 JEAN ARP, Collage Arranged According to the Laws of Chance, 1916–1917. Torn and pasted paper, 1’ 7 1/8” x 1’ 1 5/8”. Museum of Modern Art, New York (purchase).
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Figure 33-23 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced 1917). Ready-made glazed sanitary china with black paint, 12” high. Philadelphia Museum of Art, Philadelphia
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Figure 33-24 MARCEL DUCHAMP, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23. Oil, lead, wire, foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9 1/8”. Philadelphia Museum of Art, Philadelphia (Katherine S. Dreier Bequest).
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Figure 33-25 HANNAH HÖCH, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920. Photomontage, 3’ 9” x 2’ 11 1/2”. Neue Nationalgalerie, Staatliche Museen, Berlin.
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Figure 33-26 KURT SCHWITTERS, Merz 19, 1920. Paper collage, approx. 7 1/4” x 5 7/8”. Yale University Art Gallery, New Haven, (gift of Collection Société Anonyme).
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Transatlantic Dialogues
• American artists in Europe• Americans grounded in realist
tradition before influence of incoming European artists after Armory Show & WWI
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Figure 33-27 JOHN SLOAN, Sixth Avenue and 30th Street, 1907, 1909. Oil on canvas, 26 1/4” x 32”. Private Collection (Mr. And Mrs. Meyer P. Potamkin).
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Armory Show
• European artists came to America to show modern arts – held in the
• Matisse, Picasso, Braque, Duchamp. Kandisky, Kirchner, Bruncusi
• Showed American public the latest & newest ideas
• Traveled to Chicago & Boston also• Stieglitz’s 291
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Figure 33-28 Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913. Courtesy of the Museum of Modern Art, New York.
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Figure 33-29 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection).
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Photography as Art
• Stieglitz – cityscapes• “Unmanipulated” photos – ie
unposed• Interest in formal elements of
photography• Moves toward abstraction – close
ups, reduction of complexity
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Figure 33-30 ALFRED STIEGLITZ, The Steerage, 1907 (print 1915). Photogravure (on tissue), 1’ 3/8” x 10 1/8”. Courtesy of Amon Carter Museum, Fort Worth.
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Figure 33-31 EDWARD WESTON, Nude, 1925. Platinum print. Collection, Center for Creative Photography, University of Arizona, Tucson.
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Discussion Questions
What caused artists in the early 20th century to reject observational naturalism in art?