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139 Cards in this Set
- Front
- Back
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Notes of a Painter (Matisse) 1908
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Stresses importance of EXPRESSION
Intuition & expression are identical Believed in capturing essentials of nature, commends idealism of Greek sculpture Asserts principal interest in human figure strives for serenity Composition is the art of arranging in a decorative manner the various elements at the painter’s disposal for the expression of his feelings Composition alters itself according to the surface to be covered Two ways of expressions: to show them crudely, and to evoke them artistically Necessary to define character Chief aim of color is to serve expression as well as possible |
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Salon D’Automne
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Annual art exhibition in Paris since 1903
Reaction against conservative policies of Paris Salon 1905: birth of Fauvism 1910: emergence of Cubism |
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Salon des Independents
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Formed in Paris: 1884
Annual exhibitions set trends in early 20th century, along with Salon d’Automne |
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“sign”
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reality filtered through artist’s own sensibility has to identify the object, create a sign for it
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Blue Rider Almanac, 1912
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Contained expressionist art, tribal art, children’s art, masks, prints, woodcuts, medieval German sculpture, folk art, glass paintings
Wrote about art in terms of a spiritual awakening blue is spiritual color Rejection of “rationalized sight” seen in Renaissance art turn away from Eurocentric & conventional orientation KANDINSKY |
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Rudolf Steiner
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Philosopher associated w/ idealism & theosophy
Tried to find synthesis btwn science & mysticism Became head of Theosophical Society Based his spiritual research & teachings on Western esoteric and philosophical tradition |
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Theosophy
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Esoteric philosophy concerning mysteries of being & nature
Concerning nature of divinity; seeks to understand mysteries of the universe, humanity & the divine |
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Jugendstil
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“youth style”; name for Art Nouveau in Germany
Named after magazine, Jugend, which promoted it Victor Horta, famous example of architect Notably decorative |
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Herwarth Walden (Der Sturm)
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German Expressionist artist, one of discoverers of German avant-garde art
Founder of expressionist magazine Der Sturm (the storm) in 1910 Contained dramas, artistic portfolios, essays, theoretical writings Played crucial role in French-German exchange of expressionist artists |
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Wilhelm Worringer
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Wrote Abstraction and Empathy
Argued 2 kinds of art: abstraction, associated w/ more primitive world view Empathy: associated w/ realism & applied it to European art since the Renaissance Posited direct relationship btwn perception of art & the individual Influenced German Expressionists; esp. Blue Riders |
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Gertrude Stein
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Stein family collected art
Self-defined “genius” Described as imposing figure w/ a commanding manner whose inordinate self-confidence could intimidate |
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Ambroise Vollard
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Important art dealer
Credited for working w. Cezanne, Picasso, Gauguin, Van Gogh, Matisse |
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Louis Vauxcelles
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Influential French art critic
Coined the terms Fauvism (1905) and Cubism (1908) ‘les fauves’ wild beasts after seeing a Matisse ‘full of little cubes’ after seeing a Braque |
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Picasso’s Blue Period
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1901-1904
Paintings in shades of blue, somber works Painted prostitutes, beggars, drunks Themes of loneliness, poverty, despair Influenced by suicide of friend Casagemas |
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Picasso’s Rose Period
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1904-1906
Cheerful orange & pink colors in contrast to Picasso’s Blue Period In happy relationship w/ girlfriend living in Paris Themes of harlequins, circus performers, clowns |
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Iberian Period
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Influenced by African masks, pre-Roman Iberian sculptures
Primitivism |
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Orphism
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Coined by Apollinaire in 1912
Offshoot of Cubism, focused on pure abstraction and bright colors, influenced by Fauvism, writings of Signac Relaunching of color during monochromatic phase of Cubism Painting was bringing together of a sensation of pure colors Relied on form and color to communicate meaning Aimed to express ideas of Simultanism: existence of an infinitude of interrelated states of being |
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Daniel-Henry Kahnweiler
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Art collector & dealer associated w/ CUBISM
Champion of Picasso & Braque Prominent gallery owner in Paris beginning in 1907 |
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Guillaume Apollinaire
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Art critic, poet
Wrote preface for first Cubist exposition outside of Paris Essay on Cubism |
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Ferdinand de Saussure (iconic and symbolic images)
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Most influential work, Course in General Linguistics
Language may be analyzed as a formal system of differential elements “sign” ICON look like what they represent; ex. Violin SYMBOLIC: has a meaning only b/c of context (ex. Lines that appear to be forms) |
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Trocadero Museum
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First anthropological museum in Paris
Modern artists visited it and were influenced by its ‘primitive’ art (Picasso, while working on Les Demoiselles d’Avignon) |
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Papier colle
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Pasted paper; painting technique & type of collage
Artist pastes pieces of flat material into a painting the same way as collage, except the pieces are objects themselves Invented by Braque |
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Faux bois
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False wood
Artistic imitation of wood |
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Filippo Marinetti
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Founder of Futurist movement, manifesto written 1909
Courage, audacity, revolt No more beauty except in struggle Poetry is a violent assault against unknown forces Destroy museums, libraries |
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photodynamism
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Captures sensation of movement in photography
Analyzes movement in detail Records the continuity of action in space; not only the expression of passing states of mind, but also the immediate shifting of volumes immediate transformation of expression Seeks the interior essence of things: pure movement |
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Henri Bergson (orphism, futurism)
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Philosopher immediate experience & intuition are more significant than rationalism & science for understanding reality
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zaum
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Word to describe linguistic experiments in sound symbolism & language creation of Russian Futurist poets
Having no meaning/logic allows for fuller expression |
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“Victory Over the Sun”
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Russian Futurist opera 1913
Written in zaum language Malevich was stage designer Work he did on this opera became birthplace of Suprematism full eclipse of sun in black square over white square |
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0, 10 exhibition
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1915-1916: inauguration of non-objective art called Suprematism
Geometric abstraction was distinct in the kinetic motion & angular shapes of its elements, limited range of colors Art based on the “supremacy of pure artistic feeling” rather than on visual depiction of objects Black Square was placed in beautiful corner in Russian Orthodox tradition; place of main icon in house |
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P.D. Ouspensky
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Russian esotericist
Interested in idea of the fourth dimension, being an extension in space |
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Faktura
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Art objects as laboratory experiments
Fature single most important quality of these art objects material quality of surface Visual demonstration of properties inherent to materials |
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Proun
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Design for the confirmation of the new
“the station where one changes from painting to architecture” Lissitzky’s Suprematist style series of abstract, geometric paintings Shifting axes, multiple perspectives |
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De Stijl theosophy
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1917-1931 Neoplasticism
dedicated to the “absolute devaluation of tradition” Emphasized need for abstraction & simplification, mathematical structure Created art for clarity, certainty, order, spiritual harmony Vertical & horizontal designs, used primary colors & B&W |
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Horta, Hôtel Tassel, 1892-93
(Brussels, Belgium) Art Nouveau “urban palace” Exposed ornamental metal construction Jugendstil name of art magazine at the time (German Art Nouveau) Moving towards abstractions strong Japanese influence, international movement, rejected historical references Organic designs, whiplash curves, arabesque designs |
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Munch, Anxiety, 1894
SYMBOLISM Inner psychology expresses anxiety based on actual experience Flat color plane, non-naturalistic color Gauguin influence Urban society, haunted by death, mortality, stress nighttime |
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Matisse, Male Model, 1900
MATISSE: Influenced by Symbolist theory Obsessed w/ Islamic art Color, line affect viewer before subject MALE MODEL: influenced by late Cezanne associated Cezanne w/ the color blue Modulated forms patches of color create 3D form (Cezanne) Changing perspective; order, symmetry (Cezanne) Vollard known art dealer |
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Matisse, The Serf, 1900-04, bronze, 37”
Looking down, contemplative, stationary Abstracted, not smooth Studied Rodin “heroic endurance” Body language Autobiographical model used had similar figure to Matisse Statue is put in backgroud of Matisse paintings standing figure for himself |
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Matisse, Luxe, Calme et Volupté, 1904
86 x 106” (St. Tropez), Baudelaire poem Neo-Impressionist friends w/ Signac “bricks” of color, leaves spots on white canvas brightness Important milestone done while he was in Paris studio (made up) based on sketches Paradise/ Arcadian theme sensuality, order, structure Baudelaire poem about escaping w/ a mistress to paradise Imaginary scene based on literature “dream inspired by reality” Depicted his wife beside a picnic Languid nudes Associated paradise w/ innocence & childhood “genius is childhood recovered at will”- Baudelaire Matisse associated art/creativity w/ childhood youthful impressions in artistic expression Radical reinterpretation of the grand pastoral tradition of landscape painting |
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Matisse, Open Window, Collioure, 1905
Salon d’Automne, 1905 Fauvism Collioure, FR (Pyranees) “birthplace of Fauvism” prolific time for Matisse More flat planes of color broader & flatter than Cezanne Uses complimentary colors to structure space Left patches of canvas empty brushstrokes had been “freed” from traditional role describing form in order to suggest an intense, vibrating light Window is it really a window or a wall? No one-point perspective there are conflicting perspectives No traditional modeling Shadows & reflections are equal in luminosity Salon D’Automne 1905: in a room w/ similar works represented a new movement Critics labeled the Fauves as primitive, beast-like, “child w/ a new box of crayons” Matisse people need to look at art w/ a child’s eye Eye is drawn over & across, but rarely beyond the picture plane Metaphor of modernist belief: purpose of painting was to use visual stimuli that would take the viewer beyond the perceptual reality |
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Matisse, Woman with a Hat, 1905 (Salon d’Autumne)
Gertrude Stein her family bought a large amount of Matisse’s work Leo Stein bought it b/c it was disturbing Considered an attack on the familiar “one must render the emotions that awaken in him” EXPRESSION shows her composure amidst chaos, slight element of vulnerability Matisse’s wife made hats Decorative Everything in piece is expressive composition plays a big role in that |
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Matisse, Portrait of Madame Matisse,
1905 Matisse, Woman with a Green Stripe, fall1905 Tough, masculine, mask-like Physical closeness Lack of eye contact, controlled, composed Tension btwn intimate & impersonal Tightly drawn, structured Artist uses color independently of natural appearance 1st impression is never satisfying b/c it is purely visual, lacks expression 2nd impression “sign” reality filtered through his own sensibility has to identify the object, create a sign for it |
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Matisse, Joy of Life, (Le Bonheur de Vivre)1906,
68 ½ x 93 ¾” Exhibited March 1906 Salon des Independants “Matisse’s Arcadia” dream based on reality fantasy of fabulous desire Totally rejects Cezanne’s color & brushwork Themes of music, nature, sensuality “innocent” sensuality, some androgynous figures Groups deployed as separate vignettes Breakthrough painting for him sinuous, undulating LINE! Works like a circulatory system PATTERN No principle feature of piece, pattern of controlled rhythms Modern artists were influenced by African art sought to invest their work w. primal truth, expressive energy, a touch of the exotic embodied values outside of Western tradition African figures didn’t observe classical proportions Unbound to literal representation of nature |
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Matisse, Blue Nude: Souvenir of Biskra, 1907
(Algeria) In Spring Salon des Independants Influenced by African sculpture/ masks proportion Bulbous exaggerations, looks like it was assembled from different bodies “aggressively ugly” lacks softness & femininity grotesque “masculine nymph” Done after visiting Algeria, N. African female Blue tones (Cezanne influence) patches of color; changing perspective Fertility figure Parallel shapes throughout piece, images/after image, interchanging of color/texture figure/ground merging His take on traditional female nude, Venus pose |
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Matisse, Reclining Nude, 1907
Sculpture of Blue Nude: Souvenir of Biskra Works in sculpture & painting at the same time fascination w/ 3D interpretation Biskra oasis in desert, French colony, soldiers, prostitutes there were known for masculinity |
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Matisse, Harmony in Red, 1908, 71” x 7’31“
1908: opened a school for teacher in Paris; wrote “Notes of a Painter” strays from Fauvist, work gets more confrontational, edgy aims for beauty Decorative qualities Redid an old painting Segei Schukin Russian purchaser of art, rich, collected exotic art Looks tame compared to Cubism Plays w/ form on 2D surface Is frame a window or a painting? Not typical of either Contrast btwn outdoor/indoor world Captures nature outside & on table Blue pattern was copied from a tablecloth inspired curvilinear forms Women theme regenerative source for modern man Table disappears on side into wall Serenity, harmony, devoid of sad subject matter, relaxation |
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Matisse, Dance (study), 1909, 8 x 12’
Works on bigger scale Larger walls of blue created powerful emotion “to perfect is to simplify” Movement comes from modulation of contour Limited colors; green for earth, blue for sky, red for figures Dance essentially in an airy space created by these contrasting juxtaposed hues, modeled contours, sweeping movements |
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German Expressionism
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Mythic themes, hybrid pagan/ Greek gods, sexuality
1871 Germany unites, tremendous development/growth/industrialization |
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Der Blaue Reiter (Blue Rider)
Munich (1911-1914) Die Brücke (Bridge), Dresden and Berlin (1905-13) |
2 Groups:
Die Brucke (Bridge): Dresden & Berlin KIRCHNER sexuality, figural 1905: renew German art Active printmakers, sculptors, decorative artists Bridge linking “all the revolutionary & fermenting elements” Against academic art & impressionism Van Gough to them was clearest example of an artist driven by an “inner force” & “inner necessity” Gothic structure & form Germanic sense of expressive subject matter Der Blaue Reiter (Blue Rider): Munich Kandinsky spiritual, mysticism beginnings of abstraction Books written, express mindset during WWI misery, distress Interest in expression & medieval art Opposite of Matisse’s materialism more about anxiety, alienation Like Matisse color is important Worringer 2 general tendencies: abstraction & empathy Realistic, empathetic w/ their environment Other societies are alienated from their world abstraction is formed from great inner unrest Blue Rider Almanac: collection of essays by artists, profusion of images |
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Kirchner, Program of the Artist’s Group
Brücke , 1906, woodcut (Dresden) (Nietzsche, Zarathustra) Studied painting, influenced by Jugendstil (Art Nouveau) 1st Dresden exhibition in a lampshade factory Group studio living space (Bridge) Dresden River bridge to take artists to a new society, ecstasy Linked Revolutionary & surging elements Rebellion against traditional values Instinct, sexuality, darker abyss of human self, linked to the unconscious Font looks Non-Western African, Oceanic influences |
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Kirchner, Self-Portrait with Model, c. 1910
Primitive, crude style Suggestively placed paintbrush Nudes closer to nature Dressing gown, pipe common attribute to Bohemian artist |
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Kirchner, Bathing Nudes in a Room, 1910
Free love, sexuality Non-Western environment |
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Pechstein, Somali Dancers, 1910, woodcut
One of founding fathers of Brucke Visited New Guinea Tribal people in music/dance Most primal, Dionysian Backdrop is similar to what would hang in Brucke studios Deliberately crude execution, surface covered w/ irregular ink smudges |
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Nolde, Female Dancer, 1913,
colored litho.(New Guinea) Gauguin-style orientation of printing Tribal people in music/dance Most primal, Dionysian Interest in body as an expressive vehicle Frenzied motion, wild abandon |
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Kirchner, Nudes Playing under Trees, 1910
“Lebensreform” movement, “Nacktkultur” Nudist colony Back to nature Shows man in natural state, shows bodies in green Culture begins w/ the body Modern man is ill characterized by instability, psychological Influenced by Van gogh belief in restorative quality in nature |
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Kirchner, Street Berlin, 1913
Cubist influence, fractured forms sharper edges, element of danger, gone w/ Jugendstil curves Known for street scenes in his Berlin work Depicts sophistication, modern age, avante-garde, excitement Prostitutes would dress up to blend in w/ crowd disguise, danger, fear |
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Kirchner, Self-Portrait as Soldier, 1915
Served for 2 months, kicked out to get psychiatric help Gaunt, haunted, emasculated, painter hand is now a red stump May have been inspired by Van gogh (bandaged ear) Suffering & redemption not “art for art’s sake” like in France |
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Emile Nolde, Prophet, 1912, woodcut
German woodcuts Spiritual ascendance, release Through suffering comes spiritual transcendence Bold, jagged shapes Intense B&W contrast |
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Nolde, Crucifixion, 1912, central panel
of altarpiece Use of color for emotional effect Inspired by Grunewald Altarpiece Renaissance father figure |
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Nolde, Last Supper, 1910
Stained glass look Ecstatic state of spiritual transcendence Mask-like, but faces have intense personalities Nolde had strong connection w/ nature studied woodcarving Figures are crammed into the space heightened sense of impending crisis |
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KANDINSKY
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shapes, colors, general feeling of expression
Titles come from music, imagination Inspired to make art musical, reflection of sound Gradually developed into abstraction Jugendstil (Munich) Art Nouveau textiles, decorative style Communicate through color, forms, shapes Questioned the relations btwn art & music Art had to be concerned w/ the expression of the spiritual rather than the material The sense of an inner creative force, rather than the external of manual skill Enabled him to make art entirely w/out representation other than colors & shapes wished to associate work w/ an image-free art form that spoke directly to the senses in modernist fashion |
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Kandinsky, Picture with an Archer, 1909,
69 x 57” PICTURE WITH AN ARCHER: Horse & rider, later identified w/ St. George patron saint of Moscow Images aren’t as easy to make out as in the past Intensely studied Russian ICONS, Russian folk art |
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Kandinsky, Study for Composition II, 1910
Rudolf Steiner, Theosophical Society (Madame Blavatsky), Revelation of St. John Studied Steiner, Revelation of St. John Theosophy would needed an interjection of SPIRITUAL belief Believed we’re living in an age of bleak materialism, an apocalypse was about to happen against Darwin Felt artists should help prepare sick society for the new future Future spiritualism is combo of Eastern religion & Christianity Concerned w/ idea that people wouldn’t understand abstraction Used hidden images Form w/out content is a “sin against the spirit” Blue= most spiritual color Ppl in waves lost souls drowning Artist on horseback bringing spiritual guidance into the new age/arcadia |
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Kandinsky, Composition IV, 1911, 63 x 98”
Whit is a symbolic color RIGHT: paradise side, 2 saint figures Battle warriors in center Felt Matisse was too sensual, not a spiritual paradise Blue mountain Rainbow shows new age Angular lines in upper left |
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Kandinsky, Composition V, 1911, 6’4” x 9Birth of Blue rider movement
Most famous work Ressuraction Last Judgement Interested in religion as a comunal experience Angels in top corners Top/middle city on the hill about to be destroyed Big black line the SOUND of the trumpet “frosted glass” luminous quality |
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Kandinsky, Cover of Der Blaue Reiter Almanac,
1912, colored woodcut Anthology of essays by Marc, Kandinsky, more Lots of non-Western art NO academic art Art created from “inner necessity” |
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Franz Marc, Blue Horses,
1911, 41 x 71” MARC: drew animals as a source of spiritual harmony & purity in nature Only animals assimilated harmoniously in nature, not humans Believed all art is metaphysical believed in inner essence Painted the world the way animals saw it not burdened by society Intensified sensitivity Animalization of art Studied animal anatomy started looking @ Matisse 19190/1911 starts using more expressive colors High horizon line, abstracts images & landscape 2 white-ish tree trunks, green of foliage in front of/behind horses Animals become a fluid whole w/ nature Blue most spiritual |
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Marc, Stables, 1913
Form & space / animal & environment Cubified animal picture Combined curvilinear forms w/ rectangular geometry Horses are dismembered & recomposed as fractured shapes Forms are composed parallel to picture plane, rather than tilted in depth |
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Marc, Fate of the Animals, 1914, 195 x
265 cm. Blue deer, head up Flaming suffering Very cubist |
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Picasso and Cubism
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CUBISM: reality has many definitions, objects in space have no fixed or absolute form
Blue period: Picasso’s friend Casagemas commits suicide prompted these paintings; blue palette, expressed human misery hunger & cold, thin figures Rose Period: warmer tonalities, acrobatic performers as subjects |
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Picasso, Burial of Carlos Casagemas, 1901 (4’11”)
Deeply affected by friend’s suicide BLUE PERIOD (1901-1904) Inspired by El Greco instead of traditional image of God/angels, there are prostitutes, mother & children Explores gender, sexuality, female identity source of life, Madonna & prostitutes, bringer of death for his friend |
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Picasso, Family of Saltimbanques, 1905, 6 ½’ x 9’7”
Moved to Paris, was happier Rose Period warmer colors & subject matter CIRCUS Picasso as the harlequin, master of illusion Theater/ comedy people Moment of rest/ quiet contemplation Characters hardly take note of one another Homeless entertainers, eking out a living, existing on edges of society modernist surrogates for the artist |
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Picasso, Portrait of Gertrude Stein, 1905-1906,
39 ½ x 32” (Met) Close friends w/ Picasso Painted her about 80 times, felt that he couldn’t finish this painting came back to finish it later after looking at Iberian art he saw her as a “mask” Intimidated by her, unconventional pose for female sitter, self-assured nature of a woman Mask mediates her power, something he could control more remote Paints what he thinks, not what he sees Spanish palette reds, browns |
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Picasso, Two Nudes, 1906, 59 x 36”
Shallow space: mysterious composition woman confronting what is almost a mirror reflection Rounded 3D form, crude anatomies Period Picasso painted mostly nudes, inspired by Classical studies IBERIAN PERIOD: larger forms, mask-like faces; primitive look, feet flat on ground; blocky contours of ancient Iberian carvings Inspired by Gauguin’s sculpture & other non-Western art |
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Picasso, Les Demoiselles d’Avignon, 1907
8’ x 7’8” (Jan. – June) Concept from Joy of Life felt he needed to respond to it (opposite) Brothel scene: D’Avignon (street in Barcelona) Dystopian, shard-like, indoors, grotesque start of fracturing form Did many studies some had men in them First “exorcism” painting terrified of women monstrous forms Aggressively confrontational figures Sheltered every pictorial & iconographical convention that preceded it “detonator of the modern movement” |
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Braque, Houses at L’Estaque, 1908
Fall 1908 exh. at Kahnweiler’s Gallery, Analytic Cubism (1908-1911) BRAQUE: mostly landscapes & still lifes all about space, becomes a tangible element Mobile perspective Cezanne compressed, shallow space “passage” shading that connects objects together The 1st cubist painting Houses & trees become simplified, geometric volumes Rather than receding into depth, forms seem to come forward Achieves illusion of perspective through volumes of trees & buildings overlapping, tilted & shifting shapes create the effect of a scene observed from various positions True to sense perceptions rather than pictorial conventions Limited color focused on pictorial structure |
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Picasso, Three Women, 1908,
6’6” x 7’7” Mostly portraits & people narrative quality Figures appear to be chiseled out of red sandstone Faces seem to hover on the edge of deep slumber suggesting sexual awakening “passage” edges of color panes slip away & merge w/ adjacent areas Mitigates any sense of clear demarcation btwn the figures & their environment |
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Picasso, Houses on the Hill, Horta de Ebro,
1909 Reflects his idea of cubism breakdown/fracture of forms Highly geometricized ; multiple, contradictory perspectives Juxtaposition of light & dark planes enhance the overall sculptural configuration Space & mass are synonymous Even the sky has been articulated into a crystalline pattern of intersecting planes |
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Picasso, Head of Fernand, 1909
Breakdown/ geometrication of form itself Effort to allow multiple viewpoints Ruptured, discontinuous surface ANALYTIC CUBISM: destroys form & space, recessional space |
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Braque, Violin and Pitcher, 1909
Space around objects has forms Nail at the top Range of representational objects “temporal dimension” element of time now incorporated into painting Virtual movement, objects seen from different views |
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Picasso, Portrait of Kahnweiler, late 1910
Signifiers contexts of letters; artists use iconic & symbolic signs Kahnweiler art dealer, wrote about cubism Clues in the paintings still shows a likeness of subject Color emits a shimmering light Point of painting is to decode the clues Few clues/points of reference to bring back to visual reality ICON look like what they represent; ex. Violin SYMBOLIC: has a meaning only b/c of context (ex. Lines that appear to be forms) |
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Braque, The Portuguese, fall 1911
Picasso, The Accordianist, summer 1911 High Analytic Cubism 1910: change from analytic to HIGH analytic cubism Course in General Linguistics letters have different meanings ICON look like what they represent; ex. Violin SYMBOLIC: has a meaning only b/c of context (ex. Lines that appear to be forms) Monochromatic Sense of mystery, seem to float in canvas Neo-impressionist brush stroke Forms are densest in center, fade out on side Very rectilinear Uses STENCIL! new element; letters & numbers exist “outside of space” Portuguese sailor in the harbor of Marseille; sections of rope Admired music as an art form that unfolds in time Picasso liked popular music Downward lines show figure; curvilinear elements near bottom stand for arms of a chair Short brushstroke, lots of grey tones |
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Picasso, Still Life with Chair Caning,
May 1912, collage, 10 5/8 x 13 ¾” Faux bois: fake wood Braque started using it in his paintings Mechanically reproduced to look representational Decorative, adds quality to surface COLLAGE: first ever Chair print, rope around frame, oval shaped canvas Handwritten letters “JOU” reference to Le Journal, newspaper Sense of sitting around a table at a café reproduction of every day life Uses references to representational form cubist painting on oil cloth made to look like chair pane Uses color! Spacial ambiguity “art is a lie that helps us understand the truth” |
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Braque, Fruit Dish and Glass,
Papier collé, Sept. 1912 Not much color Papier colle: printing a pattern on paper, using it in the art Combined w/ charcoal drawing Cubist draftsmanship Faux bois printed paper to look like wood |
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Picasso, Guitar, paper, 1912
Picasso, “Sheet Metal” Guitar, 1912 Takes individual aspect shapes and builds them to create a guitar Space reversals, synthesis Sheet metal radical/unorthodox introduction of using industrial materials Suggested giving away the plan/concept everyone would be able to make one Inspired by African masks Open construction, takes inspiration from papier colles |
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Picasso, Guitar, Sheet Music, and Wineglass,
Nov. 1912, Papier collé More colorful Flourished w/ synthetic cubism Faux bois & newspaper papier colle Flat shapes take on meaning b/c of context incomplete instrument Undermined definitions of artistic authenticity Begins to use contemporary social subjects war, poverty, revolution SYNTHETIC CUBISM: Constucts an image from many diverse components Less descriptive of external reality, assembled w/flat abstracted forms w/ little value until shown together in a composition |
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Picasso, Glass of Absinthe, 8 ½”,1914
One of first sculptures w/an object serving knife & ‘brown sugar cube’ Homage to absinthe Adapts collage methods to sculpture Colors are similar to contemporary paintings Kahnweiler had it casted 6 times, each artist added a “found object” |
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French Cubism and Italian Futurism
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Apollinaire: 1919 wrote essay on Cubist painters
Cubism spread quickly FUTURISM: Marinetti’s manifestoes response against Renaissance & Neo-Classic artistic values Proclaimed beauties of revolution, war, speed & dynamism; celebrated technology, science, urbanism ENGERY & DYNAMISM; SPEED Simultaneity modern life Promoted artistic expression of motion, metamorphosis & simultaneity of vision itself Emerged as a coherent theory, which was set out to realize in art by artists Cared about “putting the spectator in the center of the picture” Metropolitan life, modern industry unrestrained expression of individual ideals, mystical revelation, & articulation of actions Stamp out the past against nature, academic art, culture Motion & EMOTION Favored anarchism, socialism, violence Futurists all had different styles; interdisciplinary movement has identity of purpose, not a unified style |
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Robert Delaunay, Eiffel Tower, 1911
(series began at the end of 1909) Eiffel tower geometric architecture representation of technological future Celebration & adoption of machines & their forms No interest in “back to nature” themes COLOR!! Fragmentation shows shifting viewpoints of Cubism & rapid motion Shows exploding energy, dynamism of city different from traditional still lifes & landscapes of Picasso & Braque Simultaneity of color & light city as modern experience implies speed, change Inspired by Neo-Impressionist techniques, little bricks of color checkerboard |
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Delaunay, Simultaneous Contrasts: Sun
And Moon, 1913 ORPHIC CUBISM: Simultaneity method for capturing light on canvas through color Loved stained glass Becomes more grid-like Gets rid of form & color; generated by color itself light in nature creates movement in color rhythmic simultaneity Visual experience of viewing light (the sun) over a period of time pure retinal vision Integration of light, harmony & energy How color is seen based off of what colors it is adjacent to His “constructive” pictures Spiritual dimension though very muted compared to Kandinsky Work shown in the Blue Rider show Popular in Germany Circular forms line was too limiting |
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Fernand Leger, Three Nudes in a Forest, 1909-10,
47 x 67” (in 1911 Salon des Independants) LEGER: represented art celebrating the ever-expanding machine world Aimed to create beautiful objects w/ mechanical elements Habitation of machine forms & wood-chopping robots Faceted forms barely distinguishable from their environment Figures; distant landscape; look like metal Like looking through a kaleidescope Multiple impressions of city Cogs/gears/machines in operation “realism” refer to themselves independent of any independent character |
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Leger, The City, 1919, 7’7” x 9’9”
Focused on subjects of contemporary life Inspired by WWI, was a soldier Place Regalle Machine aesthetic becomes stronger City is rising Geometric, ordered, poster-like Some forms show depth, others seem flat stenciled letters Literal elements: machine, buildings, robot figures, signs Kaleidoscope glimpses of urban industrial world |
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Marcel Duchamp, Portrait of Chess Players,
1911 DUCHAMP: everything is tongue-in-cheek; started as a cubist artist Translucent forms of figures Ambiguous space, low-keyed color Cursive linear rhythms Chess is a theme in his work Suggesting that one can paint thoughts |
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Duchamp, Nude Descending the Staircase, 1912
Reaction: outrage; removed from Salon Traditional movement of form through space; fascination w/ cinema & stop-motion Outrage that he used a classical subject (nude) and cubist technique Not into Futurist subjects of technology Fragmented androgynous, mechanized figure |
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Archipenko, Médrano II, 1913, 4’2”, pted. tin, wood,
glass, and oilcloth Synthetic cubism Medrano= circus Dancing figure made from wood, metal & glass Volume depicted by flat, colored planes Figure against a backdrop sculpto-painting ? Experiments in space/mass reversals |
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Jacques Lipchitz, Man with a Guitar,
1915, limestone, 38” Friends w/ Picasso & Braque References architecture Cubism was a means of re-examining the essential nature of sculptural form Rigid, intersecting planes |
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Lipchitz, Figure, cast bronze, 1926, 7’
Tribal quality Primitive totem Massive material, frontality Demonic, frightening quality |
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Duchamp-Villon, The Horse, 1914, 39 ½”.
bronze Looks like shafts in a machine Hybrid fusion of horse & horsepower Preindustrial subject w/ dynamism of a new age High abstraction of a rearing horse Power of the machine |
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Balla, The Street Light, 1909
Electric street lights appeared first in modern cities Light stamps out the moon in corner Example of modern technology Modern, urban subject Optical illusion of light rays vibrating colors |
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Boccioni, The City Rises, 1910, 6 x 9’
Example of his early style Metaphor of giant horse Marinetti compares locomotives to horses Shows modern technology Entirely a mental vision movement, life, labor Whirlwind of colors Form has DYNAMIC wholeness-> edges of figures dissolve into space Time is in FLUX Traditional measures of time & space are no longer valid |
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Boccioni, States of Mind (Those Who Stay, The Farewells, Those Who Go),1911
Done after a visit to Paris started using Cubist style Still have some curvilinear flowing forms/ pointillism emerging Cubist style The Farewells train station couples depicted as green forms Those who go inside of train, experiencing speed, going past buildings, reflections in windows Shows multiple viewpoints Stenciled letters new as well Simultaneity of emotions Cubist depiction of modern life has dramatic action, tension & velocity Believed cubism was lifeless, Futurists created narratives of motion |
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Boccioni, Simultaneous Visions, late 1911
Major development 1st painting to use simultaneity in title, is first great synthesis of labor, light, and movement Large, surging horse visual essay on the qualities of violent action, speed, & disintegration of solid objects by light, & reintegration into totality of the picture by the same light Circular form; Cubist shards of light Simultaneity was also mental Reflection of woman IN city street To paint a figure, you must render the whole of the surrounding atmosphere Picture should be a synthesis of what one sees & what one remembers |
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Severini, Dynamic Hieroglyphics of the Bal Tabarin, 1912
Completely one w/ the surrounding space Nightclub subject of modern entertainment subject shows how Futurist revolt was against dullness of 19th cent. Bourgeois morality Tour de force: almost every element of Cubist painting & collage Fragmented by dominating reality Actual sequins on piece Cubist faceting put in motion by large curves |
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Severini, Sea = Dancer, 1913
Waves reminded him of dancers, reflections of light reminded him of sequins Aim to paint movement itself |
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Balla, Dynamism of a Dog on a Leash,
1912 Studied dynamism & movement sequential movement Fascination w/ different types of movement Futurist simultaneity |
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Bragaglia, The Typist, 1911, Photo-dynamism
Movement & dynamism Hazy forms long exposure Capture the form expressing its continuity in space the ESSENCE not the appearance of movement |
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Boccioni, Development of a Bottle in Space, 1912, bronze, 15 x 113 x 23”
1912: Technical Manifesto of Futurist Sculpture attack on all academic tradition Sought fusion btwn sculptural form & surrounding environment (in all of his art ) Movement in a still life bottle is stripped open, unwound, integrated w/ an environmental base |
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Boccioni, Unique Forms of Continuity in Space, 1913, 44 “
Manifesto of Futurist sculpture: 1912 focus on speed, movement; innovative materials Breaks open the figure & encloses it in the environment Sculptor can abstract, destroy, use different materials Striding into the future Planes peeling off of him inspired by drawings of muscle Coincidence of abstract form Figure moves essentially in 2 dimensions Like a translation of his painted figures into relief Wears a helmet of victory |
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Russian Modernism: Neo-Primitivism, Rayonism, Suprematism and Constructivism
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Symbolism
Variation of an arts & crafts movement Well-informed about Western developments in art Russian Abstraction: aware of new developments in European art Cubist & Futurist influences Neo-Primitive style: turned to Russian icons & folk prints for inspiration Rayonism: based on optical studies & theories of how intersecting light rays reflect in space 1917: Russian Revolution Suprematists were FOR the new gov’t Radical new art was fitting for radical new gov’t Constructivism: Tatlin was founding father, major inspiration ICONS are influential not for their spirituality, but their materiality Relief constructions; “metal halos” Abstract, geometric forms (often industrial) are assembled rather than carved or modeled Enlisted art in the service of new Soviet system wanted full integration of art & life Utopian ideals Strong connection btwn revolutionary political regime & revolution in art |
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Larionov, Soldiers, 1910
Larionov: inspired by folk art, woodblock prints NEO-PRIMITIVISM: crude style applied to forms & space; subject matter is Russian countryside Crude rendering, flat space like space in ICONS, inverted perspective figures sliding off of picture plane Soldiers in their barracks Graffiti on wall |
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Natalia Goncharova, Haycutting, 1910
ICON Artist does pictures of farmlife old Russian culture Inspired by Gauguin flat planes of color, black outlines |
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Larionov, Blue Rayonism, 1912
RAYONISM: 1912-1914 completely abstract, no symbolic meaning, form IS content Form derived from light rays Combining Cubist & Futurist ideas Faktura no real meaning, not abstracted from anything Small short brushstrokes could depict flickering light |
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Goncharova, Blue and Green Forest, 1913
Forest as another force of life RAYONISM |
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Kazimir Malevich, Peasant Woman with Buckets
and Child, 1911 Neo-Primitivism: Malevich: goals as artist were linked to Russian peasant Heavy figures, intense color, interest in geometry, landscape is flat planes of color Mask-like faces faces are ICONS Symmetrical, has a strong, central axis Piece itself feels slow & heavy, crude & simplified Icons as peasant art |
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Malevich, Morning in the Village after a
Snowstorm, 1912 Cubo-Futurism: Houses concave/convex sculpture Metallic look welcomed references to technology Peasants in mechanized landscape |
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Malevich, The Knifegrinder (Principle of
Flickering), 1912-13 Cubo-Futurism Futurist movement Man sharpening knife, foot pushing pedal Somewhat static architectural background is broken up into shapes Believed in spirituality of square shape |
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Malevich, Cow and Violin, 1913
“nonsense realism” appear to be collages, synthetic cubism Point is that there is no point there is no national explanation Experience it in a more intuitive way, not to analyze it Inspired by Futurist poets strong words together that made no sense ZAUM beyond reason, having no reason/ logic |
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Malevich, Reservist of the First Division, 1914, collage
1913: “desperate attempt to free art from the burden of the object took refuge in square form” Zaum can be represented by the blue square Wanted to jolt viewer into more intuitive experience Square within a square w/ floating objects * Work he did on “Victory Over the Sun” opera became birthplace of Suprematism full eclipse of sun in black square over white square |
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0,10 (Zero-Ten): The Last Futurist Exhibition,
St. Petersburg, Dec. 1915 Malevich, The Black Square, 1915 Suprematism absolute, ultimate emerged as a way out of Cubism & Futurism didn’t give viewer same spiritual experience Bare minimum, irreducible core most reductive, uncompromisingly abstract painting of its time Hung in “beautiful corner” most valuable, spiritual, important traditional place of Russian icon Meant to transport the viewer to some sort of transcendental state The icon of his time “embryo of all potential” Painted over another painting explains why it is cracked Felt that for 1st time in history, a painting could exist completely independent of any reflection or imitation of external world Passionate quality about expressive qualities of geometric shapes “supremacy of pure feeling in creative art” Wanted you to have cosmic viewing experience “visual phenomena of objective world are meaningless” Samadhi state: highest state in YOGA Ouspensky theosophy 4th Dimension/ out of body experience, becomes one w/ universe Matiushin wrote “Sensation of the Fourth Dimension” & “The Fourth Dimension: Unfathomable Realm” |
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Malevich, Eight Red Rectangles, 1915
Traces/sides of a 4D object falling through space Sensation of being free, floating in space Red/black colors of Russian revolution “sdvig” diagonal, something detaching itself/ spiraling out enhanced movement in 4th dimension |
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Malevich, Black Trapezoid and Red Square, 1915
More unusual shapes, more colors Colors were very influential on other artists Weight is distributed into a phase of weightlessness |
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Malevich, Suprematist Composition: White
Square on White, 1918 Felt this was most effective ultimate stage in Suprematist ascent toward an ideal world White symbolized the “real concept of infinity” Interested in both science/technology AND theosophy/meditation aerial suprematism |
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Tatlin, Relief, 1914, tin, wood, iron, glass, plaster
Constructivism Tatlin was founding father of Constructivism No symbolic, spiriautl meaning faktura Only materials they dictate form Suggested rectilinear forms (wood); suggested curvilinear forms (metal) Glass could be curved or flat Planes intersect each other Believed value of sculpture was based on how form was created from the material |
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Tatlin, Corner-Counter Relief, 1915
iron, copper, wood and rope (0,10 exhibition) Artist as engineer/technician Released form the wall, suspended by wires across the corner of the room Made from ordinary materials, not isolated on a base inhibit the space of the viewer more directly than conventional sculpture Believed in “culture of materials” and the “truth to materials” each substance through structural laws, dictates specific forms For a work of art to have significance, these principles must be considered in both the conception & the execution of the work |
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Tatlin, Counter Relief, 1916,
Rosewood, pine, metal |
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El Lissitzky, Beat the Whites with the
Red Wedge, 1920, lithograph (third Anniversary of the revolution) White Russians/ red communists |
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Tatlin, Model for the Monument to the Third International,
1919-20, wood, iron and glass, 20’ (monument, 1300’) Originally a model of a huge structure would have been 1300’ high All elements should be modern & technical iron & glass, kinetic nature of work symbolized new machine age Monument meant to house offices gov’t center Rectangle shape: rotate once a year; triangle: once a month; circle: once a day Wireless transmitter on top show the news bulletins at night Supposed to represent openness of new congress Spiral was metaphor for revolution, aspirations of Communism, new era |
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Rodchenko, Composition No. 64/84 (Black
On Black), 1918 Believed artist could serve the revolution through practical application of art in engineering, design, etc. Art as scientific/ technological activity strictly formalism Constructivism opposite of suprematism Countered Malevich’s spirituality w/ nothingness Studied planes of color & fraktur |
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Rodchenko, Hanging Construction,
1920, 21 x 35 x 18” wood and metallic paint INKHUK: school founded by Kandinsky Rodchenko taught at it Nest of concentric circles, move slowly in air currents Shapes collapse together Made versions w/ other shapes 3D object w/ planar elements constructivist’s interest in math & geometry One of 1st sculptures to use actual movement Liked to shine lights on sculptures to reflect silver paint enhanced sense of dematerialization |
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Naum Gabo, Kinetic Construction,
1920 Vibrates when you plug it in Basis materials: space, time, movement Claimed his art to be “realism” Realistic Manifesto Creation of a new, Platonic reality more absolute than any imitation of nature proclaimed art of the future would surpass what he regarded as the limited experiments of Cubists & Futurists |
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Gabo, Head of a Woman, 1917,
celluloid plastic and metal Watershed moment Cubist head earliest work in plastic |
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Lissitzky, Proun 99, 1924-25
Lissitzky developed own form of abstraction: PROUN project for the affirmation of the new Forms in space represent the artist’s extension of Suprematist theories into realm of architecture |
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Lissitzky, Proun Room (created for the Berlin Art
Exhibition), 1923 (reconstructed 1965 and 2011) Transfer his paintings to a 3D space Painted walls & woof reliefs in a room that the viewer was to walk through in a counterclockwise direction Artist wanted the walls to dissolve visually to allow Proun elements to activate the space |
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Mondrian and De Stijl
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Neo-Plasticism: formal elements of art
Goal: how to use geometric shapes to represent underlying truth in reality We only see through a shadow of reality; there is a whole other dimension No subjectivity, no green/ allusions to nature we must see THOUGH nature, must see abstractly Believed they could redeem society Used to paint nature wanted to find order/structure within nature De Stijl: dedicated to the “absolute devaluation of tradition” Emphasized need for abstraction & simplification, mathematical structure Created art for clarity, certainty, order Mondrian: obsessed w/ mystical implications of vertical/horizontal opposition Social sole of art in modern societyintegration of all the arts THEORY: FORMAL PURITY; LOGIC; BALANCE; PROPORTION; RHYTHYM The potential of technology & design to realize new utopian living environments based on abstract form |
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Mondrian, Windmill in Sunlight, 1908
Tendency to work in series, often focused on single subject frontality, cut-off, close-up presentation Loose yellow/red spots of color Neo-Impressionist Gradually felt that Cubism wasn’t developing abstraction through its ultimate goal, the expression of PURE REALITY Influenced by Van Gosh, Fauvism, Matisse Primary colors, geometric shapes |
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Mondrian, Evolution, 1911, each panel 70 x 34”
Soul freeing itself: left, right, middle Geometric shapes: down-pointing triangles Body becomes pure blue State of spiritual illumination all white, triangles point up geometry./ triangles/ spiritual truth Triangle within a circle he world within the universe |
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Mondrian, Red Tree, 1909-1910
Attempts to show oneness of tree w/ surroundings |
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Mondrian, Pier and Ocean, 1915, oil/canvas
Studied the ocean tended to do horizontal canvases Removed all shading pure horizontal & vertical markings Unity |
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Mondrian, Composition in Color A, 1917
Stepping stone to his future art Hated diagonals Rectangles of flat color in varying sizes they are forms in front of a light background Illusion of depth & movement interfered w/ the purity he was seeking “plastic expression” reality of forms & colors in the painting new reality was the presence of the painting itself Equilibrium of dynamic movements of form & color: organizational principles Balance of unequal opposites (use of right angles) & using primary hues plus B&W ULTIMATE AIM: express a visual unity through an equivalence of opposites Expressed the higher mystical unity of the universe |
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Mondrian, Painting No. 1, 1921
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