CHAPTER TWENTY-SEVEN TOWARD ABSTRACTION: THE MODERNIST REVOLUTION, 1904–1914
Fauvism
Key Images Henri Matisse, The Woman with the Hat, p. 947, 27.1 André Derain, Mountains at Collioure, p. 947, 27.2 Henri Matisse, Le Bonheur de Vivre (The Joy of Life), p. 948, 27.3 Henri Matisse, The Red Studio, p. 949, 27.4
• Fauvism, the first major artistic style of the twentieth century, is characterized by an expressive use of color.
• This style was epitomized by the work of Henri Matisse.
Cubism
Key Images Pablo Picasso, Les Demoiselles d′Avignon (The Young Ladies of Avignon), p. 950, 27.5 Georges Braque, The Portuguese, p. 952, 27.6 Pablo Picasso, Guitar, Sheet Music, and Wine Glass, p. 953, 27.7 Pablo Picasso, Violin, p. 954, 27.8
• Cubism questioned the ″essence″ of visual and pictorial reality, positing the assertion of the picture plane in modern painting.
• The influence of Cubism was widespread, impacting Orphism, Futurism, Cubo-Futurism, and Suprematism.
• Analytic Cubism takes its name from the analytic experimentation of Pablo Picasso and Georges Braque in which the subjects of the paintings were broken down into essential forms which were composed of small cubes.
• Synthetic Cubism was based on the collage. Instead of breaking down the subject, the subject was constructed by piecing together pieces of paper.
The Impact of Fauvism and Cubism
Key Images Paula Modersohn-Becker, Self-Portrait, p. 955, 27.9 Ernst Ludwig Kirchner, Street, Dresden, p. 955, 27.10 Emil Nolde, The Last Supper, p. 956, 27.11 Erich Heckel, A Crystal Day, p. 957, 27.12 Ernst Ludwig Kirchner, Peter Schlemihl: Tribulations of Love, p. 957, 27.13 Vasily Kandinsky, Sketch for ″Composition II,″ p. 958, 27.14 Vasily Kandinsky, Sketch I for ″Composition VII,″ p. 959, 27.15 Franz Marc, Animal Destinies (The Trees Showed Their Rings, The Animals Their Arteries), p. 959, 27.16 Paul Klee, The Niesen, p. 960, 27.17 Oskar Kokoschka, The Bride of the Wind, p. 961, 27.18 Egon Schiele, Self-Portrait with Twisted Arm, p. 962, 27.19 Robert Delaunay, Homage to Blériot, p. 963, 27.20 František Kupka, Disks of Newton (Study for Fugue in Two Colors), p. 964, 27.21 Umberto Boccioni, States of Mind I: Farewells, p. 965, 27.22 Umberto Boccioni, Unique Forms of Continuity in Space, p. 966, 27.23 Antonio Sant′Elia, The New City, p. 966, 27.24 Lyubov Popova, The Traveler, p. 967, 27.25 Kazimir Malevich, Installation of photograph of the artist’s paintings in 0, 10 (Zero—Ten): The Last Futurist Exhibition, p. 967, 27.26 Kazimir Malevich, Suprematist Composition: Airplane Flying, p. 968, 27.27 Marc Chagall, I and the Village, p. 969, 27.28 Giorgio de Chirico, Mystery and Melancholy of a Street, p. 969, 27.29
• German Expressionism began with Die Brücke (″The Bridge″), a group which included Ernst Ludwig Kirchner and Erich Heckel.
• Influenced by the paintings of Van Gogh, Munch, and the Fauves, Die Brücke works expressed the anxiety of urban life with psychological undertones.
• Der Blaue Reiter (″The Blue Rider″) was the second German Expressionist group, whose key figures included Vasily Kandinsky and Franz Marc. The aim of this group was to focus on the spirituality beneath the visible world.
• In 1910, in an attempt to capture unseen mystical forces, František Kupka, a practicing medium developed nonobjective painting in which there were no representational components.
• In Italy, the Futurists chose as their subjects what they considered to be the ″hallmarks of modernity″ including industrialization, electricity, automobiles, and mechanized warfare, using Fauvist color and the Cubist conception of the relation between form and space to suggest movement.
• The leader of the Futurist movement was Umberto Boccioni, and the leading Futurist architect was Antonio Sant′Elia who suggested that buildings should be modeled after a ″definitive Futurist aesthetic of giant locomotives, spiral tunnels, ironclads, torpedo boats, Antoinette monoplanes, and racing cars.″ (p. 966)
Marcel Duchamp and the Dilemma of Modern Art
Key Images Marcel Duchamp, Nude Descending a Staircase, p. 970, 27.30 Raymond Duchamp-Villon, The Great Horse, p. 971, 27.31 Marcel Duchamp, Bicycle Wheel, p. 971, 27.32
• Marcel Duchamp developed the ″assisted Readymade,″ testing the boundaries of art.
Modernist Sculpture: Constantin Brancusi and Aristide Maillol
Key Images Aristide Maillol, Seated Woman (La Méditerranée), p. 972, 27.33 Constantin Brancusi, The Kiss, p. 972, 27.34 Constantin Brancusi, The Newborn, p. 973, 27.35 Constantin Brancusi, Bird in Space, p. 973, 27.36
• Aristide Maillol′s sculptures were a reduction of form to simple monumental shapes, retaining the look of classical sculpture. This can be seen in Maillol′s Seated Woman (La Méditerranée).
• In his work Constantin Brancusi further reduced the form to abstraction, while freeing the sculptures from the Classical tradition altogether.
American Art
Key Images George Bellows, Stag at Sharkey’s, p. 974, 27.37 Arthur Dove, Plant Forms, p. 975, 27.38 Marsden Hartley, Portrait of a German Officer, p. 976, 27.39
• The Ashcan School recorded social changes occurring in Manhattan, recalling the Realism of Courbet.
• Ashcan School artists used a Manet-like loose brushstroke, which gave their works a sense of energy seen in French Realist works.
• The Armory Show of 1913 was an exhibition of over 400 European paintings, including some by American artists.
• The abstract paintings of Arthur Dove focused on nature. The theme of universal natural forces would become a theme in American art, shared by Marsden Hartley in his Synthetic Cubist paintings.
Early Modern Architecture in Europe
Key Images Josef Hoffmann, Palais Stoclet, Brussels, p. 977, 27.40 Adolf Loos, Steiner House, garden façade, Vienna, p. 977, 27.41 Peter Behrens, A.E.G. Turbinenfabrik (Turbine Factory), p. 978, 27.42 Walter Gropius and Adolf Meyer, Fagus Factory, Alfeld-an-der-Leine, Germany, p. 978, 27.43 Henri van der Velde, Werkbund Theater, Cologne, p. 979, 27.44 Bruno Taut, Glass Pavilion, Werkbund Exhibition, Cologne, p. 979, 27.45 Bruno Taut, Staircare for Glass Pavilion, Cologne, p. 980, 27.46 Max Berg, Interior of the Centennial Hall, Breslau, Germany, p. 980, 27.47
• Modern European architecture appeared for the first time in Vienna and Germany. These architectural styles were either mechanomorphic or personal expressionistic.
• The mechanomorphic style was informed by the Chicago School and can be seen in the work of Adolf Loos, who stressed the importance of functionality in building design. Loos favored simple forms over ornamentation saying, ″Modern man, the man with modern nerves, does not need ornamentation; it disgusts him.″ (p. 977)
• Walter Gropius saw the building as a ″steel grid skeleton clad in a thin skin of glass.″ (p. 981)
• German Expressionist architecture is embodied in the personal expressionistic style of Bruno Taut and Max Berg. Bruno Taut′s Glass Pavilion was made out of glass, allowing the light to shine through it, and Max Berg′s Centennial Hall had a ceiling with windows in the recessed coffers which gave the appearance of the ceiling floating.
Key Terms/Places/Names Fauvism primitivism Analytic Cubism Synthetic Cubism collage construction Die Brücke Der Blaue Reiter Expressionism nonobjective painting assisted Readymade The Ashcan School The Armory Show
mechanomorphic architectural style personal expressionistic architectural style
Discussion Questions
1. Why is Picasso′s Les Demoiselles d'Avignon considered to be among the formative paintings of early modern art?
2. In what ways did Constantin Brancusi′s The Kiss (p. 972, 27.34) differ from Gustav Klimt′s The Kiss (p. 924, 26.23)?
3. What factors led Kandinsky to arrive at non-representational painting?
4. In what ways did Marcel Duchamp′s ″assisted Readymade″test the traditional notions about what constitutes art?
5. In what ways was the work of Die Brücke, exemplified by Ernst Kirchner′s Street, Dresden informed by the Fauve movement and the paintings of Henri Matisse? What characterized this German Expressionist movement?
6. What was the impact of the Armory Show of 1913 on art in the United States?
Resources
Books
Bernadac, Marie-Laure and Paule de Bouchet. Picasso, Master of the New Idea, tr. Carey Lovelace. New York: Harry Abrams, 1993.
Freeman, Judi. The Fauve Landscape. Los Angeles: Los Angeles County Museum of Art, 1990.
Fry, Edward. Cubism. New York: McGraw-Hill, 1966.
Gordon, Donald E. Expressionism: Art and Idea. New Haven: Yale University Press, 1987.
Hahl-Koch, Jelena. Kandinsky. New York: Rizzoli, 1993.
Kuenzli, Rudolf, and Francis M. Naumann. Marcel Duchamp: Artist of the Century. Cambridge: MIT Press, 1989.
DVDs
Artists of the Twentieth Century—Henri Matisse (2004). Kultur Video. 110 min. Artists of the Twentieth Century—Marc Chagall (2004). Kultur Video. Artists of the Twentieth Century—Marcel Duchamp (2004). Kultur Video. 110 min. Artists of the Twentieth Century—Pablo Piccasso (2004). Kultur Video. Artists of the Twentieth Century—Paul Klee (2004). Kultur Video. Artists of the Twentieth Century—Wassily Kandinsky (2004). Kultur Video. 50 min. Chagall (2001). Image Entertainment. 53 min. Paul Klee: The Silence of the Angel (2004). Arte. 130 min.
CHAPTER TWENTY-SEVEN
ReplyDeleteTOWARD ABSTRACTION: THE MODERNIST REVOLUTION, 1904–1914
Fauvism
Key Images
Henri Matisse, The Woman with the Hat, p. 947, 27.1
André Derain, Mountains at Collioure, p. 947, 27.2
Henri Matisse, Le Bonheur de Vivre (The Joy of Life), p. 948, 27.3
Henri Matisse, The Red Studio, p. 949, 27.4
• Fauvism, the first major artistic style of the twentieth century, is characterized by an expressive use of color.
• This style was epitomized by the work of Henri Matisse.
Cubism
Key Images
Pablo Picasso, Les Demoiselles d′Avignon (The Young Ladies of Avignon), p. 950, 27.5
Georges Braque, The Portuguese, p. 952, 27.6
Pablo Picasso, Guitar, Sheet Music, and Wine Glass, p. 953, 27.7
Pablo Picasso, Violin, p. 954, 27.8
• Cubism questioned the ″essence″ of visual and pictorial reality, positing the assertion of the picture plane in modern painting.
• The influence of Cubism was widespread, impacting Orphism, Futurism, Cubo-Futurism, and Suprematism.
• Analytic Cubism takes its name from the analytic experimentation of Pablo Picasso and Georges Braque in which the subjects of the paintings were broken down into essential forms which were composed of small cubes.
• Synthetic Cubism was based on the collage. Instead of breaking down the subject, the subject was constructed by piecing together pieces of paper.
The Impact of Fauvism and Cubism
Key Images
Paula Modersohn-Becker, Self-Portrait, p. 955, 27.9
Ernst Ludwig Kirchner, Street, Dresden, p. 955, 27.10
Emil Nolde, The Last Supper, p. 956, 27.11
Erich Heckel, A Crystal Day, p. 957, 27.12
Ernst Ludwig Kirchner, Peter Schlemihl: Tribulations of Love, p. 957, 27.13
Vasily Kandinsky, Sketch for ″Composition II,″ p. 958, 27.14
Vasily Kandinsky, Sketch I for ″Composition VII,″ p. 959, 27.15
Franz Marc, Animal Destinies (The Trees Showed Their Rings, The Animals Their Arteries), p. 959, 27.16
Paul Klee, The Niesen, p. 960, 27.17
Oskar Kokoschka, The Bride of the Wind, p. 961, 27.18
Egon Schiele, Self-Portrait with Twisted Arm, p. 962, 27.19
Robert Delaunay, Homage to Blériot, p. 963, 27.20
František Kupka, Disks of Newton (Study for Fugue in Two Colors), p. 964, 27.21
Umberto Boccioni, States of Mind I: Farewells, p. 965, 27.22
Umberto Boccioni, Unique Forms of Continuity in Space, p. 966, 27.23
Antonio Sant′Elia, The New City, p. 966, 27.24
Lyubov Popova, The Traveler, p. 967, 27.25
Kazimir Malevich, Installation of photograph of the artist’s paintings in 0, 10 (Zero—Ten): The Last Futurist Exhibition, p. 967, 27.26
Kazimir Malevich, Suprematist Composition: Airplane Flying, p. 968, 27.27
Marc Chagall, I and the Village, p. 969, 27.28
Giorgio de Chirico, Mystery and Melancholy of a Street, p. 969, 27.29
• German Expressionism began with Die Brücke (″The Bridge″), a group which included Ernst Ludwig Kirchner and Erich Heckel.
• Influenced by the paintings of Van Gogh, Munch, and the Fauves, Die Brücke works expressed the anxiety of urban life with psychological undertones.
• Der Blaue Reiter (″The Blue Rider″) was the second German Expressionist group, whose key figures included Vasily Kandinsky and Franz Marc. The aim of this group was to focus on the spirituality beneath the visible world.
• In 1910, in an attempt to capture unseen mystical forces, František Kupka, a practicing medium developed nonobjective painting in which there were no representational components.
• In Italy, the Futurists chose as their subjects what they considered to be the ″hallmarks of modernity″ including industrialization, electricity, automobiles, and mechanized warfare, using Fauvist color and the Cubist conception of the relation between form and space to suggest movement.
• The leader of the Futurist movement was Umberto Boccioni, and the leading Futurist architect was Antonio Sant′Elia who suggested that buildings should be modeled after a ″definitive Futurist aesthetic of giant locomotives, spiral tunnels, ironclads, torpedo boats, Antoinette monoplanes, and racing cars.″ (p. 966)
Marcel Duchamp and the Dilemma of Modern Art
Key Images
Marcel Duchamp, Nude Descending a Staircase, p. 970, 27.30
Raymond Duchamp-Villon, The Great Horse, p. 971, 27.31
Marcel Duchamp, Bicycle Wheel, p. 971, 27.32
• Marcel Duchamp developed the ″assisted Readymade,″ testing the boundaries of art.
Modernist Sculpture: Constantin Brancusi and Aristide Maillol
Key Images
Aristide Maillol, Seated Woman (La Méditerranée), p. 972, 27.33
Constantin Brancusi, The Kiss, p. 972, 27.34
Constantin Brancusi, The Newborn, p. 973, 27.35
Constantin Brancusi, Bird in Space, p. 973, 27.36
• Aristide Maillol′s sculptures were a reduction of form to simple monumental shapes, retaining the look of classical sculpture. This can be seen in Maillol′s Seated Woman (La Méditerranée).
• In his work Constantin Brancusi further reduced the form to abstraction, while freeing the sculptures from the Classical tradition altogether.
American Art
Key Images
George Bellows, Stag at Sharkey’s, p. 974, 27.37
Arthur Dove, Plant Forms, p. 975, 27.38
Marsden Hartley, Portrait of a German Officer, p. 976, 27.39
• The Ashcan School recorded social changes occurring in Manhattan, recalling the Realism of Courbet.
• Ashcan School artists used a Manet-like loose brushstroke, which gave their works a sense of energy seen in French Realist works.
• The Armory Show of 1913 was an exhibition of over 400 European paintings, including some by American artists.
• The abstract paintings of Arthur Dove focused on nature. The theme of universal natural forces would become a theme in American art, shared by Marsden Hartley in his Synthetic Cubist paintings.
Early Modern Architecture in Europe
Key Images
Josef Hoffmann, Palais Stoclet, Brussels, p. 977, 27.40
Adolf Loos, Steiner House, garden façade, Vienna, p. 977, 27.41
Peter Behrens, A.E.G. Turbinenfabrik (Turbine Factory), p. 978, 27.42
Walter Gropius and Adolf Meyer, Fagus Factory, Alfeld-an-der-Leine, Germany, p. 978, 27.43
Henri van der Velde, Werkbund Theater, Cologne, p. 979, 27.44
Bruno Taut, Glass Pavilion, Werkbund Exhibition, Cologne, p. 979, 27.45
Bruno Taut, Staircare for Glass Pavilion, Cologne, p. 980, 27.46
Max Berg, Interior of the Centennial Hall, Breslau, Germany, p. 980, 27.47
• Modern European architecture appeared for the first time in Vienna and Germany.
These architectural styles were either mechanomorphic or personal expressionistic.
• The mechanomorphic style was informed by the Chicago School and can be seen in the work of Adolf Loos, who stressed the importance of functionality in building design. Loos favored simple forms over ornamentation saying, ″Modern man, the man with modern nerves, does not need ornamentation; it disgusts him.″ (p. 977)
• Walter Gropius saw the building as a ″steel grid skeleton clad in a thin skin of glass.″ (p. 981)
• German Expressionist architecture is embodied in the personal expressionistic style of Bruno Taut and Max Berg. Bruno Taut′s Glass Pavilion was made out of glass, allowing the light to shine through it, and Max Berg′s Centennial Hall had a ceiling with windows in the recessed coffers which gave the appearance of the ceiling floating.
Key Terms/Places/Names
Fauvism
primitivism
Analytic Cubism
Synthetic Cubism
collage
construction
Die Brücke
Der Blaue Reiter
Expressionism
nonobjective painting
assisted Readymade
The Ashcan School
The Armory Show
mechanomorphic architectural style
personal expressionistic architectural style
Discussion Questions
1. Why is Picasso′s Les Demoiselles d'Avignon considered to be among the formative paintings of early modern art?
2. In what ways did Constantin Brancusi′s The Kiss (p. 972, 27.34) differ from Gustav
Klimt′s The Kiss (p. 924, 26.23)?
3. What factors led Kandinsky to arrive at non-representational painting?
4. In what ways did Marcel Duchamp′s ″assisted Readymade″test the traditional notions about what constitutes art?
5. In what ways was the work of Die Brücke, exemplified by Ernst Kirchner′s Street, Dresden informed by the Fauve movement and the paintings of Henri Matisse? What characterized this German Expressionist movement?
6. What was the impact of the Armory Show of 1913 on art in the United States?
Resources
Books
Bernadac, Marie-Laure and Paule de Bouchet. Picasso, Master of the New Idea, tr.
Carey Lovelace. New York: Harry Abrams, 1993.
Cowling, Elizabeth. Picasso: Sculptor/Painter. London: Tate Gallery, 1994.
Freeman, Judi. The Fauve Landscape. Los Angeles: Los Angeles County Museum of
Art, 1990.
Fry, Edward. Cubism. New York: McGraw-Hill, 1966.
Gordon, Donald E. Expressionism: Art and Idea. New Haven: Yale University Press,
1987.
Hahl-Koch, Jelena. Kandinsky. New York: Rizzoli, 1993.
Kuenzli, Rudolf, and Francis M. Naumann. Marcel Duchamp: Artist of the Century.
Cambridge: MIT Press, 1989.
DVDs
Artists of the Twentieth Century—Henri Matisse (2004). Kultur Video. 110 min.
Artists of the Twentieth Century—Marc Chagall (2004). Kultur Video.
Artists of the Twentieth Century—Marcel Duchamp (2004). Kultur Video. 110 min.
Artists of the Twentieth Century—Pablo Piccasso (2004). Kultur Video.
Artists of the Twentieth Century—Paul Klee (2004). Kultur Video.
Artists of the Twentieth Century—Wassily Kandinsky (2004). Kultur Video. 50 min.
Chagall (2001). Image Entertainment. 53 min.
Paul Klee: The Silence of the Angel (2004). Arte. 130 min.
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