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Explore the evolution of art from Realism to Surrealism, including Impressionism, Post-Impressionism, Dadaism, Cubism, and Bauhaus Expressionism. Discover iconic works by famous artists like Van Gogh, Picasso, and Dali that challenged traditional artistic norms.
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“Luncheon of the Boating Party” – Pierre August Renoir (1881) Early Impressionism – some aspects of Realism still evident!
“The Regatta at Argenteuil” – Claude Monet (1872) Impressionism
“Bathing at Grenouillere” – Claude Monet (1869) Impressionism
“The Seine at Courbevoie” – Georges Seurat (1885) Post - Impressionism
“Olive Trees with Yellow Sky and Sun” – Vincent Van Gogh (1889) Post - Impressionism
“The Starry Night” – Vincent Van Gogh (1889) Post - Impressionism
“Bend in the Forest Road” – Paul Cezanne (1906) Post - Impressionism
“Odalisque with Red Culottes” – Henri Matisse (1923) Post-Impressionism
Dada - Surrealism Dada began as an anti-art movement or, at least, a movement against the way art was appreciated by what considered itself the civilized world; Surrealism was much more than an art movement and it thrust home Dada's subversive attack on rational and 'civilized' standards. Dada had no formal aesthetic, virtually disregarding easel painting, but the Dadaists shared a nihilistic ethic. The word 'Dada', ambiguously denoting both 'hobby horse' and 'father', was arrived at by chance and gained immediate acceptance by its suitably childish and nonsensical ring. An international movement originating in Zurich and New York at the height of the First World War, it quickly spread to Berlin, Cologne, Hanover, Paris and, to some extent, Russia. This revolt was against the senseless barbarities of war. It pinpointed the hypocrisy of those who felt that art created spiritual values. Civilization - despite Christianity, despite museums - had indeed broken down when thousands of grown men shelled each other day after day, from muddy trenches. It was no use for the person 'of sensibility', one of Dada's early targets, to take refuge in beauty. The Dadaists adapted the Cubist idea of collage to new purpose, that of making puzzling or strikingly incongruous juxtapositions of images and letters.
“The Farm” – Joan Miro (1921) Surrealism
“The Kiss” – Max Ernst (1927) Dadism - Surrealism
“Still Life With Pedestal Table” – Pablo Picasso (1931) Cubism
“Threatening Weather” – Rene Magritte Surrealism
“La Condition Humaine” – Rene Magritte Surrealism
“The Golden Fish” – Paul Klee Bauhaus - Expressionsim
“Head of a Man” – Paul Klee Bauhaus - Expressionism
“Assault Under Gas” – Otto Dix (1924)Dix sometimes verges on the nightmarish. Seen head on, close up, throwing their grenades among the barbed wire and tree roots, the masked soldiers appear inhuman, just like the surroundings which appear unreal, the No Man's Land of the trenches. It is noteworthy that Dix chose to depict not enemy, but German soldiers.
The Kaufman House “Fallingwater” – Frank Lloyd Wright (1935)
“Mealtime in the Trenches” – Otto Dix (1924) A trench soldier quickly gulps a meal in the company of a human skeleton trapped in the frozen landscape beside him.
“Dead Sentry in the Trenches” – Otto Dix (1924) (From “The War” Series) “Skin Graft” – Otto Dix (1924) Many soldiers returned home horribly disfigured by the war. Efforts were made to improve their looks but methods were primitive and wounds grotesque. Some simply opted for masks.
“Skull” – Otto Dix (1924) For all its waste, the war provided a windfall for scavengers. World War I produced generations of happy worms and maggots. Trench rats roamed as big as beavers.For Dix and other artists of the WWI era, skulls were powerful tools in demonstrating the dark reality of death that war inevitably brings.
This is an allegoricalpainting that represented Germany's political situation at the time, and was painted immediately after the Nazis had Dix removed from his teaching position at the Dresden Art Academy. The figures in the painting are Avarice(the bent over old lady), Envy (riding the back of Avarice), Sloth (the skeleton costume whose body forms a rough looking swastika), Lust, Anger (the horned figure), Pride (the giant head), and Gluttony (wearing a pot on his head). The figure of Envy is wearing a Hitler mask (Dix did not paint in the moustache until after WW II). The figure of Sloth is prominently featured because Dix blamed the people of Germany for their lack of alarm and concern as a major reason that allowed the Nazis to rise to power. “The Seven Deadly Sins” Otto Dix (1933)
“The Match Seller” – Otto Dix (1921) This mutilated veteran is a pitiful character. The war has taken limbs and vision. His deformities are highly visible yet the only attention he draws is from a Daschund who pees on his stumps.
“Flanders” – Otto Dix (1934) The Nazis achieved power in 1933 and immediately placed the country on a war footing. Industry began to produce armaments and anti-war voices were quickly silenced. This painting depicts the waste of Flanders. The dead float in stagnant water while the living resemble rotted stumps. A beautiful sunset sinks below the Allied lines.
“The Toads of Property” or “The Owners”– George Grosz (1920) The problems in germany after World War I are illustrated here by George Grosz. The wealthy indulge in leisure activities ahile guards protect their factories. The rest of the people depicted are crippled veterans, bankrupt businessmen, old women, young children, and the poor. They are isolated, distrustful and out of place. Capitalism and militarism is being attacked.
“My Pension” – George Grosz “Caution: Don’t Stumble” – George Grosz
“Eclipse of the Sun” – George Grosz (1926)Since the politicians seem to have lost their heads, the army and capitalists are dictating what is to be done. The people, symbolized by the blinkered ass, simply eat what is put before them.
“The Agitator” – George Grosz (1928)The agitator is a version of Hitler, against whom Grosz warned tirelessly. He is promising the masses that their material needs will be satisfied, but his promise implies rubber truncheons, jackboots and swastikas too."
