1 / 50

ART 1900-1945-ish

ART 1900-1945-ish. 1905. EINSTEIN – Relativity FREUD – General Theory. The sub-conscious – the ultimate challenge to The Enlightenment. Modernism. emphasis on materials or expression instead of illusion

enid
Download Presentation

ART 1900-1945-ish

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. ART 1900-1945-ish

  2. 1905 EINSTEIN – Relativity FREUD – General Theory The sub-conscious– the ultimate challenge to The Enlightenment

  3. Modernism • emphasis on materials or expression instead of illusion • a notion of progress & evolution.“Make it new.“ – poet Ezra Pound A hyper-acute awareness of the historical moment

  4. TRENDS ABSTRACTION FLATTENING OF PICTORAL SPACE PRIMITIVISM EXPRESSIONISM CUBISM SURREALISM

  5. PicassoLes Demoiselle d’Avignon1907 CUBISM PRIMITIVISM

  6. Picasso, Guernica detail CUBISM

  7. Braque, The Portuguese, 1911 CUBISM

  8. Braque, GeorgesGlass, Carafe and Newspapers1914Pasted papers, chalk and charcoal on cardboard (24 5/8 x 11 1/4 in.) COLLAGE SYNTHETICCUBISM

  9. Boccioni,Unique Forms of Continuity in Space,1913Bronze43 7/8 x 34 7/8 x 15 ¾ ins. FUTURISM

  10. DuchampNude descending a staircase,1912 Not just to paint something moving, but the idea of something moving

  11. EXPRESSIONISM Nolde, Dance Around the Golden Calf, 1910 PRIMITIVISM

  12. EXPRESSIONISM Matisse,Seated Riffian,1912-13 FAUVISM

  13. Matisse, The Dance II, 1909-10

  14. EXPRESSIONISM Franz Marc, Fighting Forms

  15. Marc, FranzBlue Horse I (Blaues Pferd I)1911Oil on canvas112.5 x 84.5 cm EXPRESSIONISM

  16. EXPRESSIONISM Schiele, EgonSeated Girl1911Watercolor and pencil48 x 31.5 cm

  17. Schiele, EgonAgony1912Oil on canvas70 x 80 cm NOTE HOW COLOR & LINE CONNECT (AND CONFUSE) BACKGROUND & FOREGROUND EXPRESSIONISM

  18. Dali, The Persistence of Memory, 1931 Surrealism

  19. Surrealism . . . or furrealism? Meret Oppenheim, Fur covered cup, saucer, and spoon, 1936 (a.k.a. The Object)

  20. Duchamp,La Boite en Valide (L.H.O.O.Q.),1919 Surrealism DADA “appropriation”

  21. Duchamp – readymades: anti-art Painting is "washed up," Duchamp said in 1912. Fountain, 1917

  22. Duchamp – readymades: anti-art One important characteristic was the short sentence which I occasionally inscribed on the "Readymade." That sentence instead of describing the object like a title was meant to carry the mind of the spectator towards other regions more verbal. - 1961 Surrealism In Advance of a Broken Arm, 1915

  23. The only thing that is not art is inattention. – Duchamp A new difficulty: ONTOLOGICAL – Is it art? Why? (Previous difficulties: modal, contingent, tactical) Magritte The Treason of Images 1928

  24. ABSTRACTION

  25. Mondrian

  26. Mondrian

  27. Mondrian

  28. Objective: Destroy the Object The Cubists retained the three-dimensional space . . . their way of seeing remains deeply materialistic; my thinking on abstraction, on the other hand, rests on the belief that such a space must be destroyed; to achieve the destruction of the object I have reached the point of using surfaces. -- Mondrian

  29. Why? A universal language We want concrete not abstract painting, for nothing is more concrete, more real than a line, a color, a surface. Once they are liberated . . . they are on their way towards the real goal of art: to create a universal language. -- Theo Van Doesburg

  30. Mondrian – 1940s BROADWAY BOOGIE WOOGIE, 1942-43 50 X 50 in.

  31. Modernism in Architecture:the International Style • Design from the inside to the outside – FORM FOLLOWS FUNCTION • Shuns ornamentation • features materials – glass, steel, concrete

  32. Gropius – Bauhaus1926

  33. 1950Harvard

  34. Mies van der Rohe Seagram Building 1957

  35. Frank Lloyd Wright, Fallingwater, 1936-7

  36. SUMMARY – Modernism • emphasis on materials or expression instead of illusion • a notion of progress & evolution poet Ezra Pound: “Make it new."  results in lots of “isms”

  37. TRENDS ABSTRACTION (ravel) FLATTENING OF PICTORAL SPACE PRIMITIVISM (stravinksy) EXPRESSIONISM (debussy) CUBISM (schoenberg) SURREALISM (schoenberg, berg) MONDRIAN PICASSO NOLDE PICASSO DUCHAMP

  38. Musical Trends - Decreasing focus on structure and form over content. - Expressionism, romanticism in Music, followed by… - A Throwing-Off of traditional tonalities and practices entirely.

  39. Ravel:Mother Goose • Direct representations, reassertions of content over form • Using new instrumental techniques, impressionism (listen for bird chirping noises, string harmonics)

  40. Debussy:Prelude to the Afternoon of a Faun • Absence of form, musical impressionism • Direct representation, program music • (Caused a riot in the Paris Opera House, 189-) • Abandonment of major/minor scales, using whole tone and chromatic scales

  41. AN ABANDONMENT OF TONALITY:Stravinsky:The Rite of Spring • Primitivism, based on the sacrificial killing rituals of ancient cultures. • Absence of tonal center, structure based on major and minor scales. • Launches movement against tonality

  42. Reassertion of TonalitySamuel Barber:Adagio for Strings • When it was passe to be a tonal composer, Barber stuck to tonality and was called backwards thinking. • Platoon theme song, eh?

  43. Music or Mathematics?Schoenberg:Piano Concerto • 12 tone row: All 12 notes in tonality, never repeated. • Grid mathematics: retrograde, inverse, inverse retrograde of original themes as both melody and harmony • Music or mathematics?

  44. Mondrian – 1940s BROADWAY BOOGIE WOOGIE, 1942-43 50 X 50 in. ABSTRACTION

  45. PicassoLes Demoiselle d’Avignon1907 CUBISM PRIMITIVISM

  46. EXPRESSIONISM Nolde, Dance Around the Golden Calf, 1910 PRIMITIVISM

  47. Duchamp,La Boite en Valide (L.H.O.O.Q.),1919 DADA “appropriation” conceptual

  48. Gropius – Bauhaus1926

  49. Modernism – Romanticism intensified? Folk interest/exoticism  primitivism Demons  Subconscious? (inner demons) Artist as prophet  Artist as prophet Artist as outsider/rebel  Artist as outsider/rebel Nature  NO What is new?  What is New? Historicism?

More Related