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Contextual Studies 3

Contextual Studies 3. High Modernism A new purpose for art. William Holman Hunt, The Awakening Conscience, 1853/4. Henri Matisse, Portrait of Madame Matisse or The Green Line , 1905. Piet Mondrian, Composition , 1921. Mondrian, Landscape View , 1898. Mondrian, Red Tree , 1909.

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Contextual Studies 3

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  1. Contextual Studies 3 High Modernism A new purpose for art

  2. William Holman Hunt, The Awakening Conscience, 1853/4

  3. Henri Matisse, Portrait of Madame Matisse or The Green Line , 1905

  4. Piet Mondrian, Composition, 1921

  5. Mondrian, Landscape View, 1898

  6. Mondrian, Red Tree, 1909

  7. Mondrian, Grey Tree, 1911

  8. Mondrian, Tree in Flower, 1912

  9. Remember that a picture, before being a horse, a nude or some kind of anecdote, is essentially a flat surface covered with colours. Maurice Denis, painter, 1890.

  10. John Ruskin, Withered Oak Leaves, 1879

  11. Ruskin, Treesnear Ambleside, 1847

  12. J.A.M. Whistler, Nocturne in Blue and Gold: Old Battersea Bridge, 1872/5

  13. Whistler, Arrangement in Grey and Black: Portrait of the Artist’s Mother, 1871

  14. Extracts from the Whistler-Ruskin trial: November 25th and 26th1878 Whistler questioned by the Attorney General: A: Now, Mr Whistler. Can you tell me how long it took you to knock off that Nocturne? W: Let us say then how long did I take to ..’knock off’ that nocturne; well, as well as I remember, about a day. A: Only a day? W: Well… I may have still put a few more touches to it the next day. A: Oh, two days! The labour of two days, then, is that for which you ask 200 guineas! W: No; I ask it for the knowledge of a lifetime. Extracts from Ashton D. (ed.) Twentieth Century Artists on Art (Pantheon, 1985)

  15. A: What was the subject of the Nocturne in Blue and Silver? W: A moonlight effect on the river near Old Battersea Bridge. A: Which part of the picture is the bridge?...Do you say this is a correct representation of Battersea Bridge? W: I did not intend it to be a ‘correct’ portrait of the bridge. It is only a moonlight scene…as to what the picture represents, that depends upon who looks at it. A: Are those figures on the top of the bridge intended for people? W: They are just what you like…My whole scheme was to bring about a certain harmony of colour.

  16. Reading for 14/10: Fernand Leger, ‘Contemporary Achievements in Painting’ in Art in Theory: An Anthology of Changing Ideas. 1900-2000 , p159 – p160/l.40 According to Leger, how have changes in modern society affected painting?

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