Surrealism

1. Surrealism • Biomorphic Surrealist (automatism) produced largely abstract compositions, although they sometimes suggested organisms or natural forms • Joan Miro • Naturalistic Surrealists presented recognizable scenes that seem to have metamorphosed into a dream or nightmare image. • Dali • Magritte

2. Mood • Clear and simple, but sinister, strange, and ominous. Incongruous elements punctuate the scene’s solitude. Giorgio de Chirico was the major practitioner of the style known as pitturametafisica (Metaphysical Painting) Giorgio De Chirico The Melancholy and Mystery of a Street 1914 oil on canvas 34 1/4 x 28 1/4 in.

3. Three painters connected with the Surrealist movement: Max Ernst He began as an Expressionist, but after serving in the War became a Surrealist. He used found objects and the element of chance in his work; he used a technique called frottage, by combining the patterns achieved by rubbing a crayon or another medium across a sheet of paper placed over a surface with a strong textural pattern; and he also made collages. Max Ernst Two Children Are Threatened by a Nightingale 1924 oil on wood with wood construction27 1/2 x 11 1/2 x 4 1/2 in.

4. Max Ernst Europe After the Rain 1940-42 oil on canvas 21 1/2 x 58 1/8 in.

5. Three painters connected with the Surrealist movement: • Salvador Dalí • He explored his psyche and dreams in his work, including a deeply erotic dimension, and painted in a precisionist manner, making the world of his paintings as convincingly real as the most naturalistically rendered landscape based from nature. Salvador Dali The Persistence of Memory 1931 oil on canvas 9 1/2 x 13 in.

6. Three painters connected with the Surrealist movement: • René Magritte • His works achieve their power by subverting the viewer’s expectations based on logic and common sense, the conscious and the rational. René Magritte The Rape 1934 oil on canvas 77.5 x 58.7 cm

7. René Magritte The Treachery of Images 1928-29 oil on canvas 23 1/4 x 31 1/2 in.

8. Materials Oppenheim combined in Object were fur and a teacup and saucer. Meret Oppenheim Object 1936 fur-Covered cup, saucer and spoon2 7/8 in. high

9. Kahlo’s symbolism The details of her life as symbols for the psychological pain of human existence. Frida Kahlo The Two Fridas 1939 oil on canvas5 ft. 7 in. x 5 ft. 7 in.

10. Andre referred to Joan Miró as “the most Surrealist of us all.” Joan Miró Painting 1933 oil on canvas5 ft. 8 in. x 6 ft. 5 in.

11. Paul Klee Twittering Machine 1922 Watercolor and pen and ink on oil transfer drawing on paper, mounted on cardboard2 ft. 1 in. x 1 ft. 7 in.

12. List three styles that Marc Chagall synthesized in his work. expressionism Cubism Fauvism • The type of subject matter: • Themes from his childhood and memories from his homeland. The term "Primitivism", which emerged in fine art during the late 19th-century, is used to describe any art characterized by imagery and motifs associated with such primitive art. Chagall, Marc (1887-1985) I and The village Date: 1911

13. Suprematism

14. He used abstract, nonobjective forms—shapes not related to objects in the visible world to express reality Malevich believed pure feeling, which attaches to no object to be the supreme reality Kasimir Malevich Suprematist Painting: Aeroplane Flying 1915 oil on canvas 22 5/8 x 19 in.

15. Constructivism

16. He called himself a "Constructivist" because he built up his sculptures piece by piece in space, instead of carving or modeling them in the traditional way. Three new materials used by Naum Gabo. Celluloid Nylon Lucite Naum Gabo was an outstanding representative of the Constructivist movement Naum Gabo, Column (conc. 1921, cx. 1929, rebuilt, 1937).

17. Vladimir Tatlin believed the purpose of art was to design a better environment for human beings and to create useful new products for society. Vladimir Tatlin Monument to the 3rd International 1919-20 wood, iron and glass

18. De Stijl

19. They symbolize for him universal beauty and expression. He considered primary colors to be the purest colors and therefore the perfect tools to help an artist construct a harmonious composition. The basic colors and forms that characterize Mondrian's mature work are red, blue, yellow, black, white, and gray; two primary directions (horizontal and vertical), in the form of rectangles and straight lines. Piet Mondrian Composition with Red, Blue and Yellow 1930oil on canvas20 1/8 x 20 1/8 in.

20. Gerrit Thomas Rietveld designed the Schröder House Gerrit Thomas Rietveld designed the Schröder House GerritReitveld Schroeder House Utrecht, the Netherlands1924

21. Gerrit Reitveld Schroeder House Utrecht, the Netherlands1924

22. The Bauhaus The Bauhaus was a German school of architecture and design, formerly named the Weimar School of Arts and Crafts, and later called the Staatliche Bauhaus (State School of Building). It was founded by Walter Gropius. • Three artists who taught at The Bauhaus were Vassily Kandinsky, Paul Klee, and László Moholy-Nagy

23. Walter Gropius Bauhaus Dessau, Germany 1925-26

24. “Vision in Motion" Moholy‑Nagy believed society was heading toward a kinetic, time-spatial existence, with relativity of motion and its measurement: in short, the character of the modern age. László Moholy-Nagy Untitled (looking down from the Radio Tower, Berlin) ca. 1928gelatin-silver print14 1/4 x 10 in.

25. Josef Albers created a series called Homage to the Square, and the series explored the relativity of the perception of colors. Josef Albers Homage to the Square“Ascending” 1953oil on composition board3 ft. 7 1/2 in. x 3 ft. 7 1/2 in.

26. Design principles that were incorporated into the Bauhaus; Simplicity in complexity, economy in the use of space, materials, time, and money. • The organic shaping of things in accordance with their own current laws, avoiding all romantic embellishment and whimsy. • A decidedly positive attitude to the living environment of vehicles and machine. • Restriction of basic forms and colors to what is typical and universally intelligible. Marcel Breuer Armchair, Model B3 1927chrome-plated tubular steel with canvas slings28 1/8 x 30 1/4 x 27 3/4 in.

27. A designer and a craftsman who taught at the Bauhaus and the type of work done by each: Marcel Breuer: furniture. GuntaStölzl: weaving. GuntaStölzl Gobelin Tapestry 1926-1927linen and cotton

28. Three characteristics of Mies van derRohe's architectural style that are found in International Style architecture. The weblike delicacy of the lines. Radiance. The illusion of movement created by reflection and by light changes seen through it. What did Mies van derRohe mean by “less is more”? That a “skin and bones,” minimal approach to architecture created pure, Modern architectural works. LuwigMies Van DerRohe model for a glass skyscraper, Berlin, Germany1922

29. EntarteteKunst Degenerate art

30. The Nazis occupied the Bauhaus in 1933 and closed it as an example of “degenerate art,” the practitioners of which the Nazis persecuted. • The effect its closure had on the spread of Bauhaus design principles was that the Bauhaus artists who fled Nazi Germany disseminated, many winding up in the United Sates. EntarteteKunst Exhibition Munich, Germany 1937

31. The Nazis considered “degenerate art” to be anything Hitler considered more modern or avant-garde than the nineteenth-century realistic genre; he defined “degenerate art” as any works that “insult German feeling or destroy or confuse natural form, or simply reveal an absence of adequate manual and artistic skill.” EntarteteKunst Exhibition Munich, Germany 1937

32. Modern Architecture

33. Charles EdouardJeanneret (Le Corbusier) defined a house as a "machine for living" Le Corbusier (Charles EdouardJeanneret) Perspective drawing for Domino House project Marseilles, France1914

34. Le Corbusier (Charles EdouardJeanneret) Villa Savoye Poissy-sur-Seine, France1929-30

35. Frank Lloyd Wright Robie House Chicago, Illinois1907-09

36. Courbusier’s Villa Savoye differs from Wright's houses in that the Villa Savoye sits conspicuously within its site, dominating it, whereas Wright’s buildings aim to interact spatially and organically with their surroundings. Robie House hugs the ground, while Villa Savoye seems to float on thin column supports. Villa Savoye used several colors on the exterior such as cream and rose-and-blue windows, while Wright’s houses have facades of brick that make them seem more organic than the machine-inspired Le Corbusier house. Le Corbusier (Charles EdouardJeanneret) Villa Savoye Poissy-sur-Seine, France1929-30 Frank Lloyd Wright Robie House Chicago, Illinois1907-09

37. Frank Lloyd Wright Robie House Chicago, Illinois1907-09

38. Frank Lloyd Wright's concern for "organic" form was reflected in his buildings because Wright saw it as serving free individuals who have the right to move within a “free” space, envisioned as a non-symmetrical design interacting spatially with its natural surroundings. He sought to develop an organic unity of planning, structure, materials, and site, incorporating the principle of continuity. Frank Lloyd Wright Kaufmann House (Fallingwater) Bear Run, Pennsylvania1936-39

39. Two houses designed by Frank Lloyd Wright: Robie House Kaufmann House (Fallingwater) RobieHouse Chicago, Illinois1907-09 Kaufmann House (Fallingwater) Bear Run, Pennsylvania1936-39

40. Four stylistic characteristics of the Art Deco style: streamlined elongated symmetry simple flat shapes alternate with shallow volumes in hard patterns aerodynamic forms One building that illustrates the Art Deco style is the Chrysler Building, William van Alen, New York City. William van Allen Chrysler Building New York, New York1928-30

41. Modern Sculpture

42. Brancusi believed the type of form that was “the most real" was not the external form, but instead the essence of things. Constantin Brancusi Bird in Space 1928polished bronze4 ft. 6 in. x 8 in. x 6 in.

43. Similarities in the sculpture of Brancusi and Barbara Hepworth's include the form of “Oval Sculpture” is basic and universal, smooth and curving, as is “Bird in Space.” Both Brancusi and Hepworth were interested in exploring the emotional chords that sculptors could strike in viewers. Barbara Hepworth Oval Sculpture (no. 2) 1943plaster, cast11 1/4 in. x 1 ft. 4 1/4 in. x 10 in.

44. Three characteristics of the sculpture of Henry Moore. Organic forms. There is an active relationship between material and sculptor. Interplays mass and void. Henry Moore Reclining Figure 1939elm wood3 ft. 1 in. x 6 ft. 7 in. x 2 ft. 6 in.

45. Chac Mool The most recurrent theme in Moore’s work included the reclining female figure. • A photograph of a ChacMool figure from pre-Columbian Mexico originally inspired it. Henry Moore Reclining Figure 1939elm wood3 ft. 1 in. x 6 ft. 7 in. x 2 ft. 6 in.

46. A mobile is a series of balanced structures hanging from rods, wires, and plates. Air currents set the parts moving to create a constantly shifting dance in space. Alexander Calder untitled 1976aluminum, honeycomb tubing and paint29 ft. 10 1/2 in. x 76 ft.

47. He depicted no specific images of Nazi bombs or planes, but used more general symbols. He used a slain warrior clutching a broken sword, a gored horse, a shrieking woman cradling her dead child, a burning building, and a bull. The figures are anguished, fragmented, and have dislocated anatomical features to emphasize the horror. • The destruction by bombing of the town of Guernica by Nazis acting on behalf of dictator Francisco Franco inspired Picasso's Guernica Pablo Picasso Guernica 1937 (May 1 to June 4)oil on canvas11 ft. 6 in. x 25 ft. 8 in.

48. Regionalism Regionalism is an American realist modern art movement that was popular during the 1930s. The artistic focus was from artists who shunned city life, and rapidly developing technological advances, to create scenes of rural life.

49. The American woman photographer whose work brought the nation’s attention to the plight of the rural poor was Dorothea Lange. The WPA was The Works Progress Administration and it was a program to relieve widespread unemployment during the Great Depression. Under the WPA, activities of the Federal Art Project paid artists, writers, and theater people a regular wage in exchange for work in their professions. Dorothea Lange Migrant Mother, Nipomo Valley 1935gelatin silver print

50. The dominant mood of Hopper's Nighthawks is the pervasive loneliness of modern humans. Edward Hopper Nighthawks 1942oil on canvas2 ft. 6 in. x 4 ft. 8 in.