Modern Art in the 20th Century.pdf

MODERN ART IN THE 20TH CENTURY Page 1 of 14

UNIVERSITY OF SAN CARLOS COLLEGE OF ARCHITECTURE AND FINE ARTS FA 124 – HISTORY OF ART 2

MODERN ART IN THE 20TH CENTURY

INTRODUCTION ABSTRACT ART has developed in a surprisingly wide and diverse manner since its inception in the first two (2) decades of the 20th century. But all these manifestation share a common factor _ complete abandonment of the given forms of nature or objective reality. ABSTRACT ARTISTS deliberately concentrate their attention on the formal elements of a painting or sculpture:

color shape form (geometric or organic) texture in its purest state.

The above are considered as the most completely satisfying method of attaining a harmonious aesthetic unity.

Their compositions make a direct visual and emotional appeal without the religious, historical or literary associations that were made in European art.

Yet the urge to communicate a specific mood or train of thought is often no less strong than in the work of more conventional figurative artists.

ANTINATURALISTIC tendencies in art, partly a reaction against the impressionists.

FAUVISM

• Fauvism, a relatively short-lived movement in

French painting (from about 1898 to about 1908) that revolutionized the concept of color in modern art.

• In 1905, France, a group of artists led by Henri Matisse held an exhibit of works which were then considered very radical in their attempt to abandon the descriptive, naturalistic use of colors, and at times, form.

• Thus, they were called “fauvists” (wild beasts). They used color and form boldly to express inner qualities or essence rather than the superficial appearance (external qualities) of things. They did not bother with how things in the natural world are usually observed or seen by viewers.

• The fauves rejected the impressionist palette of soft, shimmering tones in favor of the violent colors used by the postimpressionists Paul Gauguin and Vincent van Gogh for expressive emphasis. They achieved a poetic energy through vigorous line, simplified yet dramatic surface pattern, and intense color.

1. HENRI ÉMILE BENOÎT

MATISSE (1869-1954) • French artist, leader of

the fauve group, regarded as one of the

great formative figures in 20th-century art, a master of the use of color and form to convey emotional expression.

• Abandoned any kind of perspective and his paintings have the 2-dimensionality and strong color of Persian glazed tiles.

Ex a. “The Red Studio” - L'Atelier Rouge. In 2004 it

came in at No.5 of a poll of 500 art experts voting for the most influential modern art work of all time, along with works by Pablo Picasso, Marcel Duchamp and Andy Warhol.

HENRI MATISSE – THE RED STUDIO

THE DANCE (SECOND VERSION), 1910, HERMITAGE MUSEUM, ST. PETERSBURG, RUSSIA

LES TOITS DE COLLIOURE, 1905, FAUVISM OIL ON CANVAS, THE HERMITAGE, ST. PETERSBURG, RUSSIA


2. GEORGES ROAULT (1871-1958) • The most religiously

oriented of the Fauves, developed a mystical style with deep, glowing colors and black outlines influenced by medieval stained glass.

• His subject matter even when secular, as in his “Three Judges” has a religious quality.

FLAGELLATION - GEORGES ROUALT

CHRIST EN CROIX - GEORGES ROUALT

3. ANDRÉ DERAIN (1880-1954) • French painter, who

was a leader in several avant-garde art movements of the early 20th century.

• Born in Chatou, near Paris, he abandoned his early engineering studies to pursue an artistic career.

• In 1905, he became a member of the fauvist (“wild beast”) group, along with Maurice de Vlaminck and Henri Matisse.

Ex a. “Collioure Mountains” – Expressionists

usually depicted negative emotion such as fear, anger, inner torments while fauvists expressed positive emotions and scenes like joy, play, festivals.

b. “The Pool of London”

COLLIOURE MOUNTAINS - ANDRE DERAIN

THE POOL OF LONDON. 1906. ANDRE DERAIN

CUBISM

• Cubism, movement in modern art, especially in

painting, invented by Spanish artist Pablo Picasso and French artist Georges Braque in 1907 and 1908.

• Although the look of cubism and the ideas behind it evolved over time, cubism retained certain general characteristics throughout.

• Cubist paintings create an ambiguous sense of space through geometric shapes that flatten and simplify form, spatial planes that are broken into


fragments, and forms that overlap and penetrate one another.

• Art historians generally consider cubism to have been the most influential art movement of the first half of the 20th century.

1. PABLO RUIZ Y PICASSO (1881-1973) • Spanish painter, who

is widely acknowledged to be the most important artist of the 20th century.

• A long-lived and highly prolific artist, he experimented with a wide range of styles and themes throughout his career.

• Among Picasso’s many contributions to the history of art, his most important include pioneering the modern art movement called cubism, inventing collage as an artistic technique, and developing assemblage (constructions of various materials) in sculpture.

• Picasso, considered a prodigy in art, started as a classicist but in 1907, he switched directions. He was strongly influenced by Cezanne (Father of Modern Art) and stylized African sculpture.

• Picasso said, “Nature and art, being two different things, cannot be the same thing. Through art we express our conception of what nature is not.”

Ex. a. “Marie-Therese Walter” b. “Dora Maar” – Picasso was married to a

Russian prima ballerina, Olga Koklova and was soon separated. Because he was a Catholic, he never divorced his wife though he had several mistresses. At the age of 17, Marie-Therese became Picasso’s principal mistress. She remained so from 1927 through 1936, when she was replaced by Dora Maar, a photographer active in surrealistic circles.

DORA MAAR AU CHAT (DORA MAAR WITH CAT) IS A 1941 PAINTING BY PABLO PICASSO. IT DEPICTS DORA MAAR, THE PAINTER'S LOVER, SEATED ON A CHAIR WITH A SMALL CAT PERCHED ON HER SHOULDERS. THIS WORK IS ONE OF THE WORLD'S MOST EXPENSIVE PAINTINGS.

THE OLD GUITARIST IS AN OIL PAINTING BY PABLO PICASSO CREATED IN 1903. IT DEPICTS AN OLD, BLIND, HAGGARD MAN WITH THREADBARE CLOTHING WEAKLY HUNCHED OVER HIS GUITAR, PLAYING ON THE STREETS OF BARCELONA, SPAIN. IT IS CURRENTLY ON DISPLAY IN THE ART INSTITUTE OF CHICAGO.

LES DEMOISELLES D'AVIGNON (THE YOUNG LADIES OF AVIGNON, AND ORIGINALLY TITLED THE BROTHEL OF AVIGNON) IS A LARGE OIL PAINTING CREATED IN 1907 BY THE SPANISH ARTIST PABLO PICASSO (1881–1973). THE WORK PORTRAYS FIVE NUDE FEMALE PROSTITUTES FROM A BROTHEL ON CARRER D'AVINYÓ (AVINYÓ STREET) IN BARCELONA. EACH FIGURE IS DEPICTED IN A DISCONCERTING CONFRONTATIONAL MANNER AND NONE ARE CONVENTIONALLY FEMININE. THE WOMEN APPEAR AS SLIGHTLY MENACING AND RENDERED WITH ANGULAR AND DISJOINTED BODY SHAPES. TWO ARE SHOWN WITH AFRICAN MASK-LIKE FACES AND THREE MORE WITH FACES IN THE IBERIAN STYLE OF PICASSO'S NATIVE SPAIN, GIVING THEM A SAVAGE AURA.


GUERNICA IS A PAINTING BY PABLO PICASSO. IT WAS CREATED IN RESPONSE TO THE BOMBING OF GUERNICA, A BASQUE COUNTRY VILLAGE IN NORTHERN SPAIN BY GERMAN AND ITALIAN WARPLANES AT THE BEHEST OF THE SPANISH NATIONALIST FORCES, ON 26 APRIL 1937, DURING THE SPANISH CIVIL WAR. THE SPANISH REPUBLICAN GOVERNMENT COMMISSIONED PICASSO TO CREATE A LARGE MURAL FOR THE SPANISH DISPLAY AT THE PARIS INTERNATIONAL EXPOSITION AT THE 1937 WORLD'S FAIR IN PARIS. 2. GEORGES BRAQUE (1882-1963) • French painter, who,

with Pablo Picasso, originated cubism and the cubist style, to become one of the major figures of 20th-century art.

Ex a. “The Portuguese” –

the subject sometimes becomes almost totally lost from view.

THE PORTUGUESE - GEORGES BRAQUE IN THIS CANVAS, EVERYTHING WAS FRACTURED. THE GUITAR PLAYER AND THE DOCK WAS JUST SO MANY PIECES OF BROKEN FORM, ALMOST BROKEN GLASS. BY BREAKING THESE OBJECTS INTO SMALLER ELEMENTS, BRAQUE AND PICASSO ARE ABLE TO OVERCOME THE UNIFIED SINGULARITY OF AN OBJECT AND INSTEAD TRANSFORM IT INTO AN OBJECT OF VISION.

VIOLIN AND CANDLESTICK, PARIS, SPRING 1910, SAN FRANCISCO MUSEUM OF MODERN ART

FUTURISM

• The futurists, a group of Italian artists working

between 1909 and 1916, shared Léger's enthusiasm for technology, but pushed it even further. As their name suggests, the futurists embraced all that glorified new technology and mechanization and decried anything that had to do with tradition. They declared a speeding automobile to be more beautiful than an ancient Greek statue.

• Changes in the industrialization of Italy inspired the arts. In 1909, a group of artists set forth a statement they called the “Manifesto of the Futurist Painters.” The objective of the futurists was to capture in art the vigor, speed, and militant pride they felt characterized modern life.

1. MARCEL DUCHAMP (1887-1968) • French-born

American artist whose work had a major impact on the direction of 20th-century art.

• By presenting unaltered, everyday objects as sculpture, Duchamp radically changed the course of modern art.

• He also helped introduce the European art movements of cubism and dada to the United States, and was influential in the surrealist movement of the 1920s and 1930s.

• His emphasis on the intellectual aspects of art influenced many succeeding artists, especially those connected with the 1960s art movement known as conceptual art.


Ex a. “Nude Descending a Staircase” – this is his

first major work ( has 2 version, 1911 & 1912), the figure is analyzed into component parts in Cubist fashion, while at the same time Duchamp tried to present it in a mechanical position (an example of a “dynamic cubism”). It shows the speed of highly industrialized time.

NUDE DESCENDING A STAIRCASE, NO. 2. A 1912 PAINTING BY MARCEL DUCHAMP. THE WORK IS WIDELY REGARDED AS A MODERNIST CLASSIC AND HAS BECOME ONE OF THE MOST FAMOUS OF ITS TIME. IN ITS FIRST PRESENTATION AT THE PARISIAN SALON DES INDÉPENDANTS, IT WAS REJECTED BY THE CUBISTS AND CAUSED A HUGE STIR DURING ITS EXHIBITION AT THE 1913 ARMORY SHOW IN NEW YORK. THE WORK IS NOW FOUND IN PERMANENT EXHIBITION AT THE LOUIS AND WALTER ARENSBERG COLLECTION OF THE PHILADELPHIA MUSEUM OF ART IN PHILADELPHIA.

FOUNTAIN IS A 1917 WORK WIDELY ATTRIBUTED TO MARCEL DUCHAMP. THE SCANDALOUS WORK WAS A PORCELAIN URINAL, WHICH WAS SIGNED "R.MUTT" AND TITLED FOUNTAIN. SUBMITTED FOR THE EXHIBITION OF THE SOCIETY OF INDEPENDENT ARTISTS IN 1917, FOUNTAIN WAS REJECTED BY THE COMMITTEE, EVEN

THOUGH THE RULES STATED THAT ALL WORKS WOULD BE ACCEPTED FROM ARTISTS WHO PAID THE FEE. 2. UMBERTO BOCCIONI • Italian painter and

sculptor. • He helped shape the

revolutionary aesthetic of the Futurism movement as one of its principal figures.

• Despite his short life, his approach to the dynamism of form and the deconstruction of solid mass guided artists long after his death.

• His works are held by many public art museums, and in 1988 the Museum of Modern Art in New York organized a major retrospective of 100 pieces.

Ex a. “Unique Forms of Continuity in Space” – in

sculpture, he tried to convey rigorous action of fast movement

UNIQUE FORMS OF CONTINUITY IN SPACE, 1913. UMBERTO BOCCIONI

DYNAMISM OF A SOCCER PLAYER, 1913. UMBERTO BOCCIONI. MUSEUM OF MODERN ART, NEW YORK


ABSTRACT & NON-OBJECTIVE ART

• Abstract art refers to the essence rather than the

surface of an object, often by stripping away all nonessential characteristics. It is freeing art from meaning, naturalistic representation, and academic aesthetic standards.

1. WASSILY KANDINSKY (1866-1944) • Russian painter,

whose exploration of the possibilities of abstraction make him one of the most important innovators in modern art.

• Both as an artist and as a theorist he played a pivotal role in the development of abstract art.

Ex a. “Improvisation No. 30” – here, bare references

to the natural world are still retained to keep art from descending to mere patternmaking (non-objective art). Here, Kandinsky uses colors and barely recognizable forms (canons and tall buildings).

POINTS. 1920. 1103 × 918 MM. WASSILY KANDINSKY. OHARA MUSEUM OF ART

DURING THE STUDIES KANDINSKY MADE IN PREPARATION FOR COMPOSITION IV, HE BECAME EXHAUSTED WHILE

WORKING ON A PAINTING AND WENT FOR A WALK. WHILE HE WAS OUT, GABRIELE MÜNTER TIDIED HIS STUDIO AND INADVERTENTLY TURNED HIS CANVAS ON ITS SIDE. UPON RETURNING AND SEEING THE CANVAS (BUT NOT YET RECOGNIZING IT) KANDINSKY FELL TO HIS KNEES AND WEPT, SAYING IT WAS THE MOST BEAUTIFUL PAINTING HE HAD EVER SEEN. HE HAD BEEN LIBERATED FROM ATTACHMENT TO AN OBJECT. AS WHEN HE FIRST VIEWED MONET'S HAYSTACKS, THE EXPERIENCE WOULD CHANGE HIS LIFE 2. PIET MONDRIAN (1872-1944) • Pieter Cornelis

"Piet" Mondriaan, after 1906 Mondrian

• Dutch painter, who carried abstraction to its furthest limits. Through radical simplification of composition and color, he sought to expose the basic principles that underlie all appearances.

Ex a. “Tree II” (1912) b. “The Gray Tree” (1912)– a series of trees

showings the process of increasing abstraction. It is fairly representative depiction of what appears to be an apple tree, with riotous interplay among the lines of main branches and secondary suckers that shoot upward from them.

c. “The Flowering Tree” – this is part of the tree series, the 3rd and most abstract which is already non-objective.

d. “Broadway Boogie Woogie” (1942-1943) – Mondrian said that since paintings are created on a flat surface, the flatness should be respected and not to try to give the illusion of a 3rd dimension. Also, lines and color are the essence of art, and so to be seen clearly, these should be separated from forms to which the viewer brings personal associations. To do this, the artist used the rectangle, considered a “universal” or “neutral” form.

GRAY TREE, 1912, PIET MONDRIAN. AN EARLY EXPERIMENTATION WITH CUBISM


COMPOSITION II IN RED, BLUE, AND YELLOW, 1930. PIET MONDRIAN.

BROADWAY BOOGIE-WOOGIE IS A PAINTING BY PIET MONDRIAN COMPLETED IN 1943, SHORTLY AFTER HE MOVED TO NEW YORK IN 1940. COMPARED TO HIS EARLIER WORK, THE CANVAS IS DIVIDED INTO A MUCH LARGER NUMBER OF SQUARES. ALTHOUGH HE SPENT MOST OF HIS CAREER CREATING ABSTRACT WORK, THIS PAINTING IS INSPIRED BY CLEAR REAL-WORLD EXAMPLES: THE CITY GRID OF MANHATTAN, AND THE BOOGIE WOOGIE MUSIC TO WHICH MONDRIAN LOVED TO DANCE. THE PAINTING IS OWNED BY THE MUSEUM OF MODERN ART IN NEW YORK CITY.

DADAISM

• Early 20th-century art movement, whose

members sought to ridicule the culture of their time through deliberately absurd performances, poetry, and visual art. Dadaists embraced the extraordinary, the irrational, and the contradictory largely in reaction to the unprecedented and incomprehensible brutality of World War I (1914-1918). Their work was driven in part by a belief that deep-seated European values—nationalism, militarism, and even the long tradition of rational philosophy—were implicated in the horrors of the war. Dada is often described as nihilistic—that is, rejecting all moral values; however, dadaists considered

their movement an affirmation of life in the face of death.

• Dada came into being in Germany and Switzerland during WW1, and after the war, was active in Paris. It was not so much an artistic movement as a mood _ a mood of revolt and despair, of disgust both with the existing social order, with its inhuman greed and lust for power, and with traditional art, which had been invalidated by the fact that society found it respectable.

1. MARCEL DUCHAMP

Ex. a. “Mona Lisa” – moustache and obscene

inscription on the Mona Lisa were the epitome of Dada

b. “Why Not Sneeze Rrose Selavy” – he adopted the pseudonym of Rrose Selavy, this being a phonetic equivalent of “Ah Rose c’est la vie” a type of joke characteristic of Duchamp’s brand of humor. This shows a barely worked conglomeration of nonart objects (bird cage complete with cuttlefish, identical marble cubes, a thermometer) that defy not only logical analysis but also traditional minimal expectation that art is something physically created by the artist.

MONA LISA. MARCEL DUCHAMP L.H.O.O.Q., A CHEAP POSTCARD-SIZED REPRODUCTION OF THE MONA LISA,UPON WHICH DUCHAMP DREW A MUSTACHE AND A GOATEE. THE "READYMADE" DONE IN 1919, IS ONE OF THE MOST WELL KNOWN ACT OF DEGRADING A FAMOUS WORK OF ART. THE TITLE WHEN PRONOUNCED IN FRENCH, PUNS THE FRASE "ELLE A CHAUD AU CUL", TRANSLATING COLLOQUIALLY IN "SHE HAS A HOT ASS".


WHY NOT SNEEZE, ROSE SÉLAVY? IS A 1921 "READYMADE" SCULPTURE BY MARCEL DUCHAMP. SPECIFICALLY, DUCHAMP CONSIDERED THIS TO BE AN "ASSISTED READYMADE", THIS BEING BECAUSE THE ORIGINAL OBJECT HAS BEEN ALTERED BY THE ARTIST. THE MEANING OF THIS IS THAT THE BIRDCAGE HAS BEEN "ASSISTED" BY THE ADDITION OF THE OTHER OBJECTS. THEY CONSIST OF 152 WHITE CUBES (MADE OF MARBLE, BUT RESEMBLING SUGAR CUBES), A MERCURY THERMOMETER, A PIECE OF CUTTLEBONE, AND A TINY PORCELAIN DISH. THE BIRDCAGE IS MADE OF PAINTED METAL AND CONTAINS SEVERAL WOODEN PERCHES.

SURREALISM

• Art based on dreamlike images from the subconscious, appearing as a recognized movement beginning in the 1920’s.

• Rather than abandoning forms, surrealists render them with the illogic of dreams.

• Based on the theories of Freud, this approach spanned the period between WW1 and WW2; though surrealism had appeared throughout history up to now.

1. SALVADOR DALI (1904-1989) • Spanish painter,

writer, and member of the surrealist movement.

• He was born in Figueras, Catalonia, and educated at the School of Fine Arts, Madrid.

• After 1929 he espoused surrealism, although the leaders of the movement later denounced Dalí as overly commercial.

• Dalí's paintings from this period depict dream imagery and everyday objects in unexpected forms, such as the famous limp watches in The Persistence of Memory (1931, Museum of Modern Art, New York City).

Ex. 1. “Persistence of Memory” – watches, lightstruck

cliffs, and unrecognizable forms are shown as if in a vivid hallucination.

THE PERSISTENCE OF MEMORY. 1931 PAINTING BY ARTIST SALVADOR DALÍ, AND IS ONE OF HIS MOST RECOGNIZABLE WORKS. FIRST SHOWN AT THE JULIEN LEVY GALLERY IN 1932, THE PAINTING HAS BEEN IN THE COLLECTION OF THE MUSEUM OF MODERN ART (MOMA) IN NEW YORK CITY SINCE 1934. IT IS WIDELY RECOGNIZED AND FREQUENTLY REFERENCED IN POPULAR CULTURE.

SHIRLEY TEMPLE, THE YOUNGEST, MOST SACRED MONSTER OF THE CINEMA IN HER TIME (OR SHIRLEY TEMPLE, THE YOUNGEST, MOST SACRED MONSTER OF CONTEMPORARY CINEMA), ALSO KNOWN AS THE BARCELONA SPHINX IS A 1939 ARTWORK IN GOUACHE, PASTEL AND COLLAGE ON CARDBOARD, BY SURREALIST PAINTER SALVADOR DALÍ.

THE HALLUCINOGENIC TOREADOR (1968–1970). SALVADOR DALI. AN OIL PAINTING. SALVADOR DALÍ PAINTED IT IN 1970, FOLLOWING THE CANONS OF HIS PARTICULAR INTERPRETATION OF SURREALIST THOUGHT. IT IS CURRENTLY BEING EXHIBITED AT THE SALVADOR DALI MUSEUM IN ST. PETERSBURG, FLORIDA. IN THIS PIECE, DALI TRANSMITS HIS WIFE'S DISLIKE FOR BULLFIGHTING.


HOMAGE TO NEWTON (1985). SALVADOR DALI. SIGNED AND NUMBERED CAST NO. 5/8. BRONZE WITH DARK PATINA. SIZE: 388 X 210 X 133CM. UOB PLAZA, SINGAPORE. DALÍ'S HOMAGE TO ISAAC NEWTON, WITH AN OPEN TORSO AND SUSPENDED HEART TO INDICATE "OPEN-HEARTEDNESS," AND AN OPEN HEAD INDICATING "OPEN-MINDEDNESS"—THE TWO VERY QUALITIES IMPORTANT FOR SCIENCE DISCOVERY AND SUCCESSFUL HUMAN ENDEAVORS. 2. MARC CHAGALL (1887-1985) • Russian-born French

painter and designer, distinguished for his surrealistic inventiveness. He is recognized as one of the most significant painters and graphic artists of the 20th century. His work treats subjects in a vein of humor and fantasy that draws deeply on the resources of the unconscious. Chagall's personal and unique imagery is often suffused with exquisite poetic inspiration.

Ex 1. “I and the Village” – the artist remembered

images of his homeland, are fused into a 2-dimensional cubistic pattern with a dreamlike fantastic quality.

CEILING OF THE PALAIS GARNIER, (PARIS OPERA HOUSE), PARIS, FRANCE. MARC CHAGALL'S CEILING, REPAINTED IN A MODERN STYLE AND WHICH IS VERY DIFFERENT FROM THE COLOUR SCHEME OF THE REST OF THE BUILDING. AT THE CENTER IS THE GRAND CHANDELIER.

I AND THE VILLAGE (1911). MARC CHAGALL. MUSEUM OF MODERN ART, NEW YORK.

THE CIRCUS HORSE. MARC CHAGALL

IN 1964 CHAGALL CREATED A STAINED-GLASS WINDOW, ENTITLED "PEACE", FOR THE U.N., IN HONOR OF DAG HAMMARSKJÖLD, THE UN'S SECOND SECRETARY GENERAL WHO WAS KILLED IN AN AIRPLANE CRASH IN AFRICA IN 1961. THE WINDOW IS ABOUT 15 FEET (4.6 M) WIDE AND 12 FEET (3.7 M) HIGH AND CONTAINS SYMBOLS OF PEACE AND LOVE ALONG WITH MUSICAL SYMBOLS. IN 1967 HE DEDICATED A STAINED-GLASS WINDOW TO JOHN D. ROCKEFELLER IN THE UNION CHURCH OF POCANTICO HILLS, NEW YORK.


3. PAUL KLEE (1879-1940) • Exquisite in color and

line, his works have either the timelessness of archaeological discoveries or the quality of precious encrusted icons

• Although Klee’s pictures are small, they are profound comments on life as seen with the innocent eyes of a child.

Ex. 1. “Cat and Bird”

KATZE UND VOGEL (CAT AND BIRD), 1928, OIL ON INK ON CANVAS ON WOOD. MUSEUM OF MODERN ART, NEW YORK

FLOWER MYTH (1918), PAUL KLEE. WATERCOLOR ON PASTEL FOUNDATION ON FABRIC AND NEWSPRINT MOUNTED ON BOARD, SPRENGEL MUSEUM, HANNOVER, GERMANY

RED BALLOON, 1922, OIL ON MUSLIN PRIMED WITH CHALK, 31.8 X 31.1 CM. THE SOLOMON R. GUGGENHEIM MUSEUM, NEW YORK 4. GIORGIO DE CHIRICO (1888-1978) • major Italian painter,

who founded the metaphysical school.

• He was born in Vólos, Greece, the son of an Italian engineer.

• He studied art in Athens and in Munich, where he was strongly influenced by the allegorical works of the 19th-century Swiss painter Arnold Böcklin.

Ex. a. “The Disquieting Muses” b. “The Uncertainty of the Poet”

1947 REPLICA OF THE DISQUIETING MUSES (1916). GIORGIO DE CHIRICO. UNIVERSITY OF IOWA MUSEUM OF

ART


LOVE SONG 1914. GIORGIO DE CHIRICO. MUSEUM OF MODERN ART

ETTORE E ANDROMACA (1973). GIORGIO DE CHIRICO

EXPRESSIONISM

1. EDVARD MUNCH (1863 - 1944) • a Norwegian painter

and printmaker whose intensely evocative treatment of psychological themes built upon some of the main tenets of late 19th-century Symbolism and greatly influenced German Expressionism in the early 20th century.

One of his most well-known works is The Scream of 1893.

• Projected fear, loneliness, even hysteria

THE SCREAM. 1893. OIL, TEMPERA, AND PASTEL ON CARDBOARD. NASJONALGALLERIET, OSLO

ANXIETY. 1894. 94 × 74 CM. MUNCH MUSEUM, OSLO

PORTRAIT OF FRIEDRICH NIETZSCHE (1906)


ABSTRACT EXPRESSIONISM

• The post-WWII movement centered in New York

(and established NY as the leading center of modern art in the West) in which paint was freely applied to a large canvas, expressing the energy and feelings of the artist non-objectively, usually with no emphasized focal point (all areas of the canvas are equally important).

1. JACKSON POLLOCK (1912-1956) • American abstract

painter, who developed a technique for applying paint by pouring or dripping it onto canvases laid on the floor.

• With this method Pollock produced intricate interlaced webs of paint, as in Black and White (1948, private collection).

• Rapid and seemingly impulsive execution like Pollock’s became a hallmark of abstract expressionism, a movement that emphasized the spontaneous gestures of the artist.

No. 5, 1948. JACKSON POLLOCK

AUTUMN RHYTHM, 1950, JACKSON POLLOCK. METROPOLITAN MUSEUM OF ART

NUMBER 1, 1950 (LAVENDER MIST), JACKSON POLLOCK. NATIONAL GALLERY OF ART, WASHINGTON, D.C. 2. WILLEM DE KOONING (1904 - 1997) • Dutch American

abstract expressionist artist who was born in Rotterdam, the Netherlands.

• In the post-World War II era, de Kooning painted in a style that came to be referred to as Abstract expressionism or Action painting, and was part of a group of artists that came to be known as the New York School.

WILLEM DE KOONING, WOMAN V (1952–53), NATIONAL GALLERY OF AUSTRALIA


3. OSKAR KOKOSCHKA • an Austrian artist, poet and

playwright best known for his intense expressionistic portraits and landscapes

THE BRIDE OF THE WIND OR THE TEMPEST, OIL ON CANVAS, A SELF-PORTRAIT EXPRESSING HIS UNREQUITED LOVE FOR ALMA MAHLER, WIDOW OF COMPOSER GUSTAV MAHLER, 1914

POP ART

• This mid-century movement in modern art

emerged in London and has encompassed some artists in the Us. This movement uses objects and images from popular, commercial culture – from cartoons to beer cans.

1. ANDY WARHOL (1928 – 1987) • real name Andrew

Warhola (1928?-1987), American painter, motion-picture director and producer, and publisher, who was a leader of the pop art movement, which based artwork on images taken from mass, or popular, culture.

• Warhol is considered one of the most important American artists of the 20th century.

• His work and ideas both reflect and helped shape American mass media and popular culture.

Ex a. “200 Campbell Soup Cans” (1962) – this

reflects the repetitive visual patterns of the modern marketplace.

b. “Mao 6” (1973) c. “Marilyn Portfolio” (1967)

THE MARILYN DIPTYCH (1962) IS A SILKSCREEN PAINTING BY AMERICAN POP ARTIST ANDY WARHOL.

“200 CAMPBELL SOUP CANS” (1962)

“MAO 6” (1973). ANDY WARHOL


RECENT MOVEMENTS

ENVIRONMENTAL ART: CHRISTO AND JEANNE-CLAUDE

STREET ART. JUNKY

INSTALLATION ART. PHOTOGRAPHY. SPENCER TUNICK

STREET ART BY BANKSY IN BRISTOL PREPARED BY: IDr Alvin T. A. Abrea, PIID, for History of Art II Sources: 1. Kleiner,Mamiya,Tansey, Gardner’s Art Through the Ages

11th edition, Hardcourt College Publishing, © 2001 2. Fiero, Gloria, The Humanistic Tradition Vol. 1, Mc Graw Hill,

© 2002 3. Mittler, Gene, Art in Focus 4rth Edition, Glencoe McGraw-

Hill, © 2000 4. Janson, H.W., History of Art, A Survey of the Major Visual

Arts from the Dawn of History to the Present Day, Prentice-Hall, Inc and Harry N. Abrams, Inc., NY © 1969

5. Hartt, Frederick, ART: A History of Painting, Sculpture, and Architecture, Harry N. Abrams, Inc., © 1976

6. Adams, Laurie Schneider, A History of Western Art, 3rd Edition, McGraw Hill, © 2001

7. Fingesten, Peter, M.A., Basic Facts of Art History, The Crowell-Collier Publishing Company, ©1963

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Modern Art in the 20th Century.pdf