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Max Beckmann, Night, 1917-18, oil on canvas, German
Europe and America 1912-30
Jason Lazarus, Self-Portrait as an Artist Burning Down the MCA (Chicago, IL), 2004
“All that is solid melts into air”
Marx, CommunistManifesto
Europe, 1900-12 UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 3’7”,
1913. Fig. 14-11.
…All subjects previously usedmust be swept aside in order toexpress our whirling life of steel, of pride, of fever and ofspeed…that movement and light destroy the materiality of bodies.
-from Futurist Painting:Technical Manifesto, 1910
F.T. Marinetti
• Futurism • Began as literary
movement• Violent rejection of
artistic and cultural tradition
• Embrace speed, machines (the automobile)
• Interested in Cubist formal analysis
• Pictures movement rather than the body
UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913. Fig. 14-11.
Europe, 1900-12
Nike of Samothrace190 BCE, Greek
America, 1900-1920
Marcel Duchamp, Nude Descending a Staircase No.2, 1912, oil
Marsden Hartley, Portrait of a German Officer, 1914, oil
• Movement toward abstraction• Isolating fragments of objects
for beauty of line, shape, light• Reductive, organic
EDWARD WESTON, Nude, 1925. Fig. 14-18.
America, 1900-1920
Georgia O’Keeffe, Jack in the Pulpit No.4 1930, oil, fig.I-1
dada
DADADADA
Dada signified nothing, it is nothing, nothing nothing-Francis Picabia, 1915
Jean (Hans) Arp, Collage Arranged According to the Laws of Chance, 1916-17
MARCEL DUCHAMP, Fountain (second version), 1950 (original
version produced 1917). Fig. 14-13.
Europe, 1912-20
Duchamp as Rrose Selavyby Man Ray, 1921
http://www.youtube.com/watch?v=7CFQY0Yf1iI&feature=fvw
• Dadaists embrace anarchy, irrationality, humor, indifference
• One of first “readymades”• Found object, questions
artist’s role, nature of art and aesthetic tastes – “He chose it!”
• Mass production (serial object)
• Birth of conceptual art
MARCEL DUCHAMP, Fountain (second version), 1950 (original
version produced 1917). Fig. 14-13.
Europe, 1912-20
The only works of art America has given are her plumbing andher bridges. -Duchamp, The Blind
Man
HANNAH HÖCH, Cut with the Kitchen Knife Dada through the Last
Weimar Beer Belly Cultural Epoch of
Germany, 1919–1920. Fig. 14-14.
Europe, 1912-20
• Dadaist photomontage • Political activism (Berlin
Dada in Weimar Republic)• Found objects placed in
illogical juxtapositions (anti-aesthetic & antilogical)
• Aligns Dada with leftist politics (Marx, Lenin) & women’s rights
• Prominent Dadaists and other notable figures represented (Einstein) HANNAH HÖCH, Cut with the Kitchen Knife
Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920.
Fig. 14-14.
Europe, 1912-20
Europe, 1920 to 1930
Man Ray, Waking Dream Séance, 1924
surrealism:
Psychic automatism in its pure state, by which one proposes to express – verbally, by means of the written word, or in any other manner the actual functioning of thought. Dictated by thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.
-Andre Breton, First Surrealist Manifesto, 1924
Group Activity
The Exquisite Corpse
Automatism:
In painting, the process of yieldingoneself to instinctive motions of the hands after establishing a set of conditions within which a work is to be produced.
Tanguy, Miro, Morise, Man RayExquisite Corpse, 1927, mixed media
on paper
The Exquisite Corpse
• A game or “chance operation” invented by the Surrealists (hence their infamous phrase, "The exquisite corpse will drink the new wine.").
How to play the game…
Take one sheet of paper and mark it off in 4-5 equal sections. You must decide beforehand the "rule" or order of types of words that will dictate each person's participation (i.e. Noun, verb, adjective, noun, adverb, preposition, etc.). You will then pass the sheet of paper from person to person. Without letting others see what he/she is writing, each person will write down a word according to the rule, then fold over the paper so the person who follows cannot see what they're writing. When you’re finished, each group will look at what they have collectively written and read their sentence to the class.
SALVADOR DALÍ, The Persistence of Memory, 1931. Fig. 14-22.
Europe, 1920 to 1930
http://www.youtube.com/watch?v=WixEvXAkrZo&feature=related
• Naturalistic surrealism (vs. biomorphic)
• Represent the unconscious mind & childhood (Catalan landscape)
• Recurring symbols (ants; limp, amorphous forms)
• Inspired by Freud and Jung• Realistic dreamscape• “Concrete irrationality”• “Paranoic-critical”
method
SALVADOR DALÍ, The Persistence of Memory, 1931. Fig. 14-22.
Europe, 1920 to 1930
Detail from Bosch’s Garden of Earthly Delightsca.1505
http://www.zappinternet.com/video/danPvuMpaX/Un-chien-Andalou-1928
Meret Oppenheim, Object(Le Dejeuner en Fourrure
1936. Fig. 14-24.
Europe, 1920 to 1930• Surrealism applied to sculpture• Transformation of found objects• Sensual and erotic• One of many female surrealists
Man Ray, Erotique Violee (Meret Oppenheim), 1933
Europe, 1912 – 1930: Abstractionin Painting & Sculpture
KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915
(dated 1914). Fig. 14-26.
Barbara Hepworth, Oval Sculpture (No.2), 1943, fig.14-29
PIET MONDRIAN, Composition with Red, Blue, and Yellow, 1930. Fig. 14-27.
Europe, 1912 to 1930
• De Stijl (Neoplasticism)• Utopian movement in
The Netherlands • Attempt to reach “the
universal” through “pure plastic art”
• Developed out of cubism• Reduced to few colors
(red, blue, yellow) and two directions (horizontal & vertical) to create visual harmony
PIET MONDRIAN, Composition with Red, Blue, and Yellow, 1930. Fig.
14-27.
Europe, 1912 to 1930