MODERN AND MODERNISM A Year 12 Summary

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MODERN AND MODERNISMA Year 12 Summary

• Gerrit Rietveld Red-Blue Chair 1917

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PART 1 Early Modernism Realism and
Impressionism in 19th Century France
Gustave Courbet (1819-77). The Stormy Sea (or
The Wave) 1869
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Realism in the 19th Century

• The art-historical definition of realism
  originated in the movement that was dominant
  primarily in France from about 1840 to 1870-80
  and that is identified particularly with the work
  of Gustave Courbet. Realism was decidedly an
  outgrowth of its particular time -- one of great
  political and social upheaval. This unrest
  stirred the realists to reject prevailing canons
  of academic and romantic art and to undertake
  instead a nonescapist, democratic, empirical
  investigation of life as it existed around them.
  They painted ordinary people leading their
  everyday lives. Although other artists had
  depicted similar subjects in earlier times, the
  realists took a fresh and unemotional view.

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Realism in the 19th Century

• Realism was most emphatically proclaimed in 1855,
  when Courbet, having been rejected for the Paris
  Exposition, arranged a private showing of his
  paintings that centered on his huge The Artist's
  Studio (1855 Musée d'Orsay, Paris). He also
  distributed a manifesto of realism outlining his
  program. Among the other realists were Honoré
  Daumier, most noted for his incisive mockery of
  the petty bourgeoisie, and Jean François Millet,
  whose peasant scenes are more reflective in tone
  than those of Courbet. The early works of Edouard
  Manet and Edgar Degas (1860s and '70s) are
  realist, and, like Courbet's, contain elements
  that prefigure impressionism. The art of the
  Pre-Raphaelites in England and of Adolf von
  Menzel in Germany is also related to the realist
  movement.
• Important artists Gustave Courbet, Honore
  Daumier, Edouard Manet, Edgar Degas, Henri de
  Toulouse-Lautrec and Vincent van Gogh.

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Honore Daumier Third-Class Carriage 1863-65
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Edouard Manet Bar at the Folies-Bergeres 1881-82
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Edgar Degas Laundress (Silhouette)c. 1874
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Henri de Toulouse Lautrec Woman Pulling up her
Stocking1894
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Vincent van Gogh Self-Portrait with Dark Felt
Hat1886
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Impressionism
Claude Monet Impression, soleil levant
Impression, Sunrise 1872
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Impressionism

• The impressionist style of painting is
  characterized chiefly by concentration on the
  general impression produced by a scene or object
  and the use of unmixed primary colors and small
  strokes to simulate actual reflected light.
• Impressionism, French Impressionnisme, a major
  movement, first in painting and later in music,
  that developed chiefly in France during the late
  19th and early 20th centuries. Impressionist
  painting comprises the work produced between
  about 1867 and 1886 by a group of artists who
  shared a set of related approaches and
  techniques.
• The most conspicuous characteristic of
  Impressionism was an attempt to accurately and
  objectively record visual reality in terms of
  transient effects of light and colour.

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Claude Monet The Japanese Bridge probably
1918-24Look at the abstract paintings of Philip
Guston, Jules Olitski, or Jackson Pollock.
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Mary Cassatt The Boating Party 1893-4
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Pierre-Auguste RenoirSeated Batherc. 1883-1884
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Abraham Derby The Iron Bridge, Shropshire 1779
Modern Architecture of the 18th Century
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Modern Architecture of the 19th Century
W.H. Barlow Engine Shed, St Pancras Station,
London 1868
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Modern Architecture of the 19th Century
George Gilbert Scott Midland Grand Hotel, St
Pancras Station, London 1868
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Modern Architecture of the 19th Century
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Modern Architecture of the 19th Century

• Louis Sullivan Auditorium Building, Chicago,
  1886-89

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Modern Architecture of the 20th Century
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Links

• Rietvelds Red-Blue Chair analysis
  http//www.geocities.com/Athens/Aegean/4217/red_bl
  uechair.html http//www.geocities.com/Athens/Aege
  an/4217/rbanalysis.htm
• Realism http//www.discoverfrance.net/France/Art/r
  ealism.shtml
• Gustave Courbet http//www.ibiblio.org/wm/paint/au
  th/courbet/
• Honore Daumier http//www.ibiblio.org/wm/paint/aut
  h/daumier/
• Claude Monet http//www.artchive.com/artchive/M/mo
  net.html
• Edouard Manet http//www.artchive.com/artchive/M/m
  anet.html
• Edgar Degas http//www.artchive.com/artchive/D/deg
  as.html
• Toulouse-Lautrec http//www.artchive.com/artchive/
  T/toulouse-lautrec.html
• Van Gogh http//www.artchive.com/artchive/V/vangog
  h.html
• Impressionism http//www.ibiblio.org/wm/paint/glo/
  impressionism/
• Cassatt http//www.artchive.com/artchive/C/cassatt
  .html
• Renoir http//www.artchive.com/ftp_site.htm

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PART 2 Analysing Visual Experience

• Paul Cezanne, Still Life with Curtain and
  Flowered Pitcher c. 1899

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Analysing Visual Experience

• Post Impressionism was NOT a style of Art, it is
  a collective term used to describe those artists
  who came after the Impressionist group and were
  influenced by it. Two artists who extended the
  impressionist analysis of the visual experience
  of fleeting effects of light were Georges Seurat
  and Paul Cezanne.
• Georges Seurat developed a very labour
  intensive method of painting in small dots of
  pure colour, allowing the colours to mix in the
  eye of the viewer. His paintings took a long time
  to complete and have a stillness about them that
  is very unlike Impressionism.
• Paul Cezanne sought to make something solid out
  of Impressionism. He emphasized the three
  dimensional forms he saw in his subjects.
• Braque and Picasso, before embarking on their
  Cubist style worked in a style based on Cezannes
  paintings.

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Georges Seurat The Seine at Le Grande Jatte 1888
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Georges Seurat The Models 1887-88
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Georges Seurat Young Woman Powdering Herself 1890
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Paul Signac The Green Sail, Venice. 1904
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Paul Cezanne, Mont Sainte-Victoire 1900
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Paul Cezanne, Turning Road at Montgeroult1899
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Paul Cezanne, Bathers 1900-1906
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Paul Cezanne, Portrait of Ambroise
Vollard1899(see Picassos portrait of the same
man, done in 1910)
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Georges Braque, Houses at LEstaque 1908
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Georges Braque, Grand Nu 1908
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Pablo Picasso, Portrait of Ambroise Vollard1910
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Links
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PART 3 Expressing Emotion

• Vincent van Gogh
• Cafe Terrace on the Place du ForumSeptember 1888

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Vincent van Gogh Wheat Field Under Threatening
Skies 1890
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Vincent van GoghSelf-Portrait 1889
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Paul GauguinSelf-portrait with Palettec. 1894
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Paul Gauguin Nevermore 1897
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Edvard Munch The Dance of Life 1899-1900
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Henri MatisseGreen Stripe (Madame Matisse) 1905
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Pablo Picasso. Self-Portrait. 1907.
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Henri Matisse Dance (I) 1909
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Pablo Picasso  The Three Dancers ( Les Trois
Danseuses) 1925
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Ernst Ludwig Kirchner, Girl Under a Japanese
Parasolc. 1909
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Oskar Kokoschka Die Windsbraut (Bride of the
Wind) 1913-14
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Max BeckmannSelf-Portrait in a Tuxedo1927
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Jean DubuffetThe Tree of Fluids  (L'Arbre de
fluides) 1950
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Francis Bacon Self Portrait 1975
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Links
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PART 4 Abstraction

• Wassily Kandinsky
• Improvisation No. 7

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Wassily Kandinsky Composition IV 1911
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Wassily Kandinsky Accent en rose1926
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Piet Mondrian The Gray Tree 1911
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Piet Mondrian Ocean 5 1915
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Piet Mondrian Composition with Yellow1930
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Gerrit Rietveld Red-Blue Chair 1917
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Piet Mondrian Broadway Boogie Woogie 1942-1943
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Roy de Maistre Rhythmic Composition in Yellow
Green Minor 1919
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Henry MOORE Hill Arches 1973
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Barbara HepworthHEIROGLYPH 1953
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Willem de Kooning Night 1948
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Willem de Kooning Excavation 1950

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David Smith From the Voltri series 1962
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Franz Kline, New York, N.Y.1953
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Jackson Pollock Autumn Rhythm (Number 30) 1950
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Ralph Balson Matter Painting 1961
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Sean Scully Wall of Light Brown
2000(Installation View)
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PART 5 Disorder and Dissent!
Marcel Duchamp, Fountain1917
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From The Futurist ManifestoF. T. Marinetti 1909

• The essential elements of our poetry will be
  courage, audacity and revolt.
• We declare that the splendor of the world has
  been enriched by a new beauty the beauty of
  speed. A racing automobile with its bonnet
  adorned with great tubes like serpents with
  explosive breath ... a roaring motor car which
  seems to run on machine-gun fire, is more
  beautiful than the Victory of Samothrace.
• Beauty exists only in struggle. There is no
  masterpiece that has not an aggressive character.
  Poetry must be a violent assault on the forces of
  the unknown, to force them to bow before man.
• We want to glorify war - the only cure for the
  world - militarism, patriotism, the destructive
  gesture of the anarchists, the beautiful ideas
  which kill, and contempt for woman.
• We want to demolish museums and libraries, fight
  morality, feminism and all opportunist and
  utilitarian cowardice.
• We want to sing the love of danger, the habit of
  energy and rashness.

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Filippo Tommaso Marinetti, Zang Tumb Tumb,
1914.(cover of a book of poetry by Marinetti)
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GiacomoBallaBoccioni's Fist 1915
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Antonio Sant'Elia (1888-1916). Architectural
DrawingsSantElia gives a static representation
of movement
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Giacomo BallaDynamism of a Dog on a Leash 1912
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Umberto Boccioni The City Rises 1910-11
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Anton Giulio Bragaglia . Photographic
Autocaricature(self portrait) 1932.
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From James Joyce Finnegans Wake

• The fall (bababadalgharaghtakamminarronnkonnbronn
  tonnerronntuonnthunntrovarrhounawnskawntoohoohoord
  enenthurnuk!) of a once wallstrait oldparr is
  retaled early in bed and later on life down
  through all christian minstrelsy. The great fall
  of the offwall entailed at such short notice the
  pftjschute of Finnegan, erse solid man, that the
  humptyhillhead of humself prumptly sends an
  unquiring one well to the west in quest of his
  tumptytumtoes and their upturnpikepointandplace
  is at the knock out in the park where oranges
  have been laid to rust upon the green since
  dev-linsfirst loved livvy.

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Dadaism By Tristan Tzara

• The beginnings of Dada were not the beginnings of
  an art, but of a disgust. Disgust with the
  magnificence of philosophers who for 3ooo years
  have been explaining everything to us (what for?
  ), disgust with the pretensions of these
  artists-God's-representatives-on-earth, disgust
  with passion and with real pathological
  wickedness where it was not worth the bother
  disgust with a false form of domination and
  restriction en masse, that accentuates rather
  than appeases man's instinct of domination,
  disgust with all the catalogued categories, with
  the false prophets who are nothing but a front
  for the interests of money, pride, disease,
  disgust with the lieutenants of a mercantile art
  made to order according to a few infantile laws,
  disgust with the divorce of good and evil, the
  beautiful and the ugly (for why is it more
  estimable to be red rather than green, to the
  left rather than the right, to be large or
  small?). Disgust finally with the Jesuitical
  dialectic which can explain everything and fill
  people's minds with oblique and obtuse ideas
  without any physiological basis or ethnic roots,
  all this by means of blinding artifice and
  ignoble charlatans promises.

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From - dada manifestoby Hugo Ball 14th July 1916

• dada manifestoby hugo ball14th July 1916
• Dada is a new tendency in art. One can tell this
  from the fact that until now nobody knew anything
  about it, and tomorrow everyone in Zurich will be
  talking about it. Dada comes from the dictionary.
  it is terribly simple. In French it means "hobby
  horse." In German it means "good-by," "Get off my
  back," "Be seeing you sometime." In Romanian
  "Yes, indeed, you are right, that's it. But of
  course, yes, definitely, right." And so forth.
• .
• Each thing has its word, but the word has become
  a thing by itself. Why shouldn't I find it? Why
  can't a tree be called Pluplusch, and Pluplubasch
  when it has been raining? The word, the word, the
  word outside your domain, your stuffiness, this
  laughable impotence, your stupendous smugness,
  outside all the parrotry of your self-evident
  limitedness. The word, gentlement, is a public
  concern of the first importance.

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Christian MorgensternNight song of the Fishesa
graphic poem
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Jean (Hans) Arp Collage Arranged According to
the Laws of Chance 191617
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Magazine cover.Der blutige Ernst. Edited by John
Höxter, Carl Einstein, and George Grosz. Berlin,
1919.
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Raoul Hausmann The Art Critic1919-1920
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Raoul Hausmann, Mechanical Head The Spirit of
Our Time, 1919
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John Heartfield, The real meaning of the Hitler
salute The little man asks for big gifts I've
got millions standing behind me 1932
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Kurt Schwiters Merz 163, with Woman Sweating
1920.
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Kurt Schwiters Merzbau Hannover 1933
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Kurt Schwiters Merzbarn Wall England 1947-8
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Kurt Schwitters poem Ribble Bobble Pimlico
England 1946
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Dom Sylvester HouedardSliced Lurch1970
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Robert Rauschenberg Monogram 1955-9
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Jasper Johns Flag 1954-55
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Jean Tinguely Homage to New York Museum of
Modern Art, New York, 1960Self-destructive
sculpture
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Single Tub with Machine Gun 1981
Bill Woodrow
Bucket, Mop and Lobster 1982
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Modern Architecture of the 20th Century
Antoni Gaudí The Crypt, Colonia Güell, near
Barcelona 1908-14
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Modern Architecture of the 20th Century
Walter Gropius Adolf Meyer Fagus Shoe Factory,
Germany 1911
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Modern Architecture of the 20th Century
99
Modern Architecture of the 20th Century
Le Corbusier Villa Savoye, Poissy-sur-Seine
1929-30
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Modern Architecture of the 20th Century
Frank Lloyd Wright Fallingwater 1935
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Modern Design of the 20th Century
Marcel Breuer Chairs 1925-26
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Modern Architecture of the 20th Century
Giles Gilbert Scott The Jubilee Kiosk1936
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Modern Architecture of the 20th Century
Harry Seidler Rose Seidler House Sydney 1948
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Modern Architecture of the 20th Century
Australia Square. Design/Completion 1961-1967
Australia Square. Design/Completion 1961-1967
Australia Square. Design/Completion 1961-1967
Harry Seidler Australia Square. Sydney 1961-1967
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Modern Architecture of the 20th Century
Oscar Niemeyer House of Congress Brasilia 1960
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Modern Architecture of the 20th Century
107
Modern Architecture of the 20th Century
I. M. Pei (and Henry Cobb) John Hancock Tower,
Boston 1972-75
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Modern Architecture of the 20th Century
Frank Lloyd Wright Solomon Guggenheim Museum, New
York 1959.
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Modern Architecture of the 20th Century
Maya Lin Vietnam Veterans Memorial 1980-82
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Modern Architecture of the 20th Century
Daniel Libeskind The Jewish Museum Berlin 1999
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Modern Architecture of the 20th Century