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Week 11.moderism through art nouveau overview
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Week 11.moderism through art nouveau overview

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  • PresentationModernismLanguageLight and color not existingWhen we think of impressionism and Moent, we think of soft pastel colors, very loose brushworks to protray anehtereal glimpse of lili ponds and haystacks
  • Artist:Frederick Law Olmsted and Calvert VauxTitle: Map of Central Park, New York CityMedium: n/aSize: n/aDate:1858–1880 Revised and extended park layout as shown in a map of 1873Source/ Museum: n/a
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  • Pointilism and TV

Transcript

  • 1. MODERNISM: I MPRESSIONISM ,POST - IMPRESSIONISM , AND A RTN OUVEAU
  • 2. I N THE LAST CHAPTER WE DETERMINED … Nature is:  Emotion and Imagination  The physical environment  The Self, the Soul Nature is found:  Color and loose brushwork—the visual arts  Tonal Painting—the musical arts  Landscapes (void of human dominion)  In humanity and its exploration of soul
  • 3. G UIDING Q UESTION ( S )  How should we respond to technology?  How do we define technology?  Should we embrace it or reject/escape it?Gustave Eiffel, Eiffel Tower, Paris, 1889
  • 4. R EFLECTIONS OF THE A GE SCIENCE LITERATURE/PHILOSOPHYAuthors  Einstein’s Theory of Relativity  Henrik Ibsen’s A Doll Houseredefine in 1905 says Time and SpaceNature, the are NOT absolute, they change  Main character, Nora, leaves according to context her husband and children toIndividual, go find herselfCivilization,  Thomson’s discovery of the electron in 1897and  From Friedrich Nietzsche’s Beyond Good and EvilMorality  Sigmund Freud’s Civilization and Its Discontents  Outlines a morality that is not  Elucidates that neuroses dependent on God, but are inherent in culture. rather on the individual Human sexuality is cause of anxiety when hindered by social constructs.
  • 5. G UIDING H ISTORICAL E VENTS The Belle époque American Expansion creates is contact with non-western peoples, and ultimately creates a mythology of the primal, the “savage” untainted by technology  into California, Texas and New Mexico in the Mexican-American War of 1845-8  Hawaii in 1898  Puerto Rico and Cuba in 1898-9  Guam in 1898
  • 6. P SYCHE AS T ECHNOLOGY  Psyche is layered  ID  EGO  SUPEREGO
  • 7. I MPRESSIONISM An Interest in how light affects forms An Interest in capturing moments (which are fleeting) of industrialization and city life, so uses  Open compositions  Serializations  Spontaneous Brushwork
  • 8. R ENOIR ’ S D ANCE AT THE M OULIN DE LA G ALETTE , 1876
  • 9. D EGAS ’ T HED ANCING C LASS , CA . 1874Does noteroticize balletdancersInterested inmovement, theworld in flux
  • 10. M ONET ’ S I MPRESSION : S UNRISE , 1872
  • 11. M ONET ’ S S ERIALIZATION OF R OUEN C ATHEDRAL , R OUEN , F RANCEW HY SERIALIZE ? B ECAUSE THERE IS NO SINGLE TRUTH OF THER OUEN C ATHEDRAL . T HE TRUTH OF THE ARTIST ’ S PERCEPTION CHANGES ACCORDING TO TIME OF DAY, WEATHER , LIGHT CONDITIONS .
  • 12. D EBUSSEY ’ S C LAIRE D E L UNE (M OONLIGHT )We hear  Captures a fleeting and changing moment inthis in musical formmusic ofthe day,as well.
  • 13. P OST - IMPRESSIONISM Interested in the vulnerability of art as an expression Arbitrary coloring, often used to express emotion Emphasis on complete subjectivity  Based in the science of color and sight
  • 14. S EURAT ’ S A S UNDAY A FTERNOON ON I SLAND J ATTE , 1884-86Vision of the Belle Epoque, as Seurat sees itPainted within the context of the science of color
  • 15. VAN G OGH ’ S S TARRY N IGHT , 1889
  • 16. J APONISMEInfluence comeswhen USforcibly opensJapan toWestern tradein 1853Style is flat withasymmetricalCompositionsand no shadowsor dimension Van Gogh’s Flowering Plum Hiroshige, Plum Estate, Tree, 1887 1857
  • 17. A RT N OUVEAU Rejects urban revolution Industrial lines and shapes will be more organic
  • 18. H ORTA’ S S TAIRCASE AT D R .TASSEL’ S H OUSE , B RUSSELS , 1893 Plant life brought to industrial forms Curvaceous rather than linear
  • 19. G AUDI ’ S C ASA M ILA A PARTMENT B UILDING , B ARCELONA , 1905—07Much of Gaudi’s work lacks any angularity or straightlines; Gaudi works largely for the upper classes ofBarcelona society who seek to escape the “vulgar”urbanity of life
  • 20. facade Gaudi’s Casa Battlo Naturally Ventilated Attic
  • 21. I N S UBSEQUENT P RESENTATIONS ,YOU WILL L EARN MORE ABOUT: