1905-06

Early Modern Architecture Eiffel, Eiffel Tower, Paris Eiffel designed hundreds of metal structures, mostly railway bridges The base of the Eiffel Tower resembles a railway bridge Built as the symbol of the 1889 World’s Fair in Paris Elevator invented in Yonkers, NY in 1853 by Elisha Otis, who designed the radical tilting elevators of the Eiffel Tower Exposed iron allows wind forces to go through the building

Eiffel, Eiffel Tower, Paris

Eiffel designed hundreds of metal structures, mostly railway bridges

The base of the Eiffel Tower resembles a railway bridge

Built as the symbol of the 1889 World’s Fair in Paris

Elevator invented in Yonkers, NY in 1853 by Elisha Otis, who designed the radical tilting elevators of the Eiffel Tower

Exposed iron allows wind forces to go through the building

Early Modern Architecture Henry Richardson, Marshall Field Warehouse, Chicago Rounded arches, rusticated masonry which decreases as it goes up Flat cornice on top Cf. Palazzo Medici-Riccardi Iron columns as interior supports Self-bearing masonry loads 7 story embryonic skyscraper Arranged around a central court No architectural features: pediments, pinnacles, capitals Main entrance unaccented Subtle grouping of windows: variation in size and shape of bays Simplification of rhythm Solid look of building despite large proportion of window space Masculine image of wholesale store, rather than the feminine image of a retail store Romanesque inspiration Destroyed 1930

Henry Richardson, Marshall Field Warehouse, Chicago

Rounded arches, rusticated masonry which decreases as it goes up

Flat cornice on top

Cf. Palazzo Medici-Riccardi

Iron columns as interior supports

Self-bearing masonry loads

7 story embryonic skyscraper

Arranged around a central court

No architectural features: pediments, pinnacles, capitals

Main entrance unaccented

Subtle grouping of windows: variation in size and shape of bays

Simplification of rhythm

Solid look of building despite large proportion of window space

Masculine image of wholesale store, rather than the feminine image of a retail store

Romanesque inspiration

Destroyed 1930

Early Modern Architecture Louis Sullivan, Guaranty Building, Buffalo Ornament as a major design feature Building entirely covered in decorative terra cotta panels Inspiration of Romanesque buildings Taller and more slender, with windows recessed to allow for height of piers to seem more dramatic No office space more than 25 feet from windows Generous rear lighting courts Steel frame with lighter outer walls First building to use Gray columns, designed with distinctive open webs, had lateral stiffness against wind loads Arrow-like motifs on façade are a playful account of stress forces on the building Ornamental grills that Sullivan designed for the elevators were to be silhouetted against daylight

Louis Sullivan, Guaranty Building, Buffalo

Ornament as a major design feature

Building entirely covered in decorative terra cotta panels

Inspiration of Romanesque buildings

Taller and more slender, with windows recessed to allow for height of piers to seem more dramatic

No office space more than 25 feet from windows

Generous rear lighting courts

Steel frame with lighter outer walls

First building to use Gray columns, designed with distinctive open webs, had lateral stiffness against wind loads

Arrow-like motifs on façade are a playful account of stress forces on the building

Ornamental grills that Sullivan designed for the elevators were to be silhouetted against daylight

Art Nouveau In design Art Nouveau was characterized by writhing plant forms and an opposition to the historicism which had plagued the 19th century. There was a tension implicit throughout the movement between the decorative and the modern which can be seen in the work of individual designers as well as in the chronology of the whole. Its emphasis on decoration and artistic unity links the movement to contemporary Symbolist ideas in art, as seen in the work of the Vienna Secessionists, but the movement was also associated with Arts and Crafts ideas and, as such, Art Nouveau forms a bridge between Morris and Gropius

Beardsley, The Peacock Shirt Japanese influence Sweeping curved lines Erotic connotations Very thin lines Based on peacock motifs No shading, no shadows

Beardsley, The Peacock Shirt

Japanese influence

Sweeping curved lines

Erotic connotations

Very thin lines

Based on peacock motifs

No shading, no shadows

Art Nouveau Gaudi, Casa Mila, Barcelona, Spain Sinuous curved façade of an apartment building Wrought iron balconies a Catalonian specialty Produces the effect of a great piece of sculpture Wavy stringcourses define floors Roses at top are a religious symbol of Mary Small windows of attic story peak out over roof line Fanciful chimneys dominate the top Artistic expression in the forms Traditional use of stone carving façade with modern sense of design Interior curving walls respond to vegetal designs

Gaudi, Casa Mila, Barcelona, Spain

Sinuous curved façade of an apartment building

Wrought iron balconies a Catalonian specialty

Produces the effect of a great piece of sculpture

Wavy stringcourses define floors

Roses at top are a religious symbol of Mary

Small windows of attic story peak out over roof line

Fanciful chimneys dominate the top

Artistic expression in the forms

Traditional use of stone carving façade with modern sense of design

Interior curving walls respond to vegetal designs

Expressionistic, fantastic, organic forms in undulating facade and roof line. light court

"Church of the Holy Family". 1882 - 1926

Vienna Secessionists At the turn of the century, Vienna was a center of radical intellectual vitality, home to Freud, Schoenberg, the architect Adolf Loos, and others. In general, especially in German-speaking countries, young artists complained of he stranglehold the establishment had on exhibitions and policies. In 1897, 19 artists from the Viennese Artists' Association broke off from the organization, including Austrian painter and illustrator Gustav Klimt (1862-1918), the architects and designers Josef Hoffmann (1870-1956), Olbrich, and Moser. These were the Secessionists. They celebrated modernity vs. the retreat into revivalism seen in other movements. Nevertheless, they did share notions with Arts and Crafts: that art belongs to all, that the notion of great art vs. minor art needs to be abolished. They designed and erected a geometric building for permanent exhibition space, and they published a periodical. They supported Art Nouveau, and Klimt especially was the preeminent exponent. In 1905 came a further split within the movement: a split between the fine arts people and the applied arts people. The latter, including Klimt, associated art with industry and were dismayed by the increasingly strong trend towards naturalism. Geometrics, functionalism, and a two-dimensional quality were features instead here. In 1939 growing Nazism contributed to the dissolution of the movement.

1907 Klimt, The Kiss Couple kissing on the edge of a bed Bodies lost in decorative patterning Only heads, hands, and feet visible Surface pattern embraces all Background is flat and offsets foreground patterns

Klimt, The Kiss

Couple kissing on the edge of a bed

Bodies lost in decorative patterning

Only heads, hands, and feet visible

Surface pattern embraces all

Background is flat and offsets foreground patterns

1901 In the Old Testament, the Jewish widow, Judith, saved the city of Bethulia from siege by the Assyrians by adoring herself and venturing into the enemy camp to gain access to the Assyrian general, Holofernes. He invited her to a banquet intending to seduce her, and while they were alone at the feast, Judith took advantage of Holofernes' drunkenness to decapitate him, and returned to Bethulia with his head in a sack. The Jews saw Judith as a virtuous heroine, but Klimt portrays her as a Viennese femme fatale. Her expression of cruel triumph has often led to her being confused with Salome, who ordered the beheading of John the Baptist to satisfy the vengeful spirit of her mother.

Fauvism Matisse, Red Room (Harmony in Red) First appeared in 1905 at the third Salon d’Automne in Paris Dubbed by a critic as “wild beasts” Color used as an expression of the artist’s mindset, not as a description of reality Color inspired by Gauguin Contrast of warm and cool colors, straight and curved lines Simplicity, clarity Artist free to use color independent of natural conditions Simplified and schematized drawings Loud bold colors Depth suggested: forms flattened at curve of table, but curve is suggested by bending of floral patterns, not by the undelineated edges Same floral patterns on walls and table

First appeared in 1905 at the third Salon d’Automne in Paris

Dubbed by a critic as “wild beasts”

Color used as an expression of the artist’s mindset, not as a description of reality

Color inspired by Gauguin

Contrast of warm and cool colors, straight and curved lines

Simplicity, clarity

Artist free to use color independent of natural conditions

Simplified and schematized drawings

Loud bold colors

Depth suggested: forms flattened at curve of table, but curve is suggested by bending of floral patterns, not by the undelineated edges

Same floral patterns on walls and table

1911

Kirchner, Street, Dresden Founder of “The Bridge” a German Expressionist movement that saw itself as a bridge between traditional and modern art Jarring and dissonant colors and shapes, clashing colors Confrontational art Ghoulish figures, seemingly fashionably dressed but in reality they appear threatening Tilted perspective Bright pink street offset by darker sinister figures Paint thickly applied in broad brushstrokes

Kirchner, Street, Dresden

Founder of “The Bridge” a German Expressionist movement that saw itself as a bridge between traditional and modern art

Jarring and dissonant colors and shapes, clashing colors

Confrontational art

Ghoulish figures, seemingly fashionably dressed but in reality they appear threatening

Tilted perspective

Bright pink street offset by darker sinister figures

Paint thickly applied in broad brushstrokes

Kandinsky, Improvisation 28 Founder of the “Blue Rider” school of German Expressionism Representative elements of art eliminated: birth of abstract art Subconscious sensations in art Titles inspired by musical compositions Dominant black lines broadly play horizontally, vertically, diagonally Lines define space, color added at intervals around lines

Kandinsky, Improvisation 28

Founder of the “Blue Rider” school of German Expressionism

Representative elements of art eliminated: birth of abstract art

Subconscious sensations in art

Titles inspired by musical compositions

Dominant black lines broadly play horizontally, vertically, diagonally

Lines define space, color added at intervals around lines

1906 'Rouault was a deeply religious man, considered by some to be the greatest religious artist of the 20th century. The terrible compassion with which he shows his wretched creatures makes a powerful impression. A savage indictment of human cruelty; she is a travesty of femininity although poverty drives her still to prance miserably before her mirror in hope of work. Yet the picture does not depress but holds out hope of redemption. This work is for Rouault a profoundly moral one. She is a sad female version of his tortured Christ, a figure mocked and scorned, held in disrepute.' From: D Solle, Great Women of the Bible in Art and Literature (Eerdmans 1994)

Free Homework Pass Bring a printout of this slide to class on Monday, April 21, and receive one free pass on the next homework assignment of your choice worth 20 points or less.

Bring a printout of this slide to class on Monday, April 21, and receive one free pass on the next homework assignment of your choice worth 20 points or less.