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Chap31

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  • 1. Chapter 31 Art 1D
  • 2. Colonial Empires About 1900
  • 3. Goals <ul><li>Understand the impact of war and economic instability as catalysts for change in art. </li></ul><ul><li>Understand the development of Modernism in the early 20 th century. </li></ul><ul><li>Understand the rejection of representational art and pictorial illusionism in favor of abstraction and spatial distortion. </li></ul><ul><li>Define primitivism and explain why it appealed to modern European artists </li></ul><ul><li>Recall major artistic movements, their stylistic features, and the goals/objectives behind these movements </li></ul><ul><li>Understand the chronological placement of artistic movements and how some movements influenced others </li></ul><ul><li>Recognize important artists and works of art of the early 20 th century </li></ul>
  • 4. 35.1 Europe, 1900 to 1920 <ul><li>Understand the evolution of Modernism and the growth of the avant-garde in the early 20 th century. </li></ul><ul><li>Examine the color and space issues of Fauvism. </li></ul><ul><li>Examine the styles of the German Expressionists – Die Brucke and Der Blaue Reiter. </li></ul><ul><li>Define primitivism and comprehend its affect on certain 20 th century artists </li></ul><ul><li>Understand the evolution of Cubism and differentiate between Analytic Cubism and Synthetic Cubism </li></ul>
  • 5. The Art of the Fauves <ul><li>Explore the Fauves’ interest in color and in the altering of space. </li></ul><ul><li>Recall that the art of the Fauves first gained attention at the Salon d’Automne of 1905 </li></ul><ul><li>Recall that Henri Matisse and Andre Derain were Fauvists </li></ul>
  • 6. HENRI MATISSE, Woman with the Hat , 1905. Oil on canvas, 2’ 7 ¾” X 1’ 11 ½”. San Francisco Museum of Modern Art., San Francisco (bequest of Elise S. Haas).
  • 7. The German Expressionists <ul><li>Examine the styles of the German Expressionists, especially Die Brucke and Der Blaue Reiter. </li></ul><ul><li>Analyze the use of line, color, space, and emotion in the work of the German Expressionists. </li></ul><ul><li>Understand the various influences on the work of the German Expressionists. </li></ul>
  • 8. ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. Museum of Modern Art, New York.
  • 9. EMIL NOLDE, Saint Mary of Egypt among Sinners , 1912. Left panel of a triptych, oil on canvas, approx. 2’ 10” x 3’ 3”. Hamburger Kunsthalle, Hamburg.
  • 10. VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3’ 7 7/8” x 5’ 3 7/8”. Solomon R. Guggenheim Museum, New York (gift of Solomon R. Guggenheim, 1937).
  • 11. FRANZ MARC, Fate of the Animals , 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”. Kunstmuseum, Basel.
  • 12. Evolution of Cubism <ul><li>Understand Pablo Picasso’s development as an artist up to the seminal works that preceded his Cubist work </li></ul><ul><li>Identify Gertrude Stein and her contributions to avant-garde artists like Picasso and Matisse </li></ul><ul><li>Realize that Pablo Picasso and Georges Braque collaborated in the development of Cubism </li></ul><ul><li>Understand primitivism and recognize its influence on Picasso </li></ul><ul><li>Analyze Cubist use of line and shape as well as space and color </li></ul><ul><li>Differentiate between Analytic and Synthetic Cubism </li></ul><ul><li>Recognize other Cubist artists including Cubist sculptors </li></ul><ul><li>Understand the meaning of Purism </li></ul>
  • 13. PABLO PICASSO, Gertrude Stein , 1906–1907. Oil on canvas, 3’ 3 3/8” x 2’ 8”. Metropolitan Museum of Art, New York (bequest of Gertrude Stein, 1947).
  • 14. PABLO PICASSO, Les Demoiselles d’Avignon , 1907. Oil on canvas, 8’ x 7’ 8”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
  • 15. GEORGES BRAQUE, The Portuguese , 1911. Oil on canvas, 3’ 10 1/8” x 2’ 8”. Kunstmuseum, Basel (gift of Raoul La Roche, 1952).
  • 16. ROBERT DELAUNAY, Champs de Mars or The Red Tower , 1911. Oil on canvas, 5’ 3” x 4’ 3”. Art Institute of Chicago, Chicago.
  • 17. PABLO PICASSO, Still Life with Chair-Caning , 1912. Oil and oilcloth on canvas, 10 5/8” x 1’ 1 3/4”. Musée Picasso, Paris.
  • 18. GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass , 1913. Charcoal and various papers pasted on paper, 1’ 6 7/8” x 2’ 1 1/4”. Private collection, New York.
  • 19. Figure 35-41 PABLO PICASSO, Guernica , 1937. Oil on canvas, 11’ 5 1/2” x 25’ 5 3/4”. Museo Nacional Centro de Arte Reina Sofia, Madrid.
  • 20. FERNAND LÉGER, The City, 1919. Oil on canvas, 7’ 7” x 9’ 9 1/2”. Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection).
  • 21. Futurism <ul><li>Explain the goals/objectives of the Futurists </li></ul><ul><li>Identify Futurist artists </li></ul><ul><li>Analyze Futurist works of art in terms of line, color, and space </li></ul><ul><li>Make comparisons between Futurism and other artistic movements </li></ul><ul><li>Understand the chronological placement of Futurism </li></ul>
  • 22. GIACOMO BALLA, Dynamism of a Dog on a Leash , 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-Knox Art Gallery, Buffalo, New York (bequest of A. Conger Goodyear, gift of George F. Goodyear, 1964).
  • 23. UMBERTO BOCCIONI, Unique Forms of Continuity in Space , 1913 (cast 1931). Bronze, 3’ 7 7/8” x 2’ 10 7/8” x 1’ 3 3/4”. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).
  • 24. Dada <ul><li>Understand the influence of the Dada movement with its emphasis on spontaneity and intuition. </li></ul><ul><li>Understand the issues of anarchy and chance as they apply to form and content in visual art. </li></ul><ul><li>Recognize the rejection of convention in Dada and its reaction to world events. </li></ul><ul><li>Appreciate the impact of Dada on the development of 20 th and 21 st century art </li></ul><ul><li>Identify Dada artists </li></ul>
  • 25. MARCEL DUCHAMP, Fountain , (second version), 1950 (original version produced 1917). Readymade glazed sanitary china with black paint, 1’ high. Philadelphia Museum of Art, Philadelphia.
  • 26. 35.2 America, 1900 to 1930 <ul><li>Understand the gradual development of modernist art in America </li></ul><ul><li>Understand the significance of the Armory Show of 1913 </li></ul><ul><li>Recognize the work of major American artists of the first half of the 20 th century and describe their artistic goals/objectives </li></ul><ul><li>Examine the diverse artistic techniques, media, and approaches to line, color, and space taken by these American artists </li></ul>
  • 27. Figure 35-31 JOHN SLOAN, Sixth Avenue and Thirtieth Street, New York City , 1907, 1909. Oil on canvas, 2’ 1/4” x 2’ 8”. Philadelphia Museum of Art, Philadelphia (gift of Meyer P. Potamkin and Vivian O. Potamkin, 2000).
  • 28. The Remarkable Armory Show <ul><li>Examine the art and artists of the influential Armory Show. </li></ul>
  • 29. Figure 35-32 Installation photo of the Armory Show, New York National Guard’s 69th Regiment, New York, 1913. Museum of Modern Art, New York.
  • 30. MARCEL DUCHAMP, Nude Descending a Staircase, No. 2 , 1912. Oil on canvas, 4’ 10 “x 2’ 11”. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection).
  • 31. ALFRED STIEGLITZ, The Steerage , 1907 (print 1915). Photogravure (on tissue), 1’ 3/8” x 10 1/8”. Courtesy of Amon Carter Museum, Fort Worth.
  • 32. Europe, 1920 to 1945 <ul><li>Understand the intense realistic post-war expressionism of German artists. </li></ul><ul><li>Understand the European post-war malaise and the importance of cathartic subject matter in Expressionist art. </li></ul><ul><li>Examine the origins, development, methods and content of Surrealism and Fantasy art. </li></ul>
  • 33. Surrealism <ul><li>Examine the development, methods and content of Surrealism. </li></ul><ul><li>Identify Surrealist artists. </li></ul><ul><li>Realize that the Surrealists were influenced by Dada </li></ul>
  • 34. GIORGIO DE CHIRICO, Melancholy and Mystery of a Street , 1914. Oil on canvas, 2’ 10 1/4” x 2’ 4 1/2”. Private collection.
  • 35. MAX ERNST , Two Children Are Threatened by a Nightingale, 1924. Oil on wood with wood construction, 2’ 3 1/2” x 1’ 10 1/2” x 4 1/2”. Museum of Modern Art, New York.
  • 36. SALVADOR DALÍ, The Persistence of Memory , 1931. Oil on canvas, 9 1/2” x 1’ 1”. Museum of Modern Art, New York.
  • 37. RENÉ MAGRITTE , The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1”. Los Angeles County Museum of Art, Los Angeles (purchased with funds provided by the Mr. and Mrs. William Preston Harrison Collection).
  • 38. MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” diameter; saucer, 9 3/8” diameter; spoon, 8” long. Museum of Modern Art, New York.
  • 39. JOAN MIRÓ, Painting , 1933. 5’ 8” x 6’ 5”. Museum of Modern Art, New York (Loula D. Lasker Bequest by exchange).
  • 40. PAUL KLEE, Twittering Machine , 1922. Watercolor and pen and ink, on oil transfer drawing on paper, mounted on cardboard, 2’ 1” x 1’ 7”. Museum of Modern Art, New York.
  • 41. The Utopian Styles <ul><li>Examine the forms and utopian notions in Suprematism, Constructivism, and in De Stijl. </li></ul>
  • 42. KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying , 1915 (dated 1914). Oil on canvas, 1’ 10 7/8” x 1’ 7”. Museum of Modern Art, New York.
  • 43. PIET MONDRIAN, Composition in Red, Blue, and Yellow , 1937-1942. Oil on canvas, 1’ 11 ¾” X 1’ 9 7/8”. Museum of Modern Art, New York. © 2008 Mondrian/Holtzman Trust c/o HCR International, Warrenton, VA, USA.
  • 44. America, 1930 to 1945 <ul><li>Understand issues of rebellion and the depiction of social injustice in art. </li></ul><ul><li>Recognize that American artists had different goals in their art and these goals affected the formal qualities of their work </li></ul><ul><li>Examine the art of the Depression, the depiction of displaced workers, poverty and urban isolation, along with the beginnings of government support for art in the WPA programs. </li></ul><ul><li>Examine the political content and form of art resulting from African American migration in the United States. </li></ul><ul><li>Understand the themes of Regionalism in American art. </li></ul>
  • 45. ALEXANDER CALDER, Lobster Trap and Fish Tail , 1939. Painted sheet aluminum and steel wire. 8’ 6” X 9’ 6”. Museum of Modern Art, New York.
  • 46. DOROTHEA LANGE, Migrant Mother, Nipomo Valley , 1935. Gelatin silver print. 1’ 1” x 9”. Oakland Museum of California, Oakland (gift of Paul S.Taylor)
  • 47. JACOB LAWRENCE, No. 49 from The Migration of the Negro , 1940–1941. Tempera on masonite, 1’ 6” x 1’. The Phillips Collection, Washington, D.C.
  • 48. Documenting Lives in Art <ul><li>Examine the political content of art resulting from African American migration along with the themes of Regionalism. </li></ul>
  • 49. GRANT WOOD, American Gothic , 1930. Oil on beaverboard, 2’ 5 7/8” x 2’ 7/8”. Art Institute of Chicago, Chicago (Friends of American Art Collection). Art © Estate of Grant Wood/Licensed by VAGA, New York.
  • 50. THOMAS HART BENTON, Pioneer Days and Early Settlers , State Capitol, Jefferson City, Missouri, 1936. Mural. Art © T. H. Benton and R. P. Benton Testamentary Trusts/Licensed by VAGA, New York, NY.
  • 51. 20 th Century Mexican Artists <ul><li>Examine the art of the Mexican painters along with their mediums, techniques, and methods. </li></ul><ul><li>Understand how Mexican artists incorporated political statements into their work through their choice of subject matter and formal elements </li></ul>
  • 52. DIEGO RIVERA, Ancient Mexico , from the History of Mexico fresco, National Palace, Mexico City, 1929–1935. Fresco.
  • 53. FRIDA KAHLO, The Two Fridas , 1939. Oil on canvas, 5’ 7” x 5’ 7”. Museo de Arte Moderno, Mexico City.
  • 54. Discussion Questions <ul><li>What caused artists in the early 20 th century to reject observational naturalism in art? </li></ul><ul><li>How did Cubism influence other art styles in the early 20 th century? </li></ul><ul><li>Why is art a powerful means for the expression of sociopolitical concerns? </li></ul>

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