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Fauvism, Expressionism, Abstraction, Art Nouveau
 

Fauvism, Expressionism, Abstraction, Art Nouveau

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    Fauvism, Expressionism, Abstraction, Art Nouveau Fauvism, Expressionism, Abstraction, Art Nouveau Presentation Transcript

    • EXPRESSIONISM, ABSTRACTION, FAUVISM AND ART NOUVEAU THE BEGINNING OF THE TWENTIETH CENTURYMonday, 23 April, 12
    • EXPRESSIONISM, ABSTRACTION, FAUVISM AND ART NOUVEAU THESE FOUR MOVEMENTS TOOK PLACE ROUGHLY FROM 1900 TO 1920 AS STYLE THEY ARE ONLY LOOSELY RELATED • BUT THEY WERE: DONE AT ABOUT THE SAME TIME, ABSTRACTED, HAVE SWEEPING LINES, HAVE STRONG COLOURS, ARE FLAT AND ARE EXTREMELY INFLUENTIAL TODAYMonday, 23 April, 12
    • MATISSE & FAUVISM MATISSE WAS INITIALLY A POST IMPRESSIONIST, WORKING IN THE TRADITION OF CEZANNE HE BECAME THE BIGGEST THING ON THE PARIS ART SCENE UNTIL PICASSO CAME ALONGMonday, 23 April, 12
    • MATISSE: “MUSIC LESSON” 1917 HIS OBJECTS WERE SIMPLIFIED AND HIS SPACE WAS CONTRACTED (FLAT). HIS COLOURS WERE NOT THOSE OF THE OBJECTS HE DEPICTEDMonday, 23 April, 12
    • MATISSE: “ODALISQUE” 1923 HE BUILDS A STRUCTURE OF JOYFUL COLOUR, SHAPE AND LINE NOT ALWAYS DEPENDANT ON NATURAL APPEARANCE. HE WAS STRONGLY INFLUENCED BY THE FLAT COLOUR OF JAPANESE PRINTS.Monday, 23 April, 12
    • MATISSE: “MADAME MATISSE (OR GREEN STRIPE), 1905 THE ABSTRACT COLOUR IS SHOCKING BECAUSE THE SUBJECT MATTER WAS SO FAMILIAR PEOPLE WERE MORE READY TO ACCEPT ABSTRACT COLOUR IN PAINTINGS OF THE FANTASTIC OR EXOTICMonday, 23 April, 12
    • MATISSE: “HARMONY IN RED” 1908 EVENTUALLY THE PAINTINGS HAD LITTLE TO DO WITH REALISTIC FORM, COLOUR OR LINE AND WERE TEXT LARGELY DECORATIVE MANY LOVE THEM HISTORY WOULD CALL HIM THE 2ND GREATEST PAINTER OF THE CENTURY AFTER PICASSOMonday, 23 April, 12
    • MATISSE: “DANCE HIS WORK CONTINUED TO SIMPLIFYMonday, 23 April, 12
    • MATISSE: “JAZZ”, 1947 LATER ON IN HIS LIFE, HE WAS BEDRIDDEN AND ARTHRITIC FROM SO MUCH PAINTING EVENTUALLY MUCH OF HIS ART WAS CREATED BY CUTTING PAPER TO SHAPE AND GLUING IT ON TO OTHER PAPER SHAPES-- SOPHISTICATED COLLAGESMonday, 23 April, 12
    • EXPRESSIONISM: PIERRE BONNARD BONNARD WAS A FRENCH EXPRESSIONIST HIS WORK WAS HIGHLY ORNAMENTAL AND TEXTURED IT HAD A HAPPY MOOD AS DID THE WORK OF MANY OF THE FRENCH EXPRESSIONISTS. “DINING ROOM IN THE COUNTRY”, 1913Monday, 23 April, 12
    • BONNARD: “NUDE IN LIGHT” 1907 THE FLATNESS AND THE FORCED PERSPECTIVE IS LARGELY FROM THE JAPANESEMonday, 23 April, 12
    • AS A GENERAL RULE THE FRENCH EXPRESSIONISTS LIKE BONNARD HAD A CERTAIN HAPPINESS TO THEIR WORK THE GERMANS TENDED TO BE LESS SO MUNCH WAS PROBABLY THE CREEPIEST OF THEM ALL HE WAS NORWEGIAN EXPRESSIONISM: MUNCH: “THE DANCE OF LIFE” 1900Monday, 23 April, 12
    • MUNCH: “THE SCREAM”, 1893 THOUGH PAINTED IN 1895 IT IS OFTEN CALLED THE MOST FAMOUS WORK OF THE PAST CENTURY SEVERAL VERSIONS WERE PAINTED IT HAS BEEN STOLEN TWICE IN THE PAST TEN YEARS OR SOMonday, 23 April, 12
    • MUNCH: “DEATH IN THE SICKROOM”, 1895 HE LEARNED FROM HIS TRAVELS IN FRANCE AND GERMANY BUT DEVELOPED IN A COUNTRY WITHOUT A STRONG ORIGINAL ARTISTIC TRADITION (WHICH IS UNUSUAL) HIS ART STEMS FROM A NORWEGIAN LITERARY AND MYSTICAL TRADITIONMonday, 23 April, 12
    • MUNCH: “EVENING ON KARL JOHAN ST., OSLO”, 1892 THOUGH HE LIVED TO EIGHTY SICKNESS AND DEATH WERE A LARGE PART OF HIS LIFE, WITH HIS MOTHER AND SISTER DYING OF TUBERCULOSIS WHILE HE WAS YOUNG HIS ART OFTEN CENTRED AROUND ILLNESSMonday, 23 April, 12
    • MUNCH: “MADONNA”, 1895 HIS WORK ALSO CENTRED AROUND SEX HE USED SINUOUS, CURVING, CONSTANTLY MOVING LINES REMINISCENT OF “ART NOUVEAU” WHICH WAS BECOMING POPULAR AT THE TIMEMonday, 23 April, 12
    • MUNCH: “PUBERTY”, 1895Monday, 23 April, 12
    • MUNCH: “PUBERTY”, 1895 THERE ARE MANY INTERPRETATION OF THIS PAINTING. HERE IS ONE FROM THE INTERNET: I THINK IN THIS PICTURE MUNCH HAS CAPTURED THE TRUE FEELING OF A GIRL WHO HAS JUST DISCOVERED HER BODY AND WHAT IT IS CAPABLE OF DOING WITHOUT HER CONTROL. I THINK IT HAS FRIGHTENED HER AND SHE IS INNOCENT AND HAS NO CLUE TO WHAT IS GOING ON, THERE IS EVEN A FEELING OF EMBARRASSMENT FROM THIS PAINTING.Monday, 23 April, 12
    • MUNCH: “THE DEAD MOTHER”, 1900 FLAT, UNSETTLING, SIMPLE, DARK, BOLD.Monday, 23 April, 12
    • EGON SCHIELE WAS REGARDED BY MANY AS THE PREDESTINED SUCCESSOR TO GUSTAV KLIMT, BUT DIED BEFORE HE COULD FULFILL HIS PROMISE. DARK, TORMENTED YOUNG MAN PAINTED SELF PORTRAITS AND PAINTINGS OF NUDE WOMEN, OFTEN YOUNG PROSTITUTES DIED BEFORE HIS TIME OF SPANISH INFLUENZA AT THE AGE OF 28Monday, 23 April, 12
    • EGON SCHIELE: “SELF PORTRAIT WITH HAND ON CHEEK”, 1915 OFTEN HAD A RATHER GAUNT, STARVED LOOK THIN AND BONEYMonday, 23 April, 12
    • FLAT, FLORAL BACKGROUND REMINISCENT OF JAPANESE PAINTINGS ALSO INFLUENCED BY GUSTAV KLIMT AND ART NOUVEAUMonday, 23 April, 12
    • EGON SCHIELE: “NUDE”, 1913 & “RECLINING NUDE”, 1914 HIS NUDE WOMEN WERE OFTEN VERY RAW AND EROTICMonday, 23 April, 12
    • EXPRESSIONISM: EMIL NOLDE “DANCE AROUND THE GOLDEN CALF”, 1910 A PIONEER OF GERMAN EXPRESSIONISM SHOWS LUST OF PEOPLE WHO HAVE ABANDONED GOD CONCENTRATED ON COLOUR, TEXTURE, MOODMonday, 23 April, 12
    • GERMAN EXPRESSIONISM: NOLDE: “JUNGE FRAU UND MANNER” WHAT ABOUT THIS PAINTING IS REMINISCENT OF MATISSE?Monday, 23 April, 12
    • NOLDE: “SUMMER” FIRST PAINTINGS WERE OF FANTASY AT TIMES, MOUNTAINS TRANSFORMING INTO GIANTS HERE, A REALISTIC SUBJECT WITH A FANTASTIC ELEMENTMonday, 23 April, 12
    • NOLDE: “LAST SUPPER” DIFFERENT THAN LEONARDO DA VINCI’S BUT SIMILARITIES REMAIN. DO YOU SEE THEM?Monday, 23 April, 12
    • NOLDE: “LAST SUPPER” DIFFERENT THAN LEONARDO DA VINCI’S BUT SIMILARITIES REMAIN. DO YOU SEE THEM?Monday, 23 April, 12
    • NOLDE: “MASK STILL LIFE III” INSPIRED BY AFRICAN MASKS JUST LIKE PICASSO AND OTHERSMonday, 23 April, 12
    • GEORGES ROUAULT: “CHRIST’S FACE” PAINTED BY A DEEPLY RELIGIOUS, EMOTIONAL AND MORALISTIC MAN CONSIDERED A PRIMITIVE THOUGH A FOLLOWER OF VAN GOGH AND GAUGHIN, AND OFTEN CALLED A PRODUCER OF “FAUVE” ARTMonday, 23 April, 12
    • ROUAULT: CHRIST ON CROSS REMINISCENT OF GAUGHIN’S YELLOW CHRISTMonday, 23 April, 12
    • ROUAULT: CHRIST ON CROSS REMINISCENT OF GAUGHIN’S YELLOW CHRISTMonday, 23 April, 12
    • ROUAULT: “CHRIST” REMINISCENT OF A STAINED-GLASS WINDOWMonday, 23 April, 12
    • ROUAULT: “THE OLD KING” EVENTUALLY ROUAULT’S WORK REFLECTED A CHANGE IN HIS EMOTIONAL AND MORAL OUTLOOK. HE SOUGHT SUBJECTS APPROPRIATE TO HIS SENSE OF INDIGNATION AND DISGUST OVER THE EVIL’S OF BOURGEOIS COMPLACENCY THAT PERMEATED SOCIETY.Monday, 23 April, 12
    • EXPRESSIONISM: VASILY KANDINSKY BORN IN RUSSIA STUDIED LAW AND ECONOMICS AT THE UNIVERSITY OF MOSCOW HE STARTED AS AN EXPRESSIONIST WITH THE FOUNDING OF “DER BLAUE REITER” SCHOOL IN MUNICHMonday, 23 April, 12
    • KANDINSKY: “ST. GEORGE” HIS ART CONTINUED IN A NON- REPRESENTATIONAL DIRECTION SOME OF THE IMAGE HAS A REALISTIC BUT ABSTRACTED ELEMENT BUT OTHER PARTS SEEM TO BE LARGER NON- REPRESENTATIONAL.Monday, 23 April, 12
    • KANDINSKY: “BLACK SPOT I”, 1912 NOTE HOW FREE FORM THIS WORK ISMonday, 23 April, 12
    • KANDINSKY: “1926” GEOMETRIC AND NON- REPRESENTATIONAL CONSIDERED THE FOUNDER OF NON- REPRESENTATIONAL ARTMonday, 23 April, 12
    • MUSIC AND ABSTRACTION "COLOR IS THE KEYBOARD, THE EYES ARE THE HARMONIES, THE SOUL IS THE PIANO WITH MANY STRINGS. THE ARTIST IS THE HAND THAT PLAYS, TOUCHING ONE KEY OR ANOTHER, TO CAUSE VIBRATIONS IN THE SOUL." ~KANDINSKY THE CONCEPT THAT COLOR AND MUSICAL HARMONY ARE LINKED HAS A LONG HISTORY, INTRIGUING SCIENTISTS SUCH AS SIR ISAAC NEWTON. KANDINSKY USED COLOR IN A HIGHLY THEORETICAL WAY ASSOCIATING TONE WITH TIMBRE (THE SOUNDS CHARACTER), HUE WITH PITCH, AND SATURATION WITH THE VOLUME OF SOUND. HE EVEN CLAIMED THAT WHEN HE SAW COLOR HE HEARD MUSIC. THIS BLURRING OF THE SENSES IS CALLED “SYNESTHESIA”Monday, 23 April, 12
    • KANDINSKY: “COMPOSITION VIII”, 1923Monday, 23 April, 12
    • KANDINSKY: “COMPOSITION X”, 1939Monday, 23 April, 12
    • KANDINSKY: “COMPOSITION 12 “ HE OFTEN GAVE SIMPLE NAMES TO HIS WORK LIKE “COMPOSITION 12” HE LETS THE WORK SPEAK FOR ITSELFMonday, 23 April, 12
    • GUSTAV KLIMT DREW FROM A RANGE OF SOURCES: CLASSICAL GREEK, BYZANTINE, EGYPTIAN, MINOAN ART, AND LATE-MEDIEVAL PAINTING IN SYNTHESIZING THESE DIVERSE SOURCES, KLIMTS ART ACHIEVED BOTH INDIVIDUALITY AND EXTREME ELEGANCE. “KLIMT”, SKETCH BY EGON SCHIELEMonday, 23 April, 12
    • GUSTAV KLIMT & ART NOUVEAU EXPONENT OF ART NOUVEAU. KLIMT BEGAN (1883) AS AN ARTIST-DECORATOR. HE EXECUTED MURAL DECORATIONS FOR STAIRCASES AT THE BURGTHEATER AND THE KUNSTHISTORISCHES MUSEUM IN VIENNAMonday, 23 April, 12
    • KLIMT: “THE KISS” USED VERY DECORATIVE STYLE NOTE THE DIFFERENCE BETWEEN THE DECORATIVE PATTERNS ON THE MAN VS. THE WOMAN PAINTINGS SHIMMER BECAUSE OF USE OF GOLD LEAFMonday, 23 April, 12
    • A STRANGE MAN... A VERY STRANGE MAN, HE WOULD HAVE A “HAREM” OF YOUNG WOMEN HANGING AROUND HIS STUDIO ALL THE TIME HE RARELY GOT DRESSED AND WORE A TOGA INSTEADMonday, 23 April, 12
    • KLIMT: “PORTRAIT OF ADELE BLOCH-BAUER”Monday, 23 April, 12
    • KLIMT: “EMILIE FLOGE” VERY POPULAR, AND SOUGHT AFTER BY HIGH SOCIETY TO HAVE THEIR PORTRAIT DONEMonday, 23 April, 12
    • ART NOUVEAU ART NOUVEAU WAS ALSO CALLED THE “INTERNATIONAL STYLE” AND WAS USED IN ALL ARTS AND CRAFTS. THE WORLD WAS GETTING SMALLER, AND IT WAS ADAPTED EVERYWHERE IT CONTAINED BROAD SWEEPING LINES AND ATTENTION TO DETAILSMonday, 23 April, 12
    • ART NOUVEAU IT WAS USED ON BOATS AND CARS IT REMAINS POPULAR TODAY.Monday, 23 April, 12
    • ART NOUVEAU IT IS USED ON SMALL ITEMS TOOMonday, 23 April, 12
    • Monday, 23 April, 12
    • ART NOUVEAU: “AUBREY BEARDSLEY” IT WAS USED IN BRITISH BOOK ILLUSTRATIONMonday, 23 April, 12
    • ART NOUVEAU: “ERTE” IT WAS USED BY FASHION DESIGNERSMonday, 23 April, 12
    • ART NOUVEAU: ALPHONSE MUCHA IT IS THE MOST ACCESSIBLE OF THE ART STYLES THAT BECAME IMPORTANT AT THE TURN OF THE CENTURY IT WAS THE MOST POPULAR IT REMAINS THE MOST POPULARMonday, 23 April, 12