The document provides historical context for the development of modernist art in the early 20th century. It discusses several key art movements that emerged during this period, including Fauvism, German Expressionism, Cubism, Futurism, Dada, and Precisionism. It also examines how photography began to be viewed as an art form and profiles some notable American artists like Alfred Stieglitz, Man Ray, Stuart Davis, and Aaron Douglas who incorporated European modernist styles into their own work.
The document provides historical context for the development of modernist art in the early 20th century. Key events like World War I, advances in science, and the rise of ideologies like Marxism and nationalism led artists to reject observational naturalism. Movements like Expressionism, Cubism, Futurism, Dada, and early abstract painting emerged as artists sought new ways to express themselves and make sense of a changing world. The Armory Show in 1913 introduced modern European art to American audiences and influenced the development of modern photography as an art form.
The document provides an overview of the rise of modernism in art in the later 19th century, focusing on developments in realism and impressionism. It examines how industrialization, Darwinism, Marxism, and sociopolitical changes altered ideas about the subject matter and nature of art. Key artistic movements discussed include realism, pre-Raphaelitism, and impressionism. The document includes goals, sections on these movements, and figures of influential artworks from the period to illustrate the concepts and styles.
The document provides an overview of modernist art in the early 20th century. It discusses the development of styles like Fauvism, German Expressionism, Cubism, Dada, and Surrealism. Key events discussed include the influence of World War I, the Armory Show of 1913 which introduced modern European art to American audiences, and post-war Expressionist works by German artists like Beckmann and Dix addressing the trauma of the war. The document uses over 50 figures to illustrate important works in these styles by artists such as Matisse, Kandinsky, Picasso, Duchamp, and others.
This document provides an overview of art from the modern to postmodern eras in the later 20th century. It discusses how World War 2 shifted the center of western art from Paris to New York. Modernist styles like abstract expressionism, minimalism, and conceptual art are examined. The document also explores postmodern reactions like pop art, earthworks, and new organic architectures. Key artists and their representative works from each movement are illustrated to understand the theories and styles and critique of modernism in late 20th century art.
This document provides an outline and key figures for a chapter on the development of modernist art in the early 20th century. It includes sections on Expressionism, Cubism, Dada, the Armory Show, Surrealism, utopian ideals like Suprematism and Constructivism, the Bauhaus, Art Deco, and organic styles. Each section includes several figures with the image, artist, and key concept. The outline covers major artistic movements and styles from this transformative period in art history.
The document provides an overview of early modern art in Europe and America between 1900 and 1945. It discusses the emergence of modernist movements like Fauvism, Cubism, Expressionism, Dada, and Futurism in Europe in response to World War I and social changes. It also examines the gradual development of modernist art in America, including the influential 1913 Armory Show that introduced avant-garde European art to the United States. Major artists of the period from both sides of the Atlantic like Matisse, Picasso, Duchamp, and Stieglitz are also highlighted.
This document provides an overview of Chapter 28 from Gardner's Art Through the Ages, which discusses artistic styles from the late 18th to mid-19th century in Europe. It covers the Rococo style, the interest in science during the Enlightenment, the naturalistic taste, Neoclassicism, and their expressions in France, England, the US, Italy and architecture. Key points include the luxurious Rococo interiors and salon culture in France; scientific works like Wright of Derby's lecture at the orrery; Chardin and Vigée-Lebrun's natural subjects; Hogarth's moralizing works in England; and David's Neoclassical history paintings adapting classical themes for France.
After WWII, Abstract Expressionism became the first truly American art movement, centered in New York City. It featured gestural abstraction like Jackson Pollock's drip paintings and chromatic abstraction works by Mark Rothko using blocks of color. Meanwhile, Pop Art emerged in the 1960s as a reaction, appropriating imagery from popular culture in works like Richard Hamilton's collage. Sculpture also evolved through minimalism which emphasized objecthood over imagery in sculptures by artists like Donald Judd.
The document provides historical context for the development of modernist art in the early 20th century. Key events like World War I, advances in science, and the rise of ideologies like Marxism and nationalism led artists to reject observational naturalism. Movements like Expressionism, Cubism, Futurism, Dada, and early abstract painting emerged as artists sought new ways to express themselves and make sense of a changing world. The Armory Show in 1913 introduced modern European art to American audiences and influenced the development of modern photography as an art form.
The document provides an overview of the rise of modernism in art in the later 19th century, focusing on developments in realism and impressionism. It examines how industrialization, Darwinism, Marxism, and sociopolitical changes altered ideas about the subject matter and nature of art. Key artistic movements discussed include realism, pre-Raphaelitism, and impressionism. The document includes goals, sections on these movements, and figures of influential artworks from the period to illustrate the concepts and styles.
The document provides an overview of modernist art in the early 20th century. It discusses the development of styles like Fauvism, German Expressionism, Cubism, Dada, and Surrealism. Key events discussed include the influence of World War I, the Armory Show of 1913 which introduced modern European art to American audiences, and post-war Expressionist works by German artists like Beckmann and Dix addressing the trauma of the war. The document uses over 50 figures to illustrate important works in these styles by artists such as Matisse, Kandinsky, Picasso, Duchamp, and others.
This document provides an overview of art from the modern to postmodern eras in the later 20th century. It discusses how World War 2 shifted the center of western art from Paris to New York. Modernist styles like abstract expressionism, minimalism, and conceptual art are examined. The document also explores postmodern reactions like pop art, earthworks, and new organic architectures. Key artists and their representative works from each movement are illustrated to understand the theories and styles and critique of modernism in late 20th century art.
This document provides an outline and key figures for a chapter on the development of modernist art in the early 20th century. It includes sections on Expressionism, Cubism, Dada, the Armory Show, Surrealism, utopian ideals like Suprematism and Constructivism, the Bauhaus, Art Deco, and organic styles. Each section includes several figures with the image, artist, and key concept. The outline covers major artistic movements and styles from this transformative period in art history.
The document provides an overview of early modern art in Europe and America between 1900 and 1945. It discusses the emergence of modernist movements like Fauvism, Cubism, Expressionism, Dada, and Futurism in Europe in response to World War I and social changes. It also examines the gradual development of modernist art in America, including the influential 1913 Armory Show that introduced avant-garde European art to the United States. Major artists of the period from both sides of the Atlantic like Matisse, Picasso, Duchamp, and Stieglitz are also highlighted.
This document provides an overview of Chapter 28 from Gardner's Art Through the Ages, which discusses artistic styles from the late 18th to mid-19th century in Europe. It covers the Rococo style, the interest in science during the Enlightenment, the naturalistic taste, Neoclassicism, and their expressions in France, England, the US, Italy and architecture. Key points include the luxurious Rococo interiors and salon culture in France; scientific works like Wright of Derby's lecture at the orrery; Chardin and Vigée-Lebrun's natural subjects; Hogarth's moralizing works in England; and David's Neoclassical history paintings adapting classical themes for France.
After WWII, Abstract Expressionism became the first truly American art movement, centered in New York City. It featured gestural abstraction like Jackson Pollock's drip paintings and chromatic abstraction works by Mark Rothko using blocks of color. Meanwhile, Pop Art emerged in the 1960s as a reaction, appropriating imagery from popular culture in works like Richard Hamilton's collage. Sculpture also evolved through minimalism which emphasized objecthood over imagery in sculptures by artists like Donald Judd.
This document provides an overview of Impressionism in Europe and America between 1870-1900. It discusses the Industrial Revolution and sociopolitical changes that influenced art during this period. It then focuses on Impressionism, examining the formal elements, subject choices, interest in sensation/impermanence, and importance of light/color theory for Impressionist artists. Key Impressionist works and artists are mentioned, including Monet, Caillebotte, Pissarro, Renoir, Manet, Degas, Morisot, and Whistler. Japonisme and its influence on later Impressionism is also addressed.
Art 1020 Chapter 24 Modernism in Europe and America 1900-1945Amelia Jones
The document provides an overview of modernism in Europe and America between 1900-1945. It discusses the major art movements including Fauvism, German Expressionism, Cubism, Futurism, Dada, Suprematism, Constructivism, and more. Key aspects covered include the experimental approaches artists took with subject matter, techniques, and materials. Major figures and works are referenced to illustrate the styles and philosophies of each movement. The document also touches on related historical events and concepts that influenced modernist art during this period.
This document provides an overview of art in the 20th century. It showcases works from various artistic movements and highlights experimentation with new materials, styles, and a rejection of realism. Key developments include the rise of abstraction, the relationship between art and its social/political contexts, and questioning traditional boundaries between high and low art forms.
Chapter 10 picturing the waste land - western europe during world war iPetrutaLipan
The Cabaret Voltaire opened in Zurich in 1916, launching the art movement known as Dada. Founded by Hugo Ball and Emmy Hennings, it attracted diverse artists and hosted performances of works rejecting logic and rationality in response to World War I. Dada soon spread to other cities and focused on nonsensical happenings and works incorporating chance to subvert artistic norms. Figures like Marcel Duchamp, Hans Arp, and Francis Picabia created readymades and works embracing happenstance that challenged definitions of art. Dada marked a revolutionary beginning of conceptual art and influence on subsequent avant-garde movements.
What Modern Art can teach us about CreativityPodium Wisdom
How can masters like Picasso, Monet, Warhol and Pollock inspire you to be more creative? Come in and find out!
If you enjoyed this, connect with me at https://twitter.com/podiumwisdom. I excavate the web for goodies on persuasion, art, presentation, design and more!
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
This document provides an overview of various printmaking techniques. It begins by defining what a print is and discussing early uses of printing. It then characterizes and provides examples of relief processes like woodcut and linocut. It also characterizes and provides examples of intaglio processes like engraving, etching, and drypoint. The document discusses the creative process of printmaking and provides a contemporary example of a four-color intaglio print. It aims to differentiate various printmaking techniques and provide historical and artistic context.
Dada was an early 20th century avant-garde art movement characterized by a spirit of revolt against traditional artistic values. It arose from disillusionment after World War I and influenced later styles like Surrealism. Dadaists believed that reason and logic had led to war, and they used nonsensical techniques like chance and absurdity to subvert traditional art forms. Marcel Duchamp was a prominent Dadaist who created readymades by selecting mundane mass produced objects and exhibiting them as art, questioning concepts of art and beauty.
*NOTE: This was a slideshow with audio. For the full version, see it now on YouTube at https://www.youtube.com/watch?v=e_gOezyDhGg.
For my US History class, a brief discussion of modernist art in the early years. CC Lisa M Lane Attribution-NonCommercial-ShareAlike 2012.
The document discusses the major art movements that emerged in Europe and America during the 19th century, including Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Expressionism, and Art Nouveau. It describes characteristics of each style and highlights influential artists such as Delacroix, Courbet, Monet, Van Gogh, Rodin, and Gaudi. Key developments were the rejection of Academic art in favor of depicting reality and nature, and the use of light, color, and brushwork to express emotion and atmosphere.
The document provides an overview of the development of photography and realist painting from the early to late 19th century in Europe and America. It discusses key figures and works that advanced realism and naturalism in art, moving from romanticized depictions to more objective styles influenced by photography. These include Daguerre, Niepce, Courbet, Manet, Monet, Degas, and Eakins among others. It also covers the emergence of impressionism from realism and its rejection of academic styles in favor of capturing fleeting visual impressions of light and motion.
Post modern and contemporary painting in germanypen lee
The document summarizes post-modern and contemporary painting in Germany from the late 20th century to present day. It begins with the annihilation of modern art by Nazis in 1933-1945 and the rise of expressionism. In the post-WWII era, artists like Joseph Beuys explored German identity and used performance art to promote social change. Gerhard Richter and Sigmar Polke reacted against capitalist realism. Neo-expressionism emerged in the 1970s-80s with artists like Baselitz, Immendorff, and Polke. Younger artists like Neo Rauch and the Leipzig School reference German art history while creating mythological narratives.
Modernism in art flourished in the early 20th century, expressed through many movements including Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Bauhaus, and Surrealism. This period was shaped by world events such as World War I, the Russian Revolution, the rise of totalitarian regimes in Europe, the Great Depression, and World War II. Artists explored new aesthetics and challenged traditional approaches, influenced by interest in non-Western cultures, new technologies, and the chaos of war. Some key developments included abstract painting, collage, photomontage, and questioning the nature of art through readymades. Modernism transformed visual arts and reflected the
This document discusses the evolution of subject matter in art from traditional religious and historical works to more ordinary scenes of everyday life. As photography was invented, artists gained more freedom to experiment with atmospheric effects, colors, and impressions rather than realistic depictions. The Impressionists embraced this change, focusing on capturing fleeting moments and effects of light. Photography's ability to record literal appearances allowed painting to become more abstract and experimental. The document traces key developments from early camera obscuras and daguerreotypes to studios popularizing photography among elites.
This document provides an overview of Native American arts from various regions including Mesoamerica, South America, and North America after 1300 AD. It covers major cultures and time periods like the Aztec, Maya, Inca, and tribes from the Southwest, Northwest Coast, Great Plains. It describes art forms like masks, totem poles, pottery, textiles, and ledger drawings. It also mentions architectural sites like Machu Picchu and structures used for religious ceremonies.
After World War II, art moved away from modernism and toward postmodernism. Postmodern art explored identity, politics, and the relationship between art and mass culture. Styles included abstract expressionism, minimalism, pop art, conceptual art, and earthworks. Artists like Pollock, Rothko, and Judd created abstract works that emphasized process, emotion, and the qualities of materials over recognizable subjects. Later artists engaged popular culture and examined the definition of art through new media.
Sculpture in the later 19th century focused on realism and expression through contemporary subject matter. Representative sculptors included Jean-Baptiste Carpeaux, Augustus Saint-Gaudens, and Auguste Rodin, who created works like Ugolino and His Children, Adams Memorial, and Walking Man respectively. The Arts and Crafts Movement valued aesthetic functional objects and high quality craftsmanship inspired by Ruskin and Morris. Art Nouveau architecture featured organic nature forms, as seen in the works of Victor Horta, Antonio Gaudi, and Louis Comfort Tiffany. New technologies and urban development led architects like Louis Sullivan to rethink space through innovative designs such as the Guaranty and Carson
This document provides vocabulary terms related to native arts of the Americas before 1300. Some of the terms defined include adobe (clay used for bricks), atlatl (spear thrower), backstrap loom (simple Andean loom), celt (ax-shaped jade form in Olmec Mexico), kiva (underground ceremonial structure in Pueblo culture), Mesoamerica (region including Mexico and Central America), pueblo (communal dwelling made of stone or adobe), and tapestry (weaving technique where designs are woven directly into the fabric). The document also briefly describes the Mesoamerican ball game and lists sources for further information.
This document provides an overview of Native American arts from Alaska to South America before 1300 CE. It summarizes key cultures and artistic traditions, including:
1) Olmec colossal stone heads from Mexico and jade carvings combining human and animal features.
2) Clay sculptures from West Mexico depicting daily life.
3) The large city of Teotihuacan in Mexico with its pyramid complexes and Avenue of the Dead.
4) Maya sites like Tikal with massive temple pyramids and Bonampak's detailed murals recording historical events.
5) Andean cultures like Paracas producing intricate textile art to wrap mummies and Nasca lines
This document discusses the art and architecture of China and Korea from early dynastic periods through modern times, highlighting the influence of philosophies like Confucianism and Daoism, the development of calligraphy, painting styles like scrolls and albums, the introduction of Buddhism, architectural forms like courtyard houses and pagodas, and the different styles of imperial court painters versus literati painters over the dynastic periods. Major artistic periods covered include the Tang and Song Dynasties, the Mongol Yuan Dynasty, Ming Dynasty imperial art, and 20th century art in the People's Republic of China.
Post-Impressionism emerged in response to Impressionism, experimenting with form, color, and emotional/symbolic content over impressionistic realism. Artists like Van Gogh, Gauguin, and Cezanne pioneered expressive, non-realistic styles focusing on emotion, imagination, and the human condition. Cezanne's experimentation with form influenced Cubism, while Symbolists like Moreau and Redon conveyed modern psychological ideas. Rousseau brought a naïve style reflecting the unconscious mind. Overall, Post-Impressionism marked a shift from surface appearances to deeper subjective experiences.
Impressionism was an avant-garde art movement in the late 19th century characterized by quick, transient depictions of light and color in landscapes, figures, and still lifes. Impressionist artists, such as Monet, Renoir, and Degas, were interested in how light and time of day affected the appearance of objects and landscapes. They painted en plein air to capture the fleeting effects of light through loose brushwork and vivid colors.
This document provides an overview of Impressionism in Europe and America between 1870-1900. It discusses the Industrial Revolution and sociopolitical changes that influenced art during this period. It then focuses on Impressionism, examining the formal elements, subject choices, interest in sensation/impermanence, and importance of light/color theory for Impressionist artists. Key Impressionist works and artists are mentioned, including Monet, Caillebotte, Pissarro, Renoir, Manet, Degas, Morisot, and Whistler. Japonisme and its influence on later Impressionism is also addressed.
Art 1020 Chapter 24 Modernism in Europe and America 1900-1945Amelia Jones
The document provides an overview of modernism in Europe and America between 1900-1945. It discusses the major art movements including Fauvism, German Expressionism, Cubism, Futurism, Dada, Suprematism, Constructivism, and more. Key aspects covered include the experimental approaches artists took with subject matter, techniques, and materials. Major figures and works are referenced to illustrate the styles and philosophies of each movement. The document also touches on related historical events and concepts that influenced modernist art during this period.
This document provides an overview of art in the 20th century. It showcases works from various artistic movements and highlights experimentation with new materials, styles, and a rejection of realism. Key developments include the rise of abstraction, the relationship between art and its social/political contexts, and questioning traditional boundaries between high and low art forms.
Chapter 10 picturing the waste land - western europe during world war iPetrutaLipan
The Cabaret Voltaire opened in Zurich in 1916, launching the art movement known as Dada. Founded by Hugo Ball and Emmy Hennings, it attracted diverse artists and hosted performances of works rejecting logic and rationality in response to World War I. Dada soon spread to other cities and focused on nonsensical happenings and works incorporating chance to subvert artistic norms. Figures like Marcel Duchamp, Hans Arp, and Francis Picabia created readymades and works embracing happenstance that challenged definitions of art. Dada marked a revolutionary beginning of conceptual art and influence on subsequent avant-garde movements.
What Modern Art can teach us about CreativityPodium Wisdom
How can masters like Picasso, Monet, Warhol and Pollock inspire you to be more creative? Come in and find out!
If you enjoyed this, connect with me at https://twitter.com/podiumwisdom. I excavate the web for goodies on persuasion, art, presentation, design and more!
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
This document provides an overview of various printmaking techniques. It begins by defining what a print is and discussing early uses of printing. It then characterizes and provides examples of relief processes like woodcut and linocut. It also characterizes and provides examples of intaglio processes like engraving, etching, and drypoint. The document discusses the creative process of printmaking and provides a contemporary example of a four-color intaglio print. It aims to differentiate various printmaking techniques and provide historical and artistic context.
Dada was an early 20th century avant-garde art movement characterized by a spirit of revolt against traditional artistic values. It arose from disillusionment after World War I and influenced later styles like Surrealism. Dadaists believed that reason and logic had led to war, and they used nonsensical techniques like chance and absurdity to subvert traditional art forms. Marcel Duchamp was a prominent Dadaist who created readymades by selecting mundane mass produced objects and exhibiting them as art, questioning concepts of art and beauty.
*NOTE: This was a slideshow with audio. For the full version, see it now on YouTube at https://www.youtube.com/watch?v=e_gOezyDhGg.
For my US History class, a brief discussion of modernist art in the early years. CC Lisa M Lane Attribution-NonCommercial-ShareAlike 2012.
The document discusses the major art movements that emerged in Europe and America during the 19th century, including Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Expressionism, and Art Nouveau. It describes characteristics of each style and highlights influential artists such as Delacroix, Courbet, Monet, Van Gogh, Rodin, and Gaudi. Key developments were the rejection of Academic art in favor of depicting reality and nature, and the use of light, color, and brushwork to express emotion and atmosphere.
The document provides an overview of the development of photography and realist painting from the early to late 19th century in Europe and America. It discusses key figures and works that advanced realism and naturalism in art, moving from romanticized depictions to more objective styles influenced by photography. These include Daguerre, Niepce, Courbet, Manet, Monet, Degas, and Eakins among others. It also covers the emergence of impressionism from realism and its rejection of academic styles in favor of capturing fleeting visual impressions of light and motion.
Post modern and contemporary painting in germanypen lee
The document summarizes post-modern and contemporary painting in Germany from the late 20th century to present day. It begins with the annihilation of modern art by Nazis in 1933-1945 and the rise of expressionism. In the post-WWII era, artists like Joseph Beuys explored German identity and used performance art to promote social change. Gerhard Richter and Sigmar Polke reacted against capitalist realism. Neo-expressionism emerged in the 1970s-80s with artists like Baselitz, Immendorff, and Polke. Younger artists like Neo Rauch and the Leipzig School reference German art history while creating mythological narratives.
Modernism in art flourished in the early 20th century, expressed through many movements including Fauvism, Expressionism, Cubism, Futurism, Dada, De Stijl, Bauhaus, and Surrealism. This period was shaped by world events such as World War I, the Russian Revolution, the rise of totalitarian regimes in Europe, the Great Depression, and World War II. Artists explored new aesthetics and challenged traditional approaches, influenced by interest in non-Western cultures, new technologies, and the chaos of war. Some key developments included abstract painting, collage, photomontage, and questioning the nature of art through readymades. Modernism transformed visual arts and reflected the
This document discusses the evolution of subject matter in art from traditional religious and historical works to more ordinary scenes of everyday life. As photography was invented, artists gained more freedom to experiment with atmospheric effects, colors, and impressions rather than realistic depictions. The Impressionists embraced this change, focusing on capturing fleeting moments and effects of light. Photography's ability to record literal appearances allowed painting to become more abstract and experimental. The document traces key developments from early camera obscuras and daguerreotypes to studios popularizing photography among elites.
This document provides an overview of Native American arts from various regions including Mesoamerica, South America, and North America after 1300 AD. It covers major cultures and time periods like the Aztec, Maya, Inca, and tribes from the Southwest, Northwest Coast, Great Plains. It describes art forms like masks, totem poles, pottery, textiles, and ledger drawings. It also mentions architectural sites like Machu Picchu and structures used for religious ceremonies.
After World War II, art moved away from modernism and toward postmodernism. Postmodern art explored identity, politics, and the relationship between art and mass culture. Styles included abstract expressionism, minimalism, pop art, conceptual art, and earthworks. Artists like Pollock, Rothko, and Judd created abstract works that emphasized process, emotion, and the qualities of materials over recognizable subjects. Later artists engaged popular culture and examined the definition of art through new media.
Sculpture in the later 19th century focused on realism and expression through contemporary subject matter. Representative sculptors included Jean-Baptiste Carpeaux, Augustus Saint-Gaudens, and Auguste Rodin, who created works like Ugolino and His Children, Adams Memorial, and Walking Man respectively. The Arts and Crafts Movement valued aesthetic functional objects and high quality craftsmanship inspired by Ruskin and Morris. Art Nouveau architecture featured organic nature forms, as seen in the works of Victor Horta, Antonio Gaudi, and Louis Comfort Tiffany. New technologies and urban development led architects like Louis Sullivan to rethink space through innovative designs such as the Guaranty and Carson
This document provides vocabulary terms related to native arts of the Americas before 1300. Some of the terms defined include adobe (clay used for bricks), atlatl (spear thrower), backstrap loom (simple Andean loom), celt (ax-shaped jade form in Olmec Mexico), kiva (underground ceremonial structure in Pueblo culture), Mesoamerica (region including Mexico and Central America), pueblo (communal dwelling made of stone or adobe), and tapestry (weaving technique where designs are woven directly into the fabric). The document also briefly describes the Mesoamerican ball game and lists sources for further information.
This document provides an overview of Native American arts from Alaska to South America before 1300 CE. It summarizes key cultures and artistic traditions, including:
1) Olmec colossal stone heads from Mexico and jade carvings combining human and animal features.
2) Clay sculptures from West Mexico depicting daily life.
3) The large city of Teotihuacan in Mexico with its pyramid complexes and Avenue of the Dead.
4) Maya sites like Tikal with massive temple pyramids and Bonampak's detailed murals recording historical events.
5) Andean cultures like Paracas producing intricate textile art to wrap mummies and Nasca lines
This document discusses the art and architecture of China and Korea from early dynastic periods through modern times, highlighting the influence of philosophies like Confucianism and Daoism, the development of calligraphy, painting styles like scrolls and albums, the introduction of Buddhism, architectural forms like courtyard houses and pagodas, and the different styles of imperial court painters versus literati painters over the dynastic periods. Major artistic periods covered include the Tang and Song Dynasties, the Mongol Yuan Dynasty, Ming Dynasty imperial art, and 20th century art in the People's Republic of China.
Post-Impressionism emerged in response to Impressionism, experimenting with form, color, and emotional/symbolic content over impressionistic realism. Artists like Van Gogh, Gauguin, and Cezanne pioneered expressive, non-realistic styles focusing on emotion, imagination, and the human condition. Cezanne's experimentation with form influenced Cubism, while Symbolists like Moreau and Redon conveyed modern psychological ideas. Rousseau brought a naïve style reflecting the unconscious mind. Overall, Post-Impressionism marked a shift from surface appearances to deeper subjective experiences.
Impressionism was an avant-garde art movement in the late 19th century characterized by quick, transient depictions of light and color in landscapes, figures, and still lifes. Impressionist artists, such as Monet, Renoir, and Degas, were interested in how light and time of day affected the appearance of objects and landscapes. They painted en plein air to capture the fleeting effects of light through loose brushwork and vivid colors.
The document provides an overview of the artistic traditions of indigenous civilizations in the Americas from prehistoric times up until European contact in the 15th and 16th centuries. It describes major cultures such as the Olmec, Maya, Teotihuacan, Moche, Nasca, Chavin, Tiwanaku, Inca, Mississippian, Anasazi, Northwest Coast Native, and Great Plains tribes. The art forms discussed include monumental architecture, sculpture, ceramics, textiles, body adornment, earthworks, rock art, masks, totem poles, and more. The document emphasizes how art reflected religious and political themes and was closely tied to the environment and available materials in different
The chapter provides an overview of the art and architecture of South and Southeast Asia before 1200 CE and after 1200 CE. It discusses the influence of Hinduism and Buddhism on artistic styles and iconography in India, Sri Lanka, Indonesia, Cambodia, and other regions. Major artworks covered include the Great Stupa at Sanchi, the Ajanta cave paintings, temples at Khajuraho and Angkor Wat, and the spread of artistic traditions to surrounding areas under various empires. The chapter emphasizes how religion shaped artistic traditions and how styles assimilated foreign influences over time.
The document provides information on indigenous peoples of North and South America including their art, architecture, and cultures. It discusses the Olmec, Maya, Aztec, and Inca civilizations and includes images and descriptions of artifacts from these cultures. It also summarizes information about indigenous groups from Eastern Woodlands, Great Plains, Northwest Coast, Southwest Pueblos, and Navajo peoples, highlighting details on their artforms, structures, and ways of life.
Here are the key points covered in the document:
- The document discusses the transition from Neoclassicism to Romanticism in late 18th-early 19th century art, focusing on developments in architecture, painting, sculpture, and photography.
- It describes characteristics of Neoclassical and Romantic styles, as well as debates between artistic camps favoring line vs. color.
- The emergence of photography in the mid-19th century is covered, exploring its impact on perceptions of reality.
- The works and styles of major artists from this period are analyzed, including Ingres, Delacroix, Goya, Turner, Cole, Church, and early photographers like Daguerre and Cameron.
Early Japanese art was heavily influenced by Zen Buddhism and values of simplicity. Architectural styles featured wood construction, raised floors, and spare gardens. Painting genres included scrolls, screens and ukiyo-e woodblock prints depicting everyday life. Later, the tea ceremony rose in popularity and Rimpa painting incorporated craft elements. Ukiyo-e prints gained fame in Europe. Modern architecture reflects changing times while sculpture explores new forms.
This document provides an overview of Native American arts from Mesoamerica, South America, and North America between 1300 and 1980 CE. It highlights artistic traditions from the Mixteca-Puebla, Aztec, Inca, Southwest, Northwest Coast, Alaska, and Great Plains regions. Specific artworks mentioned include sculptures, masks, textiles, architecture, and illustrations depicting rituals, ceremonies, and daily life.
Art Of The Americas Before 1300 Grace, Nikhil, Kattiebassmanb
The document provides an overview of art from the Americas before 1300 AD. It describes several early civilizations that developed across North, Central, and South America including the Olmec, Teotihuacan, Maya, Moche, Nazca, Chavin, and Pueblo cultures. These civilizations created sculptures, ceramics, textiles, architecture and other art forms that demonstrated their religious beliefs, social hierarchies, and achievements. The art varied across regions and time periods, with some cultures like the Maya and Teotihuacan building large ceremonial structures and cities.
Art History 102 MCCC survey course - (Renaissance to Impressionism). This is a segue to some non-Western art. We looked a bit at art in Colonial America but, what about the indigenous peoples of the western hemisphere?
Chapter 30 19th Century Art In Europe And The United States 5John Ricard
This document provides an overview of 19th century art movements in Europe and the United States, including Symbolism, sculpture, Arts and Crafts, and Art Nouveau. It discusses key Symbolist artists like Odilon Redon and Gustave Moreau who explored non-material concepts like emotion. Sculptors of the time began moving away from realism. The Arts and Crafts Movement and Art Nouveau featured organic designs in response to industrialization. Art Nouveau influenced architecture and design through the organic styles of Antoni Gaudi and Louis Comfort Tiffany.
The document summarizes characteristics and innovations of Neoclassical art in architecture, painting, and sculpture from the late 18th to mid-19th century. It describes how Neoclassical art revived classical Greek and Roman styles and adapted them to modern contexts. Key aspects included symmetry, order, realistic likenesses, and references to mythology. The movement originated in France and spread to other European countries and the United States, influencing styles in various regions.
A slideshow connected to a lecture of Art of the Americas After 1300 available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Marisa Lerer.
A slideshow connected to a lecture of Art of the Americas Before 1300 available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Nandi Cohen.
This document provides an overview of early 20th century modern art movements from 1900-1950, including Fauvism, Die Brucke, Der Blaue Reiter, Cubism, and key artists. It summarizes:
- Fauvism emerged around 1904-1908 in France, known for wild brushwork and bright, unnatural colors. Leaders were Matisse and Derain.
- Die Brucke formed in 1905 in Germany and emphasized emotional expression through color and distorted forms. Key members were Kirchner and Nolde.
- Der Blaue Reiter formed in Germany and promoted spiritual and symbolic uses of color. Kandinsky and Marc moved toward abstraction.
The document provides an overview of major artistic movements and artists in the 20th century up to 1950, including Fauvism, German Expressionism, Cubism, Dadaism, Futurism, and others. It discusses key works and innovations in color, form, and rejection of conventions by artists like Matisse, Picasso, Kandinsky, Duchamp, and others who revolutionized modern art.
Ch. 20, The 20th Century, The Early YearsLaura Smith
This document provides an overview of several early 20th century art movements including Fauvism, Expressionism, Cubism, Futurism, early abstraction, fantasy art, Dada, and Surrealism. It summarizes the key characteristics and notable artists of each movement. Fauvism was characterized by bold, non-descriptive colors and was pioneered by artists like Derain and Matisse. Expressionism intentionally distorted nature to convey emotions, and included movements like Die Brücke, Der Blaue Reiter, and Neue Sachlichkeit. Cubism analyzed and synthesized objects from multiple views and was developed by Picasso and Braque. Futurism celebrated modern technology and motion through works by Ball
The document discusses developments in modernist art in the early 20th century. It covers [1] post-World War I Expressionism in Germany and the intense realistic works dealing with the war's aftermath. It also discusses [2] the origins and content of Surrealism and fantasy art. Finally, it examines [3] utopian art movements like Suprematism, Constructivism, and De Stijl that aimed to use art to improve society, as well as the turn toward more organic forms in sculpture and architecture.
Chapter 11 art in france after world war iPetrutaLipan
After World War I, art in France was characterized by figurative styles like Modigliani's elongated nudes and Soutine's expressionistic works influenced by Rembrandt. Utrillo found success painting landscapes of Montmartre with Post-Impressionist and Cubist elements. Matisse simplified forms and used lush color, while Dufy celebrated French leisure with intense colors. Picasso incorporated influences like antiquity, ballet, and synthetic Cubism. Braque developed a new approach to Cubism while Léger, Ozenfant, and Le Corbusier promoted Purist ideals of classical harmony through primary colors and geometric forms.
This document discusses the concept of formalism in art, which emphasizes the visual form and aesthetic qualities of a work over its representational content. It describes how formalism was promoted in the early 20th century by critics like Clive Bell and Roger Fry, who argued that a work's "significant form" produced an emotional response in viewers. The document then outlines how formalism influenced Modernist art movements and was later challenged by anti-formalists who argued it had become too detached from social and political issues. It provides examples of how Minimalism, Conceptual art, and other movements reacted against the dominance of formalism.
The document provides an overview of early 20th century art movements including Fauvism, Expressionism, Cubism, and Futurism. It summarizes that Fauvism used bright, unnatural colors and simplified forms to convey emotion over realistic depiction. Cubism broke from traditional perspectives by depicting objects from multiple angles simultaneously. Futurism celebrated modern technology and motion through abstracted, overlapping forms that conveyed speed and energy. These early 20th century movements explored new expressive techniques and rejected academic traditions.
The document provides an overview of major artistic movements in Europe and America between 1900-1945. It discusses the evolution of modernism through Fauvism, German Expressionism, Cubism, Futurism, Dada and Surrealism in Europe. In America, it covers the impact of the 1913 Armory Show, various styles in the early 20th century, art of the Depression era depicting social issues, and Regionalism. Key artists and works from the period are also mentioned.
The document provides an overview of early modern art in Europe and America between 1900-1945. It discusses several major artistic movements that emerged during this period like Fauvism, German Expressionism, Cubism, Futurism, Dada, and Surrealism. It summarizes the goals and styles of these movements, and provides context on how some influenced others. Key artists and their major works from each movement are also mentioned to understand their contributions to the development of modern art.
This document provides an overview of modern art movements in Europe and the Americas between 1900-1945. It describes Art Nouveau, Fauvism, Die Brücke, Der Blaue Reiter and their associated artists. It then discusses Cubism developed by Picasso and Braque, and responses like Futurism and Orphism. Dadaism and Bauhaus are mentioned alongside early modern architecture. Surrealism and De Stijl are also summarized. Finally, it outlines modern art in North America, including Precisionism, photography, the Harlem Renaissance, and Mexican painters.
The 20th century saw immense changes in art and society. Key developments included the rise of modern art movements like Fauvism, Cubism, Futurism and German Expressionism that rejected realism and embraced abstraction. Artists like Matisse, Picasso, and Kandinsky were influenced by non-Western art and sought to express inner experiences through color, form, and symbolism. Concurrently, new technologies like photography impacted visions of modernity and the human form. These revolutionary artistic developments mirrored broader changes in Western society at the dawn of the modern era.
Cubism was an influential early 20th century avant-garde art movement developed by Pablo Picasso and Georges Braque between 1907-1914. It involved depicting subjects from multiple viewpoints to represent three-dimensional forms on a two-dimensional surface and breaking up objects into geometric shapes. Cubism revolutionized European painting and influenced many other art movements.
Chapter 19 taking chances with popular culturePetrutaLipan
Pop Art began in England in the 1950s as a reaction against Abstract Expressionism. Key early figures included Richard Hamilton, who coined the term "Pop art", and Eduardo Paolozzi, whose collages incorporated imagery from mass media and popular culture. Pop Art spread to the United States in the 1960s, where artists like Andy Warhol, Jasper Johns, Robert Rauschenberg, Claes Oldenburg, and Jim Dine incorporated everyday objects and imagery into their work. They challenged definitions of art and blurred lines between high and low culture.
The document discusses various components of art including subject matter, style, content, form, media, technique, and context. It provides examples to illustrate different styles such as period style, regional style, and individual style. It also discusses levels of content in works of art including subject matter, elements/composition, and underlying meanings/themes. Realism and representation in art are contrasted with expressionism and abstraction.
The document provides an overview of artistic movements from 1848 to 1914 in Europe and the United States, including Realism, Impressionism, Post-Impressionism, Symbolism, and Art Nouveau. It discusses the characteristics and innovations of each movement, as well as important artists such as Courbet, Manet, Monet, Van Gogh, and Käsebier. Key events influencing the art world in this period included industrialization, Japanese prints, photography, and new painting techniques like plein air painting.
The document provides an overview of the major art movements in the 20th century. It discusses how modern art reflected the changing times with cameras making realistic art obsolete and mass production making art marketable. Artists valued originality over beauty and would shock audiences if they couldn't please them. Key movements discussed include Fauvism, Cubism, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. Major artists from each movement like Picasso, Kandinsky, Pollock, and Warhol are also mentioned.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
The document provides an overview of major art movements from the 20th century, including Modern art, Cubism, Abstract art, Expressionism, Dada, Surrealism, Abstract Expressionism, Pop Art, and Post-Modernism. It summarizes key works and artists from each movement, such as Picasso's Les Demoiselles d'Avignon for Cubism and Warhol's Campbell's Soup Cans for Pop Art. The document traces how art evolved from realistic representations to more conceptual and interactive forms over the turbulent 20th century.
The document discusses the discovery of the subconscious and its expression through Surrealism in Europe and Latin America. It provides background on Freud's theory of the subconscious and defines Surrealism. Key figures and works of the early European Surrealism movement such as Bosch, Blake, Goya, Rousseau, Chagall, and De Chirico are described. The development of Surrealism in Latin America is also mentioned.
The document provides background information on the Dada artistic movement that emerged during and after World War I in protest of militarism and Western culture. It discusses key Dada figures like Tristan Tzara and Jean Arp and their rejection of reason and aesthetics. It also covers Surrealism and figures associated with it like Max Ernst, Salvador Dali, and Joan Miro who incorporated dreamlike imagery and automatism. Andre Breton is discussed as a pioneer of Surrealism who emphasized tapping into the unconscious mind.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
Thinking of getting a dog? Be aware that breeds like Pit Bulls, Rottweilers, and German Shepherds can be loyal and dangerous. Proper training and socialization are crucial to preventing aggressive behaviors. Ensure safety by understanding their needs and always supervising interactions. Stay safe, and enjoy your furry friends!
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Training: ISO/IEC 27001 Information Security Management System - EN | PECB
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Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
A review of the growth of the Israel Genealogy Research Association Database Collection for the last 12 months. Our collection is now passed the 3 million mark and still growing. See which archives have contributed the most. See the different types of records we have, and which years have had records added. You can also see what we have for the future.
3. Historical Context 1
• First half of 20th century generally called Modernism
• Decisive changes Events:
• Contrasts of ideals
• Intellectual challenge
3
4. Historical Context 2
• Revised views
• Art reflects new discoveries & theories –
• Discoveries
• Advances in all science fields
• Nietzsche
4
5. Historical Context 3
• Marxism
• Anxiety
• Living conditions
• Nationalism/Imperialism leads to WWI –
• End of Imperial Russia, rise of Communism -
5
6. Historical Context 4
• Great Depression
• WWII =
• Ends using military technology = atomic bomb
• Avant-garde became major force =
• “Search for new definitions of and uses for art in
radically changed world”
• Some
6
7. I. Expressionism
“art that is the result of the artist’s unique inner or
personal vision and that often has an emotional
dimension”
“Sought empathy – a connection between internal
states of artists and viewers, not sympathy”
• color and space issues of
• styles of the German Expressionists –
• Abstract Expressionism –
7
8. Kirchner
Matisse Kandinsky
Die Brücke
(German)
Fauvism Der Blaue
(French) Reiter
(German)
Expressionism
Derain
Marc
Abstract
Picasso Braque Expressionism
Futurism (Italy)
Cubism [motion + sociopolitical
Agenda]
(France) Purism
[machine esthetic]
Boccioni
Analytic Synthetic Le Corbusier
[analyzing form] [no relation to
tangible objects]
8
9. The Art of the Fauves
• French: “?”
• Directness of Impressionism, but
• Outward Expressionism –
• Simplified designs
• Distorted
• Vigorous
• Flat
• Bare _____________ as part of design
9
10. “Color was not given to us in
order that we should imitate
Nature, but so that we can
express our own emotions.”
- Matisse
“It’s not a woman; it is a
painting.” Exactly the point.
“I did not create a woman. I made
a picture.” Art does not represent
reality; it reconstructs it.
Feel-good paintings – should
bring pleasure to the viewer
Figure 33-1 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.
10
11. Figure 33-2 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg. 11
18. Figure 33-4 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 (purchase). 18
19. Figure 33-5 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. 19
21. Figure 33-6 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 21
22. Figure 33-7 FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”.
Kunstmuseum, Basel. 22
23. The Beginnings of Abstraction
• the rejection of
• the Cubists
• the forms and concepts
• the materials and forms of.
• other forms of Cubism:
23
24. Early Cubism
• the fragmentation of form and the rejection
of illusion in early Cubism
24
25. • Could draw before he
could talk
• First word was “pencil”
• Blue period – poor
period, reflected his life
• Rose period – happy
subjects, life
• Negro period – African
influence
• Cubism – painting &
sculpture
Figure 33-8 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). 25
26. Harbinger of
cubism
Effectively ended
Hazy on anatomy
Fractured
perspective
“I paint what I
know, not what I
see”
Figure 33-9 PABLO
PICASSO, Les
Demoiselles d’Avignon,
June–July 1907. Oil on
canvas, 8’ x 7’ 8”. Museum
of Modern Art, New York 26
30. Figure 33-10 GEORGES BRAQUE,
The Portuguese, 1911. Oil on canvas, 3’
10 1/8” x 2’ 8”. Öffentliche
Kunstsammlung Basel, Kunstmuseum,
Basel (gift of Raoul La Roche, 1952).
30
31. Figure 33-11 ROBERT
DELAUNAY, Champs de Mars
or The Red Tower, 1911. Oil on
canvas, 5’ 3” x 4’ 3”. Art Institute
of Chicago, Chicago. 31
33. Figure 33-12 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas, 10
5/8” x 1’ 1 3/4”. Musée Picasso, Paris. 33
34. Figure 33-13 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. 34
36. Figure 33-14 PABLO
PICASSO, Maquette for Guitar,
1912. Cardboard, string, and wire
(restored), 25 1/4” x 13” x 7
1/2”. Museum of Modern Art,
New York. 36
38. Figure 33-16 ALEKSANDR ARCHIPENKO, Woman Combing
Her Hair, 1915. Bronze, approx. 1’ 1 3/4” high. Museum of
Modern Art, New York (bequest of Lillie P. Bliss).
38
39. Figure 33-17 JULIO GONZÁLEZ, Woman Combing Her
Hair, ca. 1930–1933. Iron, 4’ 9” high. Moderna Museet,
Stockholm.
39
41. Figure 33-18 FERNAND LÉGER, The City, 1919. Oil on canvas, approx. 7’ 7” x 9’ 9 1/2”.
Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection). 41
42. Futurism - Italy
• Interest similar to Cubists, but with ?
• Wash away Influence of modern technology.
• Focuses on
42
43. Figure 33-19 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
43
44. Figure 33-20 UMBERTO
BOCCIONI, Unique Forms of
Continuity in Space, 1913 (cast
1931). Bronze, 3’ 7 7/8” high x
2’ 10 7/8” x 1’ 3 3/4”. Museum
of Modern Art, New York 44
45. Figure 5-82 Nike alighting on a warship (Nike of Samothrace), from Samothrace, Greece, ca. 190
BCE. Marble, figure approx. 8’ 1” high. Louvre, Paris. 45
46. Figure 33-21 GINO SEVERINI,
Armored Train, 1915. Oil on canvas,
3’ 10” x 2’ 10 1/8”. Collection of
Richard S. Zeisler, New York.
46
47. Dada: A State of Mind
• Dada emphasizes
• Dada rejects
• Nonsense word, seems nonsensical –
• Denouncing
• “Chance” collage
47
48. Figure 33-22 JEAN ARP, Collage
Arranged According to the Laws of
Chance, 1916–1917. Torn and pasted
paper, 1’ 7 1/8” x 1’ 1 5/8”. Museum of
Modern Art, New York (purchase). 48
49. Figure 33-23 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced
1917). Ready-made glazed sanitary china with black paint, 12” high. Philadelphia Museum of Art,
Philadelphia 49
50. Figure 33-24 MARCEL DUCHAMP, The
Bride Stripped Bare by Her Bachelors, Even
(The Large Glass), 1915-23. Oil, lead, wire,
foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9
1/8”. Philadelphia Museum of Art,
Philadelphia (Katherine S. Dreier Bequest). 50
51. Figure 33-25 HANNAH HÖCH,
Cut with the Kitchen Knife Dada
through the Last Weimar Beer
Belly Cultural Epoch of Germany,
1919–1920. Photomontage, 3’ 9” x
2’ 11 1/2”. Neue Nationalgalerie,
Staatliche Museen, Berlin. 51
52. Figure 33-26 KURT
SCHWITTERS, Merz 19, 1920.
Paper collage, approx. 7 1/4” x 5
7/8”. Yale University Art Gallery,
New Haven, (gift of Collection
Société Anonyme). 52
53. Transatlantic Dialogues
• American artists in Europe
• Americans grounded in realist tradition before
influence of incoming European artists after
Armory Show & WWI
53
54. Figure 33-27 JOHN SLOAN, Sixth Avenue and 30th Street, 1907, 1909. Oil on canvas, 26 1/4” x
32”. Private Collection (Mr. And Mrs. Meyer P. Potamkin). 54
55. Armory Show
• European artists came to America to show
modern arts – held in the
• Matisse,____________, Braque, ___________.
______________, Kirchner, ______________
• Showed _____________________ the latest &
newest ideas
• Traveled to _________ & ___________ also
• Stieglitz’s ______
55
56. Figure 33-28 Installation photo of the Armory Show, New York National Guard’s 69th Regiment,
New York, 1913. Courtesy of the Museum of Modern Art, New York.
56
57. Figure 33-29 MARCEL DUCHAMP, Nude
Descending a Staircase, No. 2, 1912. Oil on
canvas, approx. 4’ 10 “x 2’ 11”. Philadelphia
Museum of Art, Philadelphia (Louise and Walter
Arensberg Collection). 57
58. Photography as Art
• Stieglitz –
• “Unmanipulated” photos –
• Interest in
• Moves toward abstraction –
58
59. Figure 33-30 ALFRED
STIEGLITZ, The Steerage,
1907 (print 1915). Photogravure
(on tissue), 1’ 3/8” x 10 1/8”.
Courtesy of Amon Carter
Museum, Fort Worth. 59
60. Figure 33-31 EDWARD WESTON, Nude, 1925. Platinum print. Collection, Center for Creative
Photography, University of Arizona, Tucson. 60
61. Discussion Questions
What caused artists in the early 20th century
to reject observational naturalism in art?
61
62. American Art Forms
• the distinctive American art forms seem
in photography, art of the Harlem
Renaissance, and precisionist forms of
Cubism.
62
63. Figure 33-32 MAN RAY, Cadeau
(Gift), ca. 1958 (replica of 1921
original). Painted flatiron with row of
13 tacks with heads glued to the
bottom, 6 1/8” high, 3 5/8” wide, 4
1/2” deep. Museum of Modern Art,
New York (James Thrall Soby Fund). 63
64. Figure 33-33 MARSDEN HARTLEY,
Portrait of a German Officer, 1914. Oil on
canvas, 5' 8 1/4” x 3' 5 3/8”. The Metropolitan
Museum of Art, New York (Alfred Stieglitz
Collection). 64
66. Figure 33-35 AARON
DOUGLAS, Noah’s Ark, ca. 1927.
Oil on masonite, 4’ x 3’. Fisk
University Galleries, Nashville,
Tennessee. 66
67. AARON DOUGLAS Into
Bondage 1936. Oil on canvas,
153.4 x 153.7 cm. Collection of
the Corcoran Gallery of Art,
Washington DC
67
68. Figure 33-36 CHARLES
DEMUTH, My Egypt, 1927.
Oil on composition board,
2’ 11 3/4” x 2’ 6”.
Collection of Whitney
Museum of American Art,
New York 68
69. Figure 33-37 GEORGIA O’KEEFFE, New York,
Night, 1929. Oil on canvas, 3’ 4 1/8” x 1’ 7 1/8”.
Sheldon Memorial Art Gallery, Lincoln, Nebraska
(Nebraska Art Association, Thomas C. Woods
Memorial Collection). 69
African American artist, the jazz age, Harlem Renaissance not quite cubism, reduced to simpliifed geo shapes, monochromatic noahs arch animal. Noah is rep as a black and white fig
Early work
Like photographers, does lots of close up, simplified forms, usually non threatening