Ap art history outline for notes ch.33
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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.
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Ch. 33 ppt
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.
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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.
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*The 1920s: A Celebration of Modernism
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For my US History class, a brief discussion of modernist art in the early years. CC Lisa M Lane Attribution-NonCommercial-ShareAlike 2012.
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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.
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This document summarizes key developments in 14th century Italian art during the transition from Gothic to Renaissance styles. It discusses how the Renaissance emerged out of revived interest in classical Greco-Roman culture and humanism. Artists like Giotto introduced more naturalistic, observation-based styles and techniques like fresco that helped establish painting as a major art form. Works by artists including Duccio, Simone Martini, and the Lorenzetti brothers incorporated classical elements while depicting religious subjects in new, emotionally expressive ways.
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The document provides an overview of the development of art and architecture in South and Southeast Asia before 1200 CE. It discusses the origins and spread of Hinduism and Buddhism and their influence on artistic styles. Key developments included the Indus Valley civilization, early Buddhist art influenced by stupas and figures like the Buddha, the spread of Buddhism to Southeast Asia influencing temple architecture, and the rise of prominent kingdoms like the Khmers in Cambodia who built monuments like Angkor Wat. Regional variations in the depiction of human figures between India and Southeast Asia are also examined.
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The document summarizes 15th century art in Northern Europe and Spain, focusing on developments in oil painting, manuscript illumination, and altarpieces. Key points include: Jan van Eyck's Ghent Altarpiece used oil paints to create luminous colors and illusionistic depth; the Limbourg Brothers illuminated manuscripts with naturalistic details and new conceptions of space; Rogier van der Weyden depicted emotional religious scenes through compressed compositions and textures in oil paint.
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The document provides an overview of Gothic art and architecture from the 12th to 15th centuries in Europe. It discusses key developments and monuments of Early Gothic, High Gothic, and Late Gothic styles. Specifically, it examines the innovations of Abbot Suger at Saint-Denis that established characteristics of French Gothic architecture like rib vaults and stained glass windows. It then analyzes major Gothic cathedrals built in France, including Chartres, Notre-Dame de Paris, Laon, and Amiens, noting their architectural features and sculpture programs.
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The document discusses several art movements that emerged in the post-World War 1 years between 1919 and 1939, including Dadaism, Bauhaus, Art Deco, and early Surrealism. It provides background information on the founding principles and key figures of each movement, and highlights representative artworks produced during these periods that helped define the stylistic innovations of modernism. The art movements reflected a rejection of tradition in favor of individual expression and incorporated new techniques like collage that emerged as responses to the turmoil of the war and changing social values.
Ch. 33 Modern art
Modern Art saw many developments in the 20th century including two World Wars, the Great Depression, and scientific/technological advances like Einstein's theory of relativity and the atom bomb. New art movements emerged like Fauvism, Expressionism, Cubism, Futurism, Dada, Surrealism, Bauhaus, De Stijl, Pop Art, Minimalism, and more that experimented with color, form, materials, and concepts like incorporating everyday objects and mass culture into art. Major artists included Picasso, Matisse, Duchamp, Pollock, Warhol, and more who pushed artistic boundaries and influenced the evolution of modern art.
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Surrealism was an artistic movement inspired by Dadaists that drew from the subconscious mind and dreams. It aimed to combine inner and outer reality in a way similar to dreams. Some key surrealist artists mentioned include Giorgio De Chirico, Max Ernst, Salvador Dali, and Rene Magritte. Hitler deemed some surrealist works as "degenerate art." Around the same time, other modern art movements emerged like Constructivism, Suprematism, De Stijl, and regionalism in America.
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The document provides an overview of developments in art during the 1920s, including the emergence of Dada and Surrealist movements. Dadaists like Hannah Hoch used photomontage to critique post-WWI German society. The Bauhaus school was also founded during this time with the goal of uniting art and industry. In 1924, Andre Breton published the first Surrealist manifesto, advocating the exploration of unconscious thought and dream imagery. Surrealist techniques like automatism and found objects aimed to access the subconscious mind.
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This document discusses the rise of formalism in art and its relationship to political and cultural contexts. It provides background on Expressionism and defines key terms like formalism and modernism. Clement Greenberg is discussed as a major art critic who championed Abstract Expressionism and formalism. He argued that art should focus solely on its formal qualities and maintain purity from mass culture. The CIA is also mentioned as covertly promoting Abstract Expressionist art during the Cold War to promote American cultural values over Soviet communism.
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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.
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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:
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- Die Brucke formed in 1905 in Germany and emphasized emotional expression through color and distorted forms. Key members were Kirchner and Nolde.
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ARH 151 Chapter 21 Guide The New York School • Abstr.docx
ARH 151 Chapter 21 Guide
The New York School
• Abstract Expressionism emerged in New York in the mid-20th century.
• The art of the New York School emphasized:
- spontaneity.
- gestural brushstrokes.
- nonobjective imagery.
- fields of intense color.
• Some Abstract Expressionists, like Jackson Pollock, focused on gestural painting methods.
• Other Abstract Expressionists, like Mark Rothko, explored subtle interactions of color.
Jackson Pollock
• Gestural painting method
• “Action painting”
1 - Fig. 21.1 Jackson Pollock at work in his Long Island studio (1950).
2 - Fig. 21.2 Jackson Pollock, One (Number 31, 1950) (1950). Oil and enamel paint on canvas, 8’ 10” x 17’ 5 5/8”.
Joan Mitchell
• Second generation Abstract Expressionist
• Female artist whose gestural painting methods earned her recognition
3 - Fig. 21.5 Joan Mitchell, Cercando un Ago (1957). Oil on canvas, 94 1/8” x 87 5/8”.
4 - Joan Mitchell, Bonjour Julie (1971). Birmingham Museum of Art, Birmingham, AL.
Mark Rothko
• Chromatic painting
• “Floating squares of color”
5 - Fig. 21.6 Mark Rothko, Number 22 (1949). Oil on canvas, 117” x 107 1/8”.
6 - Fig. 21.7 Mark Rothko, Black on Grey (1970). Acrylic on canvas, 80 1/4” x 89”.
Post-Painterly Abstraction
• Color field painting & Amorphous shapes (Fig. 21.8)
• Hard-edge painting & shaped canvases (Fig. 21.14)
7 - Fig. 21.8 Helen Frankenthaler, The Bay (1963). Acrylic on canvas, 80 1/4” x 81 3/4”.
8 - Fig. 21.14 Frank Stella, Mas o Menos (More or Less) (1964). Metallic powder in acrylic emulsion on canvas, 118” x 164 1/2”.
Constructed Sculpture
9 - Fig. 21.9 David Smith, Cubi XVIII (1964). Stainless steel.
• Components of constructed sculpture may include materials such as rods, bars, tubes, planks,
dowels, blocks, fabric, wire, thread, glass, plastic, and machined geometric solids .
• David Smith burnished the surface of this constructed steel sculpture, leaving “gestural” marks
reminiscent of Pollock’s signature painting style.
Pop Art
10 - Fig. 21.17 Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956). Collage, 10 1/4”
x 9 3/4”.
• Pop Art relies on universal images of popular culture, such as movie posters, billboards,
magazine and newspaper photographs, and advertisements.
• Through their selections of commonplace and familiar objects, as seen in Richard Hamilton’s
collage, Pop artists challenged commonplace conceptions about the meaning of art.
Robert Rauschenberg
11 - Fig. 21.18 Robert Rauschenberg, The Bed (1955). Combine painting; oil and pencil on pillow, quilt, and sheet on wood
supports. 75 1/4” x 31 1/2” x 6 1/2”.
• Combine paintings blurred the boundaries between painting and sculpture
• Rauschenberg aimed “to bridge the gap between art and life” in his selection of materials and
subject matter
Jasper Johns
12 - Fig. 21.19 Jasper Joh.
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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.
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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
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- In the 1940s, American artists distanced themselves from politically driven avant-garde styles and Marxism. Diego Rivera included communist imagery in his Rockefeller Center mural, causing controversy.
- Surrealist artists like Andre Breton and Wolfgang Paalen experimented with automatism and techniques like frottage and fumage. Many European surrealist artists fled to the US to escape Nazi persecution.
- Abstract expressionism emerged in the late 1940s in New York, exemplified by artists like Pollock, Rothko, Motherwell, and de Kooning. Pollock's drip paintings in the late 1940s were especially influential in establishing this new American style of abstract art.
Abstract Express Intro New
This document provides an overview of Abstract Expressionism, a major American art movement that developed in New York City during the 1940s and 1950s. It notes that many European artists immigrated to New York during World War 2, influencing the development of innovative artworks through cross-pollination of ideas. Key Abstract Expressionist artists mentioned include Pollock, de Kooning, Rothko, and Kline. The movement is described as the first truly American school of art that was internationally influential until the rise of Pop Art in the 1960s.
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This document summarizes major artistic movements and events in Europe and America between 1945-1970. It describes how abstract expressionism emerged in the postwar period as a rejection of objective representation. Figures like Pollock and de Kooning embraced gestural abstraction and an emphasis on the act of painting. In the 1960s, pop art arose as a commentary on consumer culture and mass media, as seen in the works of Warhol and Lichtenstein. Minimalism rejected expressionism in favor of pure abstraction using the inherent qualities of materials. Superrealism aimed for photorealistic depiction of everyday subjects and scenes.
Dada
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.
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Ap art history outline for notes ch.33
- 1. AP Art History Note-taking Outline—Chapter 33 THE DEVELOPMENT OF MODERNIST ART: THE EARLY 20TH CENTURY (Mnemonic: “Ism’s Galore!”) KEY VOCABULARY (not including artists’ names or works) Modernist Expressionism Fauvism Art Deco “Die Brücke” “Der Blaue Reiter” Cubism Organic Style Analytic Cubism Synthetic Cubism papier coole Depression Purism Futurism “Dada” Muralists The Armory Show “Neue Sachlichkeit” Surrealism Avant-Garde Of 1913 “Suprematism” Constructivism “Degenerate Art” De Stijl Bauhaus International Style Utopian Ideals SECTION I: EXPRESSIONISM, ABSTRACTION, CUBISM, DADA (PAGES 961- 984) Figure #: Subject: Artist: Key Concept: 33-2 Red Room Matisse Abstract colorist 33-6 Improvisation 28 Kandinsky Colorist symbols
- 2. Figure #: Subject: Artist: Key Concept: 33-9 Les Desmoiselles Picasso 1st Modernists 33-10 The Portugese Braque Analytic Cubism 33-12 Still Life with Chair Picasso Synthetic Cubism
- 3. Figure #: Subject: Artist: Key Concept: 33-14 Guitar Picasso Cubist sculpture 33-15 Bather Lipchitz Cubist mass 33-20 Unique Forms Boccioni Fascist futurism
- 4. Figure #: Subject: Artist: Key Concept: 33-23 Fountain Duchamp Dada SECTION II: THE ARMORY SHOW, “NEUE SACHLICHKEIT,” SURREALISTS (PAGES 984-1002) 33-29 Nude Descending Duchamp Motionism 33-30 The Steerage Stieglitz Photo images
- 5. Figure #: Subject: Artist: Key Concept: 33-32 Cadeau Man Ray Dadaist 33-35 Noah’s Ark Aaron Douglas Harlem Renaissance 33-37 New York, Night Georgia O’Keefe City Life
- 6. Figure #: Subject: Artist: Key Concept: 33-39 Night Max Beckmann World violence 33-41 Woman with Dead Child Käthe Kollwitz Maternal grief 33-43 War Monument Barlach Anti-war symbol
- 7. Figure #: Subject: Artist: Key Concept: 33-46 Persistence of Memory Dalí Surrealism 33-47 The Treachery of Images Magritte Image vs. Reality 33-49 Two Fridas Kahlo Personal surreal
- 8. Figure #: Subject: Artist: Key Concept: 33-50 Painting Miró Fantasy 33-51 Twittering Machine Klee Fanciful vision SECTION III: UTOPIAN IDEALS: SUPREMATISM, CONSTRUCTIVISM, DE STIJL, BAUHAUS, INTERNATIONAL STYLE, ART DECO (PAGES 1003-1014) 33-55 Composition in Red, Blue, and Yellow Mondrian DeStijl simplicity
- 9. Figure #: Subject: Artist: Key Concept: 33-56 Schröder House Rietveld De Stijl architect 33-59 Shop Block Gropius Bauhaus design 33-62 Glass skyscraper Van der Rohe “Less is more”
- 10. Figure #: Subject: Artist: Key Concept: 33-64 Villa Savoye Le Corbusier International 33-65 Chrysler Building Alen Art Deco SECTION IV: ORGANIC STYLE (PAGES 1015-1020) 33-66 Robie House F.L. Wright Prairie School
- 11. Figure #: Subject: Artist: Key Concept: 33-68 Kaufmann House F.L. Wright Natural 33-69 Bird in Space Brancusi Organic sculpture 33-70 Oval Sculpture Barbara Hepworth Organic void
- 12. Figure #: Subject: Artist: Key Concept: 33-71 Reclining Figure Henry Moore Organic forms 33-72 Untitled Calder Suspended mobiles SECTION V: ART AS POLITICAL STATEMENT IN THE 1930’s (PAGES 1020- 1028) 33-73 Guernica Picasso War and grief
- 13. Figure #: Subject: Artist: Key Concept: 33-75 Migrant Mother Dorothea Lange Photojournalism 33-76 Nighthawks Hopper Urban Loneliness 33-77 Migration of the Negro Series Lawrence Black experience
- 14. Figure #: Subject: Artist: Key Concept: 33-78 American Gothic Wood Regionalism 33-80 Epic of American Civilization Orozco Mexican patriot 33-81 History of Mexico Rivera History muralist