AP Art History - Early twentieth Century Art - Fauvism, expressionism, cubism, futurism, surrealism, dada, constructivism, DeStijl, Suprematism, International Style, Bauhaus, Prairie Style, Frida b

7. Andre Derain, 1906, London Bridge,
broad flat areas of contrasting color.

11. Fauvism

17. Pablo Picasso,
Guernica, 1937, Oil
on Canvas

19. Expressionism
 Inspired by Fauve movement
 The first two expressionist groups was formed in
1905 and was called Die Brucke (the bridge)
because it was intended to be the bridge between
the past and the future. It was led by Germans
artists Ernst Ludwing Kirchner and Emil Nolde, who
sought to show their displeasure with the effects of
industrialization on Germany.
 The other group was called Der Blaue Reiter (The
Blue Raider) and was formed in 1911. Led by
Russian artist Vassily Kandinsky and German artist
Franz marc, they sought to express inner truths
through color and abstraction.

21. Vassily Kandinsky, Improvisation
28,1912, oil on canvas

22.  Movement toward
abstraction,
representational objects
suggested rather than
depicted
 Title derived from musical
composition
 Strongly use of black
lines
 Colors seen to shade
around line forms

23. Kandinsky,
Expressionism
Abstract

24. Franc Marc, Large
Blue Horses, 1911,
Oil on canvas

26. Franz Marc,
Expressionism

27. Ernst Kirchner, Street, Dresden,
1908

29. Kirchner,
Expressionism

30.  This architectural
movement was created
by American architect
Frank Lloyd Wright, who
worked with louis Sullivan
(the inventor of
skyscraper).
 Wright was inspired by
large horizontal expanses
of the American midwest

31.  Designs that blend with
their surroundings
 Designs that allow
freedom of movement
and incorporate outdoor
spaces
 A hearth at the center of
the home
 The use of cantilevered
construction

32. Frank Lloyd Wright

34.  Is characterized by:
 The use of fragmented
forms and multiple
viewpoints influenced by
Cubism
 A preocupation with the
idea of speed
 An attempt to depict
motion through repetition

35. Futurism

36.  This movement was led by
Russian artist Vladimir Tatlin, who
sought to make a new art form
free from all of the traditions of the
past.
 Highly influenced by the Russian
Revolution, he wanted to turn
away from bourgeoisie ideas
about art
 Its characterized by:
 The use of new industrial
materials such as steel and
plastic
 Complete abstraction
 Universal meaning

37. Vladimir Tatlin,
Constructivism

39. Suprematism

41. Existentialism

51. NEOPLASTICISM / DE STIJL 1915
 This movement was led by Dutch artists Piet
Mondrain and The Van Doesburg, who
sought to create a rational utopian society
through the use of geometric abstraction.
 The style applied to architecture, industrial
design, furniture design, and fine art.
 When it became popular across Europe,
especially as an architectural style, it
became known as the INTERNATIONAL
STYLE

52. Characteristics
 The desire to create a new
reality based on principle of
vertical and horizontal lines
 The use of geometric
forms, particularly squares
and rectangles
 The use of black vertical
and horizontal lines of
varied thickness combined
with blocks
 Architecture that was
functional and efficient

54. Piet Mondrian, Composition in Black and white
and red, 1936 Oil in canvas

56. Gerrit Rietveld,
Schroder House,
1924, Netherlands

58. Le Corbusier, Villa Savoye, 1929, France

59. Le corbusier  Three bedroom villa with
servants quarters
 Boxlike horizontal quality
and abstraction of house
 Main part of house lifted
off the ground by
narrows piltis, thin
freestanding posts
 Turning circle on bottom
floor is carport, family
members enter directly
from their car
 All space is utilized
including the roof, as
patio

61.  Inspired by Russian
Constructivism and De
Stijl, German architect
Walter Gropius created a
school in Germany that
had a huge impact on art
and architecture.

62. Bauhaus
 He Published “The Proclamation of
the Bauhaus” in which he
described his vision for:
 A guildlike school that combined
architecture, furniture design,
industrial design, textile design,
typography, and fine arts.
 A crafts based curriculum that
would allow the creation of
beautiful functional objects.
 Classes taught mostly by avant
garde fine artists

63. Characteristics Bauhaus
 A desire to create
beautiful objects for mass
production
 A desire to create rational
works that were the exact
opposite of the highly
emotional German
Expressionist works
 The use of simplified
forms
 Architecture that uses
steel frame construction
and glass
 Asymmetrical architecture

64. Bauhaus
 During the years of World
War II, all of the key
figures of the Bauhaus
left Germany for Britain,
the United States and
Palestine, where their
work and their modernist
philosophy influenced
numerous young
architects and designers

65. SURREALISM 1924
 Inspired by the
psychological studies of
Freud and Jung
 Sought to represent an
unseen world of dreams and
subconscious thoughts and
unspoken communication
 Meant to puzzle, challenge,
fascinate
 Sources of mysticism,
psychology and symbolic
 Not meant to be understood

66. Salvador Dali, The persistence of
Memory, 1931, oil on canvas

67. The Persistence of Memory, Dali
 Huge empty spaces suggested by vast
landscapes
 Drooping watches tell different times
 Only life is the fly on the watch and the ants on
the closed watch
 Hallucinatory
 Barren and uninhabited landscape
 Bonelike hand seems to caricature Dali´s face
 Visual ironies, tree grows from a block, clock
hags from dead tree branch

68. Joan Miro, Dutch Interior I, 1928 oil on canvas

69. Joan Miro
 Used simple forms
 Built compositions first
with random washes
and then added
substance to the shape
the forms inspired
 Amoeba like shapes
 Spontaneous,
mysterious, serene
 Color harmonies are
softly modeled

70. Meret Oppenheim, Object, 1936
 Said to have been done in response to Picassos
claim that anything looks good in fur
 Combination of unlike objects
 Erotic overtones

71. Frida Kahlo, The Two Fridas, 1939

72. Frida Kahlo, The Two portraits, 1939
 Juxtaposition of 2 self portraits
 Left: Kahlo dressed as a Mexican peasant the
stiffness and provincial quality of Mexican folk art
serves as a direct inspiration for artist
 Her two hearts are twined together by veins that
are cut by scissors at one end and lead to a
portrait of her husband.
 Barren landscape, two figures sit against a wildly
active sky
 Kahlo rejected the label of surrealism to her work