1. EXPRESSIONISM, ABSTRACTION,
FAUVISM AND ART NOUVEAU
THE BEGINNING OF THE TWENTIETH CENTURY
Monday, 23 April, 12
2. 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 TODAY
Monday, 23 April, 12
3. 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
ALONG
Monday, 23 April, 12
4. MATISSE: “MUSIC
LESSON” 1917
HIS OBJECTS WERE
SIMPLIFIED AND
HIS SPACE WAS
CONTRACTED
(FLAT).
HIS COLOURS
WERE NOT THOSE
OF THE OBJECTS HE
DEPICTED
Monday, 23 April, 12
5. 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
6. 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
EXOTIC
Monday, 23 April, 12
7. 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 PICASSO
Monday, 23 April, 12
8. MATISSE: “DANCE
HIS WORK CONTINUED TO SIMPLIFY
Monday, 23 April, 12
9. 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
COLLAGES
Monday, 23 April, 12
10. 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”, 1913
Monday, 23 April, 12
11. BONNARD: “NUDE IN LIGHT” 1907
THE FLATNESS
AND THE FORCED
PERSPECTIVE IS
LARGELY FROM
THE JAPANESE
Monday, 23 April, 12
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” 1900
Monday, 23 April, 12
13. 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 SO
Monday, 23 April, 12
14. 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 TRADITION
Monday, 23 April, 12
15. 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
ILLNESS
Monday, 23 April, 12
16. 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 TIME
Monday, 23 April, 12
18. 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
19. MUNCH: “THE DEAD MOTHER”,
1900
FLAT,
UNSETTLING,
SIMPLE, DARK,
BOLD.
Monday, 23 April, 12
20. 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 28
Monday, 23 April, 12
21. EGON SCHIELE: “SELF PORTRAIT
WITH HAND ON CHEEK”, 1915
OFTEN HAD A RATHER
GAUNT, STARVED LOOK
THIN AND BONEY
Monday, 23 April, 12
22. FLAT, FLORAL
BACKGROUND
REMINISCENT OF
JAPANESE PAINTINGS
ALSO INFLUENCED BY
GUSTAV KLIMT AND ART
NOUVEAU
Monday, 23 April, 12
23. EGON SCHIELE: “NUDE”, 1913 &
“RECLINING NUDE”, 1914
HIS NUDE WOMEN WERE OFTEN
VERY RAW AND EROTIC
Monday, 23 April, 12
24. 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,
MOOD
Monday, 23 April, 12
25. GERMAN EXPRESSIONISM: NOLDE: “JUNGE
FRAU UND MANNER”
WHAT ABOUT THIS
PAINTING IS
REMINISCENT OF
MATISSE?
Monday, 23 April, 12
26. NOLDE: “SUMMER”
FIRST PAINTINGS
WERE OF FANTASY
AT TIMES,
MOUNTAINS
TRANSFORMING
INTO GIANTS
HERE, A REALISTIC
SUBJECT WITH A
FANTASTIC
ELEMENT
Monday, 23 April, 12
27. NOLDE: “LAST SUPPER”
DIFFERENT THAN LEONARDO DA VINCI’S BUT
SIMILARITIES REMAIN. DO YOU SEE THEM?
Monday, 23 April, 12
28. NOLDE: “LAST SUPPER”
DIFFERENT THAN LEONARDO DA VINCI’S BUT
SIMILARITIES REMAIN. DO YOU SEE THEM?
Monday, 23 April, 12
29. NOLDE: “MASK STILL LIFE III”
INSPIRED BY AFRICAN MASKS JUST LIKE
PICASSO AND OTHERS
Monday, 23 April, 12
30. 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” ART
Monday, 23 April, 12
31. ROUAULT: CHRIST ON CROSS
REMINISCENT OF
GAUGHIN’S
YELLOW CHRIST
Monday, 23 April, 12
32. ROUAULT: CHRIST ON CROSS
REMINISCENT OF
GAUGHIN’S
YELLOW CHRIST
Monday, 23 April, 12
33. ROUAULT: “CHRIST”
REMINISCENT OF
A STAINED-GLASS
WINDOW
Monday, 23 April, 12
34. 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
35. 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
MUNICH
Monday, 23 April, 12
36. 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
38. KANDINSKY: “1926”
GEOMETRIC AND
NON-
REPRESENTATIONAL
CONSIDERED THE
FOUNDER OF NON-
REPRESENTATIONAL
ART
Monday, 23 April, 12
39. 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 SOUND'S
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
42. KANDINSKY: “COMPOSITION 12 “
HE OFTEN GAVE
SIMPLE NAMES
TO HIS WORK
LIKE
“COMPOSITION
12”
HE LETS THE
WORK SPEAK
FOR ITSELF
Monday, 23 April, 12
43. GUSTAV KLIMT
DREW FROM A RANGE OF
SOURCES: CLASSICAL GREEK,
BYZANTINE, EGYPTIAN, MINOAN
ART, AND LATE-MEDIEVAL
PAINTING
IN SYNTHESIZING THESE
DIVERSE SOURCES, KLIMT'S
ART ACHIEVED BOTH
INDIVIDUALITY AND EXTREME
ELEGANCE.
“KLIMT”, SKETCH BY EGON SCHIELE
Monday, 23 April, 12
44. 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 VIENNA
Monday, 23 April, 12
45. 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 LEAF
Monday, 23 April, 12
46. 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 INSTEAD
Monday, 23 April, 12
48. KLIMT: “EMILIE FLOGE”
VERY POPULAR,
AND SOUGHT
AFTER BY HIGH
SOCIETY TO HAVE
THEIR PORTRAIT
DONE
Monday, 23 April, 12
49. 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 DETAILS
Monday, 23 April, 12
50. ART NOUVEAU
IT WAS USED ON BOATS AND CARS
IT REMAINS POPULAR TODAY.
Monday, 23 April, 12
51. ART NOUVEAU
IT IS USED ON SMALL
ITEMS TOO
Monday, 23 April, 12
55. 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 POPULAR
Monday, 23 April, 12
