Non objective & abstract painting

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The document summarizes the styles and backgrounds of several abstract artists including Wassily Kandinsky, Piet Mondrian, Paul Klee, Franz Kline, and Anselm Kiefer. It provides information on when and where the artists lived and worked, as well as describing some of their most famous abstract paintings and artistic styles which often incorporated geometric shapes, primary colors, and spiritual or symbolic themes.

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Wassily Kandinsky ,[object Object],[object Object],[object Object]

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Franz Kline ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

Anselm Kiefer ,[object Object],[object Object],[object Object]

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Colonial Empires About 1900 This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see. HENRI MATISSE, Luxe, calme et volupté, 1904-5 Fauvism: Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation Called the fauves by critics who thought the artists like Matisse painted like wild beasts Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further Not an entirely cohesive movement as the artists all had their own personal agendas Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style. I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors. HENRI MATISSE, Blue Nude: Memory of Biskra, 1907 Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman. Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx. 5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg. This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself. Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.

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