Sayre2e ch34 integrated_lecture_pp_ts-150675

Copyright ©2012 Pearson Inc.
Diego Rivera. Man, Controller of the Universe. 1934.
Main panel: 15’ 11" × 37’ 6”.

Robert Delaunay. L’Equipe de Cardiff (The Cardiff Team). 1913.
10’ 8-3/8" × 6’ 10”.

Map: Picasso's Montmartre.

Pablo Picasso’s Paris: At the Heart of the Modern
What are Cubism, Fauvism, and Futurism?
• The Aggressive new Modern Art: Les Demoiselles
d’Avignon — Picasso’s work shows a shift in painting from an optical
art to an imaginative construct, from the literal to the conceptual. Les
Demoiselles was an act of liberation, an exorcism of past traditions,
perhaps of painting itself.
• Matisse and the Fauves: A New Color –- The artist was the
leader of a radical group of experimental pointers known as the Fauves,
or “Wild Beats.” Fauvism was known for it’s radical application of
arbitrary, or unnatural, color.
• The Invention of Cubism: Braque’s Partnership with
Picasso — Braque was a Fauve but with Houses at l’Estaque he
introduced spatial ambiguity and cube-like shapes which fascinated
Picasso. Cubism was born out of their collaboration.

• Futurism: The Cult of Speed — Futurism rejected the political and
artistic traditions of the past and called for a new art. The Futurists
repudiated static art and sought to render what they thought of as the
defining characteristic of modern urban life – speed.
• Modernist Music and Dance: Stravinsky and the Ballets
Russes — The dynamism and invention evident in both Cubism and
Futurism also appeared in music and dance. The composer Stravinsky
and choreographer Nijinsky premiered the ballet Le Sacre de
printemps; the performance was a scandal. This piece helped to define
modern art as antagonistic to public opinion and an affront to its values.
• Discussion Question: What is the importance of speed in the early 20th
century?

Pablo Picasso. Portrait of Gertrude Stein. 1906, Winter–Autumn.
39-3/8" × 32”.

Pablo Picasso. Les Demoiselles d'Avignon. 1907, May-July.
95-1/8" × 91-1/8”.

 Closer Look: Pablo Picasso,
Les Demoiselles d’Avignon (The Young Ladies of Avignon)
MyArtsLabChapter 34 – The Era of Invention: Paris and the Modern World

Maurice Radiguez. “Le Bouillon de Tête.” Published in L’Assiette au
beurre, March 11, 1905. 1905.

Henri Matisse. Bonheur de vivre (The Joy of Life). 1905-6.
69-1/8" × 94-7/8”.

Henri Matisse. The Dance. 1910.
8’ 5-5/8" × 12’ 9-1/2”.

Georges Braque. Houses at L'Estaque. 1908.
28-3/4" × 23-3/4”.

Pablo Picasso. Houses on the Hill, Orta de Ebro. 1906.
25-5/8" × 31-7/8”.

Georges Braque. Violin and Palette. 1909, Autumn.

Pablo Picasso. Closer Look: Picasso's Collages: Violin. 1912.
24-3/8" × 18-1/2”.

Closer Look: Picasso's Collages: Le Journal (The Newspaper), November
18, 1912. Front page. 1912.

 Closer Look: Picasso’s Collages

Pablo Picasso. Closer Look: Picasso's Collages: Guitar, Sheet Music, and
Wine Glass. 1912.
18-7/8" × 14-3/8”.

Carlo Carrà. Interventionist Demonstration. 1914.
15-1/8" × 11-7/8”.

Umberto Boccioni. Unique Forms of Continuity in Space. 1913.
43-7/8" × 34-7/8" × 15-3/4”.

 Active Listening Guide: Stravinsky: "Sacrificial Dance" from The Rite of Sp

Igor Stravinsky. Musical Notation: Le Sacre de printemps (The Rite of
Spring): "Sacrificial Dance of the Chosen One." (2 lines of music).

Ernst Ludwig Kirchner. Self-portrait with Model. 1910.
58-5/8" × 39”.

The Expressionist Movement: Modernism in
Germany and Austria
What is German Expressionism?
• Die Brucke: The Art of Deliberate Crudeness — Four artists
from Dresden called themselves Die Brucke. They believed that
through jarring contrasts of color and jagged, linear compositions they
could free the imagination from the chains that enslaved it.
• Der Blaue Reiter: The Spirituality of Color — This expressionist
group had no common style but all were obsessed with color. For the
artist Franz Marc, the color blue is the masculine principle of spirituality.
For Munter, yellow was the female principle.
• A Diversity of Sound: Schoenberg’s New Atonal Music
versus Puccini’s Lyricism — Schoenberg abandoned tonality and
created a music of complete atonality. In contrast, Puccini wrote operas
of emotional lyricism such as Madama Butterfly and Tosca.
• Discussion Question: What are the differences between Schoenberg
and Puccini?

Franz Marc. The Large Blue Horses. 1911.
3’ 5-3/8" × 5’ 11-1/4”.

Gabriele Münter. The Blue Gable. 1911.
34-15/16" × 39-5/8”.

Wassily Kandinsky. Composition VII. 1913.
6’ 6-3/4" × 9’ 11-1/8”.

Early Twentieth-Century Literature
What innovations distinguish the literary world in the first years of
the twentieth century?
• Guillaume Apollinaire and Cubist Poetics — A new approach to
poetry and prose called the “revolution of the word,” was led by
Apollinaire. He latched on to the principle of collage. In “Lundi, rue
Christine” he offers snatches of overheard conversation that follow one
another without transition or thematic connection.
• Ezra Pound and the Imagists — The Imagists were a group of
English and American poets who sought to create precise images in
clear, sharp language. Pound’s “In a Station of the Metro” is in many
ways the classic Imagist poem.

 Active Listening Guide: Schoenberg:
"Madonna" from Pierrot Lunaire

 Active Listening Guide: Puccini: "Un bel di"
from Madama Butterfly

Guillaume Apollinaire. “Il Pleut” (“It’s Raining”). From Selected Poems of
Apollinaire, Translated in its original form by Oliver Bernard. 1914.

The Origins of Cinema
What are the origins of cinema?
• The Lumiere Brothers’ Celluloid Film Movie Projector — In
Paris, these brothers presented the first projected motion pictures
available to a large audience. Their 10 films were projected through
their Cinematographe camera.
• The Nickelodeon: Movies for the Masses — Nickelodeon
theaters were very popular by 1910. They catered to the aspirations of
the working class, and most often to women and children. These silent
films were particularly accessible to working-class, immigrant
audiences.

• D.W. Griffith and Cinematic Space — Griffith was the foremost
single-reel director of the day. His 13-reel epic The Birth of a Nation
was about the Civil War and Reconstruction but its unrepentant racism
led to riots. This film nonetheless demonstrated the viability of what
came to be called the feature film. An even more important aspect of
the film was the large repertoire of camera shots that Griffith used to
create visual variety in a film of such length.
• Discussion Question: In what way did the development of cinema
influence the visual arts?

Eadweard Muybridge. Annie G. Cantering, Saddled. 1887, December.
Sheet: 19" × 24"; Image: 7" × 16”.

 Closer Look: Eadweard Muybridge, Annie G.
Cantering, Saddled

Lumière brothers. Poster for the Cinématographe, with the Lumière
brothers’ film L’Arroseur arrosé (Waterer and Watered) on screen. 1895.

D. W. Griffith. The Birth of a Nation, battle scene. 1915.

Pablo Picasso. Continuity & Change: The Prospect of War: Glass and
Bottle of Suze (Le Bouteille de Suze). 1912.
25-2/5" × 19-2/3”.

Sayre2e ch34 integrated_lecture_pp_ts-150675

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