Eduardo Terrazas was a Mexican architect and artist born in 1936 in Guadalajara. He studied architecture in Mexico City where he was influenced by a generation of teachers focused on developing a national Mexican architecture. After graduating, he spent over five years studying and working abroad in the US, Italy, Russia, Poland, England, and France. This experience exposed him to new artistic movements and enriched his understanding of Mexican art and culture. Upon returning to Mexico, he worked as the artistic director of the 1968 Mexico City Olympics, designing the iconic logo and overall visual identity program. Throughout his career, Terrazas sought to integrate Mexican folk art traditions with contemporary visual arts and explore formal elements of design.
Architecture, sculpture, and abstract art were discussed in the modern era. Key architects mentioned include Frank Lloyd Wright, Kenzo Tange, Hugo Alvar Henrik Aalto, Gottlieb Eliel Saarinen, and Eero Saarinen. Important sculptures included Filippo Brunelleschi's marble dancer and Madonna with Child. Abstract art was defined as using visual elements like form, color and line without reference to reality. Marcel Duchamp was highlighted as an early pioneer of abstract painting known for works like Nude Descending on a Staircase No.2.
This document provides an overview of an art history course that explores art from ancient times to the present. The course is broken into individual sessions covering topics like Ancient World Art, Chinese Art, the Italian Renaissance, Photography, Impressionism, Surrealism, and Alternative Art. Students will learn about influential artists, artistic styles and movements, and historical and cultural influences on art through exploration of specific works. The goal is to help students understand how art reflects the times and has impacted our lives.
the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
This document provides an introduction to Modernism in art. It discusses key events and ideas that influenced the development of Modernism, such as the Salon des Refusés of 1863, which represented changes in society and culture. Modernism is defined as a reaction against realism and romanticism that involved radically altered aesthetic forms and perspectives. The document also discusses how Modernism was related to but not the same as Modernity, which was influenced by industrialization. A reading list of texts about Modernism is provided.
Surrealism originated in the early 1920s as an artistic movement that experimented with automatism and free association. Officially established in 1924 with Breton's Manifesto of Surrealism, Surrealism was influenced by Freudian psychoanalysis and aimed to liberate imagination through investigating the unconscious mind. Early Surrealist artists included Ernst, Masson, Miró, and Dalí, who created dreamlike, irrational imagery using techniques like frottage and decalcomania. The Surrealist movement spread beyond France and influenced other European artists before eventually dissolving at the outset of World War II.
HUMAN100: Introduction to Humanities --- The Visual Arts: Painting. This Includes the ff:
1. History of Painting
2. Styles/ Art Movements in Painting
3. Famous Painters (Renaissance to Modern Art)
Oscar-Claude Monet
Oscar-Claude Monet was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape
Leonardo di ser Piero da Vinci
Leonardo di ser Piero da Vinci, more commonly Leonardo da Vinci, was an Italian polymath whose areas of interest included invention, painting, sculpting, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, writing, history, and cartography. He has been variously called the father of paleontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time.[1] Sometimes credited with the inventions of the parachute, helicopter and tank, his genius epitomized the Renaissance humanist ideal.
Pablo Ruiz y Picasso
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France.
Vincent Willem van Gogh
Vincent Willem van Gogh ( 30 March 1853 – 29 July 1890) was a Post-Impressionist painter. He was a Dutch artist whose work had a far-reaching influence on 20th-century art. His output includes portraits, self-portraits, landscapes and still life's of cypresses, wheat fields and sunflowers. He drew as a child but did not paint until his late twenties.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
Architecture, sculpture, and abstract art were discussed in the modern era. Key architects mentioned include Frank Lloyd Wright, Kenzo Tange, Hugo Alvar Henrik Aalto, Gottlieb Eliel Saarinen, and Eero Saarinen. Important sculptures included Filippo Brunelleschi's marble dancer and Madonna with Child. Abstract art was defined as using visual elements like form, color and line without reference to reality. Marcel Duchamp was highlighted as an early pioneer of abstract painting known for works like Nude Descending on a Staircase No.2.
This document provides an overview of an art history course that explores art from ancient times to the present. The course is broken into individual sessions covering topics like Ancient World Art, Chinese Art, the Italian Renaissance, Photography, Impressionism, Surrealism, and Alternative Art. Students will learn about influential artists, artistic styles and movements, and historical and cultural influences on art through exploration of specific works. The goal is to help students understand how art reflects the times and has impacted our lives.
the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.
This document provides an introduction to Modernism in art. It discusses key events and ideas that influenced the development of Modernism, such as the Salon des Refusés of 1863, which represented changes in society and culture. Modernism is defined as a reaction against realism and romanticism that involved radically altered aesthetic forms and perspectives. The document also discusses how Modernism was related to but not the same as Modernity, which was influenced by industrialization. A reading list of texts about Modernism is provided.
Surrealism originated in the early 1920s as an artistic movement that experimented with automatism and free association. Officially established in 1924 with Breton's Manifesto of Surrealism, Surrealism was influenced by Freudian psychoanalysis and aimed to liberate imagination through investigating the unconscious mind. Early Surrealist artists included Ernst, Masson, Miró, and Dalí, who created dreamlike, irrational imagery using techniques like frottage and decalcomania. The Surrealist movement spread beyond France and influenced other European artists before eventually dissolving at the outset of World War II.
HUMAN100: Introduction to Humanities --- The Visual Arts: Painting. This Includes the ff:
1. History of Painting
2. Styles/ Art Movements in Painting
3. Famous Painters (Renaissance to Modern Art)
Oscar-Claude Monet
Oscar-Claude Monet was a founder of French Impressionist painting, and the most consistent and prolific practitioner of the movement's philosophy of expressing one's perceptions before nature, especially as applied to plein-air landscape
Leonardo di ser Piero da Vinci
Leonardo di ser Piero da Vinci, more commonly Leonardo da Vinci, was an Italian polymath whose areas of interest included invention, painting, sculpting, architecture, science, music, mathematics, engineering, literature, anatomy, geology, astronomy, botany, writing, history, and cartography. He has been variously called the father of paleontology, ichnology, and architecture, and is widely considered one of the greatest painters of all time.[1] Sometimes credited with the inventions of the parachute, helicopter and tank, his genius epitomized the Renaissance humanist ideal.
Pablo Ruiz y Picasso
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France.
Vincent Willem van Gogh
Vincent Willem van Gogh ( 30 March 1853 – 29 July 1890) was a Post-Impressionist painter. He was a Dutch artist whose work had a far-reaching influence on 20th-century art. His output includes portraits, self-portraits, landscapes and still life's of cypresses, wheat fields and sunflowers. He drew as a child but did not paint until his late twenties.
Modernism in Art: An Introduction: Salon des refusesJames Clegg
This course provides a critical introduction to modernist artistic movements starting from the Salon des Refusés in 1863. It examines Impressionism, Cubism, Futurism, Constructivism, Dada and other avant-garde styles in their historical and cultural contexts. The course structure includes 11 weeks covering these movements and their influence in reshaping representations of the modern world.
The largest European cities were destroyed by WWII bombings. Many artists fled to New York, which became the new center of financial and artistic power. In the postwar period, abstract expressionism emerged from New York and had a global influence. In Europe, artists grappled with existential themes of suffering and trauma from the war in their figurative works like Giacometti and Richier. Non-figurative styles like Tachism, Art Informel and Lyrical Abstraction developed in reaction to cubism with a focus on spontaneity. Artists across Europe experimented with abstraction, including pioneers of Concrete Art like Max Bill. The trauma of war could also be seen in the works of Picasso
Paul Cézanne was a French Post-Impressionist painter in the late 19th century who influenced the transition to 20th century art styles like Cubism. He is known for his exploratory brushstrokes and use of color planes that build complex fields. Cézanne met Camille Pissarro and their landscape paintings together had a collaborative influence. Later in his career, Cézanne worked from direct observation and developed a light, airy style while maintaining a solid, architectural composition. He aimed to unite observation of nature with classical composition.
Chapter 6 expressionism in germany and austriaPetrutaLipan
The document provides information on several German and Austrian expressionist artists that were part of the Die Brücke and Der Blaue Reiter movements in the early 20th century. It discusses key figures like Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, Vasily Kandinsky, Franz Marc, Gabriele Münter, and Marianne von Werefkin. It describes their expressive styles using color and form to convey emotion, as well as symbols and subjects important in their work like animals and landscapes. It also gives biographical details and contexts around the founding and influences of the Die Brücke and Der Blaue Reiter groups on the development of German expressionism
Modern art began in the 1860s and encompassed new styles and philosophies that rejected traditions of the past. Artists experimented with new materials, techniques, and theories of how art should represent the world. Major developments included Impressionism in the late 19th century, which focused on capturing light and color, Post-Impressionism, Expressionism, Cubism, Dadaism, Surrealism, Abstract art, Pop art, and Optical art in the early-mid 20th century. These movements further rejected conventions and emphasized subjective experience, fragmented forms, and imagery from dreams.
This document provides an overview of several modern art movements that developed between the late 19th and mid-20th centuries, including Art Nouveau, Cubism, Surrealism, Dadaism, Fauvism, and Modernism more broadly. It describes key characteristics and influences of each movement in areas like art, sculpture, architecture, design and more. The document also includes references for further information on each movement and the history of modern art in general.
- 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.
Avant garde art after 1945 (Selectivity)mfresnillo
After WWII, American artists developed Abstract Expressionism, seeking to compete with European art. It had two major trends - Action Painting and Color Field painting. Action Painting by Pollock, de Kooning, and Kline used impulsive, irrational techniques. Color Field used large color surfaces without details. Minimalism emerged in the 1950s emphasizing simplicity and impersonality. Major artists included Judd, who made geometric wall elements, and Flavin, who sculpted with neon light. Pop Art referenced mass culture, with Warhol famously reproducing images through silkscreen printing.
This document summarizes Post-Impressionism and its related artistic movements between the late 19th and early 20th centuries. It discusses key Post-Impressionist artists like Seurat, Gauguin, Van Gogh, Cézanne and Symbolist artists who took Impressionism in new directions through techniques like Pointillism, flattening forms, and using color and symbols to convey emotions and ideas. It also covers contemporaneous movements like Symbolism and Naïve art as well as sculptors like Rodin and the transition to early modernism through Cézanne's ideas.
Chapter 19 taking chances with popular culturePetrutaLipan
Pop Art began in England in the 1950s as a reaction against Abstract Expressionism. Key early figures included Richard Hamilton, who coined the term "Pop art", and Eduardo Paolozzi, whose collages incorporated imagery from mass media and popular culture. Pop Art spread to the United States in the 1960s, where artists like Andy Warhol, Jasper Johns, Robert Rauschenberg, Claes Oldenburg, and Jim Dine incorporated everyday objects and imagery into their work. They challenged definitions of art and blurred lines between high and low culture.
1) Several European avant-garde art movements emerged in the early 20th century in response to industrialization, including Cubism, Futurism, Vorticism, and Rayonism.
2) Futurism, founded in Italy, celebrated modern technology and the machine age, while Vorticism, centered in Britain, also incorporated Cubist and Futurist ideas in their rejection of the past.
3) Key figures experimented with depicting motion and multiple perspectives, like Boccioni's sculpture Unique Forms of Continuity in Space and Balla's Dynamism of a Dog on a Leash.
This document provides an overview of modern art movements from Impressionism to Post-Impressionism. It discusses how Impressionism originated from Monet's painting Impression, Sunrise and aimed to capture fleeting impressions rather than precise representations. Key Impressionist artists like Manet, Monet, and Renoir are highlighted with examples of their works. It also summarizes how Post-Impressionists like Cezanne and Van Gogh expanded on Impressionist techniques in bold new ways.
This document provides an overview of a grade 10 arts curriculum covering 20th century art movements. It includes the following:
- An activity where students will classify pictures of artworks into groups representing different art movements from the 20th century.
- Descriptions and examples of different art movements covered, including Impressionism, Expressionism, Abstractionism, Abstract Expressionism, Pop Art, Op Art, Installation Art, and Performance Art.
- An application activity where students will be assigned to create a sample artwork representing one of the art movements, and plan activities applying curriculum concepts like differentiation and localization.
The document summarizes changes in art during the Renaissance period. It discusses how art shifted from focusing solely on religious subjects to including depictions of classical gods, heroes, and the natural world. Artists developed techniques like perspective to make their works more realistic. Renaissance art originated in Italy and was inspired by classical Greek and Roman models. It spread across Europe in the 16th century, taking on regional styles in places like Flanders, France, Germany, and Spain. Key artists and their works from each period and region are mentioned.
This document provides an overview of contemporary art from 1970-2010, with a focus on performance and conceptual art. It discusses how contemporary art uses new materials and mediums, including installations and video. Performance art is defined as art where the artist uses their own body. Key performance artists mentioned include Gilbert & George, Marina Abramovic, and Alastair MacLennan. Conceptual art prioritizes ideas over traditional art forms. Richard Long, Jenny Holzer, and Sophie Calle are highlighted as conceptual artists.
Chapter 16 abstract expressionism and the new american sculpturePetrutaLipan
This document provides an overview of Abstract Expressionism and its emergence as the first American art movement to achieve worldwide influence in the mid-20th century. It discusses major Abstract Expressionist artists like Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman who developed new approaches to non-representational painting in New York during the 1940s-1950s. It also covers the movement's expansion to include constructed sculpture and biomorphic forms through the works of artists such as David Smith, Louise Bourgeois, and Joseph Cornell.
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
This document provides an overview of major developments in 20th century art from 1900 to 1914, focusing on movements and artists in Europe. It discusses Symbolism and Expressionism in Austria and Germany, including the works of Klimt, Schiele, and the Blue Rider group. In France, it outlines Post-Impressionism and the influence of Gauguin, then covers Fauvism and the works of Matisse. It also summarizes Picasso's revolutionary Demoiselles d'Avignon, and the emergence of Cubism. Finally, it discusses the Futurist movement in Italy led by Marinetti that celebrated industrialization and technology.
Chapter 4 arts and crafts art nuveau beginning of expressionismPetrutaLipan
The document provides an overview of several art movements between the late 19th and early 20th centuries, including the Arts and Crafts Movement, Art Nouveau, and early Expressionism. It discusses key figures like William Morris, Charles Rennie Mackintosh, Gustav Klimt, Antoni Gaudi, Victor Horta, and Edvard Munch. Their works emphasized natural and organic forms, a rejection of mechanization, and a more subjective and emotional expression of human experience. Art Nouveau in particular incorporated flowing, asymmetric designs inspired by nature. Munch's paintings like The Sick Child and The Scream were early examples of Expressionism in their depiction of inner moods and psychological states.
Chapter 15 american art before world war iiPetrutaLipan
This document provides an overview of American art before World War II. It summarizes key artistic movements and artists of the time period. The 1920s saw the rise of regionalism in response to a search for national identity. The Great Depression of the 1930s dominated the arts and saw government support for art projects. Photographers like Riis, Hine, Stieglitz documented social issues. Modernist painters like Dove, Hartley, and O'Keeffe experimented with abstraction. Regionalists like Benton and Wood captured American scenes and culture.
Chapter 13 bauhaus and the teaching of modernismPetrutaLipan
The Bauhaus was a German art school operational from 1919-1933 that had a major influence on modernist art, design, and architecture. It focused on eliminating distinctions between the fine and applied arts and uniting art and industrial design. Some key figures associated with the Bauhaus include Walter Gropius, who founded and directed the school; László Moholy-Nagy, Josef Albers, Paul Klee, Wassily Kandinsky, Oskar Schlemmer, Gunta Stölzl, Marcel Breuer, and Herbert Bayer, who all taught there and developed new approaches to art, design, architecture, and craft.
Eduardo Praxedis Terrazas de la Peña is an architect and urban planner with extensive national and international experience in fields ranging from architecture and urban planning to graphic design and painting. He received his master's degree from Cornell University and has worked on projects in numerous countries. Some of his most notable works include the CINTERMEX Exhibition and Convention Center in Monterrey, Mexico City airport renovations, and serving as the art director for the 1968 Mexico City Olympics identity program.
Portrait of terrazas by l wolffer englisheduterrazas
Eduardo Terrazas is a Mexican artist and architect born in 1936 in Guadalajara, Jalisco. Over his 40+ year career, he has worked across many disciplines including painting, drawing, design, curating, and urban planning. He received his Bachelor's degree in architecture from UNAM in Mexico City and his Master's from Cornell University. Terrazas sees his work across disciplines as parallel pathways to approach philosophical and social issues. He has created diverse works exploring structures, Mexican folk art, and everyday objects. Terrazas remains a prolific artist concerned with understanding the contemporary world.
The largest European cities were destroyed by WWII bombings. Many artists fled to New York, which became the new center of financial and artistic power. In the postwar period, abstract expressionism emerged from New York and had a global influence. In Europe, artists grappled with existential themes of suffering and trauma from the war in their figurative works like Giacometti and Richier. Non-figurative styles like Tachism, Art Informel and Lyrical Abstraction developed in reaction to cubism with a focus on spontaneity. Artists across Europe experimented with abstraction, including pioneers of Concrete Art like Max Bill. The trauma of war could also be seen in the works of Picasso
Paul Cézanne was a French Post-Impressionist painter in the late 19th century who influenced the transition to 20th century art styles like Cubism. He is known for his exploratory brushstrokes and use of color planes that build complex fields. Cézanne met Camille Pissarro and their landscape paintings together had a collaborative influence. Later in his career, Cézanne worked from direct observation and developed a light, airy style while maintaining a solid, architectural composition. He aimed to unite observation of nature with classical composition.
Chapter 6 expressionism in germany and austriaPetrutaLipan
The document provides information on several German and Austrian expressionist artists that were part of the Die Brücke and Der Blaue Reiter movements in the early 20th century. It discusses key figures like Ernst Ludwig Kirchner, Erich Heckel, Emil Nolde, Vasily Kandinsky, Franz Marc, Gabriele Münter, and Marianne von Werefkin. It describes their expressive styles using color and form to convey emotion, as well as symbols and subjects important in their work like animals and landscapes. It also gives biographical details and contexts around the founding and influences of the Die Brücke and Der Blaue Reiter groups on the development of German expressionism
Modern art began in the 1860s and encompassed new styles and philosophies that rejected traditions of the past. Artists experimented with new materials, techniques, and theories of how art should represent the world. Major developments included Impressionism in the late 19th century, which focused on capturing light and color, Post-Impressionism, Expressionism, Cubism, Dadaism, Surrealism, Abstract art, Pop art, and Optical art in the early-mid 20th century. These movements further rejected conventions and emphasized subjective experience, fragmented forms, and imagery from dreams.
This document provides an overview of several modern art movements that developed between the late 19th and mid-20th centuries, including Art Nouveau, Cubism, Surrealism, Dadaism, Fauvism, and Modernism more broadly. It describes key characteristics and influences of each movement in areas like art, sculpture, architecture, design and more. The document also includes references for further information on each movement and the history of modern art in general.
- 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.
Avant garde art after 1945 (Selectivity)mfresnillo
After WWII, American artists developed Abstract Expressionism, seeking to compete with European art. It had two major trends - Action Painting and Color Field painting. Action Painting by Pollock, de Kooning, and Kline used impulsive, irrational techniques. Color Field used large color surfaces without details. Minimalism emerged in the 1950s emphasizing simplicity and impersonality. Major artists included Judd, who made geometric wall elements, and Flavin, who sculpted with neon light. Pop Art referenced mass culture, with Warhol famously reproducing images through silkscreen printing.
This document summarizes Post-Impressionism and its related artistic movements between the late 19th and early 20th centuries. It discusses key Post-Impressionist artists like Seurat, Gauguin, Van Gogh, Cézanne and Symbolist artists who took Impressionism in new directions through techniques like Pointillism, flattening forms, and using color and symbols to convey emotions and ideas. It also covers contemporaneous movements like Symbolism and Naïve art as well as sculptors like Rodin and the transition to early modernism through Cézanne's ideas.
Chapter 19 taking chances with popular culturePetrutaLipan
Pop Art began in England in the 1950s as a reaction against Abstract Expressionism. Key early figures included Richard Hamilton, who coined the term "Pop art", and Eduardo Paolozzi, whose collages incorporated imagery from mass media and popular culture. Pop Art spread to the United States in the 1960s, where artists like Andy Warhol, Jasper Johns, Robert Rauschenberg, Claes Oldenburg, and Jim Dine incorporated everyday objects and imagery into their work. They challenged definitions of art and blurred lines between high and low culture.
1) Several European avant-garde art movements emerged in the early 20th century in response to industrialization, including Cubism, Futurism, Vorticism, and Rayonism.
2) Futurism, founded in Italy, celebrated modern technology and the machine age, while Vorticism, centered in Britain, also incorporated Cubist and Futurist ideas in their rejection of the past.
3) Key figures experimented with depicting motion and multiple perspectives, like Boccioni's sculpture Unique Forms of Continuity in Space and Balla's Dynamism of a Dog on a Leash.
This document provides an overview of modern art movements from Impressionism to Post-Impressionism. It discusses how Impressionism originated from Monet's painting Impression, Sunrise and aimed to capture fleeting impressions rather than precise representations. Key Impressionist artists like Manet, Monet, and Renoir are highlighted with examples of their works. It also summarizes how Post-Impressionists like Cezanne and Van Gogh expanded on Impressionist techniques in bold new ways.
This document provides an overview of a grade 10 arts curriculum covering 20th century art movements. It includes the following:
- An activity where students will classify pictures of artworks into groups representing different art movements from the 20th century.
- Descriptions and examples of different art movements covered, including Impressionism, Expressionism, Abstractionism, Abstract Expressionism, Pop Art, Op Art, Installation Art, and Performance Art.
- An application activity where students will be assigned to create a sample artwork representing one of the art movements, and plan activities applying curriculum concepts like differentiation and localization.
The document summarizes changes in art during the Renaissance period. It discusses how art shifted from focusing solely on religious subjects to including depictions of classical gods, heroes, and the natural world. Artists developed techniques like perspective to make their works more realistic. Renaissance art originated in Italy and was inspired by classical Greek and Roman models. It spread across Europe in the 16th century, taking on regional styles in places like Flanders, France, Germany, and Spain. Key artists and their works from each period and region are mentioned.
This document provides an overview of contemporary art from 1970-2010, with a focus on performance and conceptual art. It discusses how contemporary art uses new materials and mediums, including installations and video. Performance art is defined as art where the artist uses their own body. Key performance artists mentioned include Gilbert & George, Marina Abramovic, and Alastair MacLennan. Conceptual art prioritizes ideas over traditional art forms. Richard Long, Jenny Holzer, and Sophie Calle are highlighted as conceptual artists.
Chapter 16 abstract expressionism and the new american sculpturePetrutaLipan
This document provides an overview of Abstract Expressionism and its emergence as the first American art movement to achieve worldwide influence in the mid-20th century. It discusses major Abstract Expressionist artists like Jackson Pollock, Willem de Kooning, Mark Rothko, and Barnett Newman who developed new approaches to non-representational painting in New York during the 1940s-1950s. It also covers the movement's expansion to include constructed sculpture and biomorphic forms through the works of artists such as David Smith, Louise Bourgeois, and Joseph Cornell.
The document provides an overview of art history from 1911-1917, covering the development of Cubism, Dada, abstraction, and other modern art movements. It discusses key artists and works, including Picasso and Braque's experiments with Cubism, Duchamp's readymades, Malevich's suprematist paintings, and Mondrian's transition to pure abstraction through his Neoplastic style. The document also covers the origins of Dada in Zurich during World War I and Alfred Stieglitz's promotion of modernist photography in America through his journal Camera Work.
This document provides an overview of major developments in 20th century art from 1900 to 1914, focusing on movements and artists in Europe. It discusses Symbolism and Expressionism in Austria and Germany, including the works of Klimt, Schiele, and the Blue Rider group. In France, it outlines Post-Impressionism and the influence of Gauguin, then covers Fauvism and the works of Matisse. It also summarizes Picasso's revolutionary Demoiselles d'Avignon, and the emergence of Cubism. Finally, it discusses the Futurist movement in Italy led by Marinetti that celebrated industrialization and technology.
Chapter 4 arts and crafts art nuveau beginning of expressionismPetrutaLipan
The document provides an overview of several art movements between the late 19th and early 20th centuries, including the Arts and Crafts Movement, Art Nouveau, and early Expressionism. It discusses key figures like William Morris, Charles Rennie Mackintosh, Gustav Klimt, Antoni Gaudi, Victor Horta, and Edvard Munch. Their works emphasized natural and organic forms, a rejection of mechanization, and a more subjective and emotional expression of human experience. Art Nouveau in particular incorporated flowing, asymmetric designs inspired by nature. Munch's paintings like The Sick Child and The Scream were early examples of Expressionism in their depiction of inner moods and psychological states.
Chapter 15 american art before world war iiPetrutaLipan
This document provides an overview of American art before World War II. It summarizes key artistic movements and artists of the time period. The 1920s saw the rise of regionalism in response to a search for national identity. The Great Depression of the 1930s dominated the arts and saw government support for art projects. Photographers like Riis, Hine, Stieglitz documented social issues. Modernist painters like Dove, Hartley, and O'Keeffe experimented with abstraction. Regionalists like Benton and Wood captured American scenes and culture.
Chapter 13 bauhaus and the teaching of modernismPetrutaLipan
The Bauhaus was a German art school operational from 1919-1933 that had a major influence on modernist art, design, and architecture. It focused on eliminating distinctions between the fine and applied arts and uniting art and industrial design. Some key figures associated with the Bauhaus include Walter Gropius, who founded and directed the school; László Moholy-Nagy, Josef Albers, Paul Klee, Wassily Kandinsky, Oskar Schlemmer, Gunta Stölzl, Marcel Breuer, and Herbert Bayer, who all taught there and developed new approaches to art, design, architecture, and craft.
Eduardo Praxedis Terrazas de la Peña is an architect and urban planner with extensive national and international experience in fields ranging from architecture and urban planning to graphic design and painting. He received his master's degree from Cornell University and has worked on projects in numerous countries. Some of his most notable works include the CINTERMEX Exhibition and Convention Center in Monterrey, Mexico City airport renovations, and serving as the art director for the 1968 Mexico City Olympics identity program.
Portrait of terrazas by l wolffer englisheduterrazas
Eduardo Terrazas is a Mexican artist and architect born in 1936 in Guadalajara, Jalisco. Over his 40+ year career, he has worked across many disciplines including painting, drawing, design, curating, and urban planning. He received his Bachelor's degree in architecture from UNAM in Mexico City and his Master's from Cornell University. Terrazas sees his work across disciplines as parallel pathways to approach philosophical and social issues. He has created diverse works exploring structures, Mexican folk art, and everyday objects. Terrazas remains a prolific artist concerned with understanding the contemporary world.
Eduardo Terrazas nació en 1936 en Guadalajara, México. Estudió arquitectura en la UNAM en la década de 1950 donde se interesó en el arte. Más tarde estudió y trabajó en varios países de Europa y Estados Unidos, ampliando sus conocimientos artísticos. Regresó a México en 1964 para trabajar en el diseño de la Feria Mundial de Nueva York y los Juegos Olímpicos de 1968 en la Ciudad de México, donde creó una identidad visual innovadora que combinó la cultura mexicana con
Eduardo Praxedis Terrazas de la Peña es un arquitecto, urbanista y diseñador gráfico mexicano nacido en 1936 que estudió arquitectura en la UNAM y obtuvo una maestría en la Universidad de Cornell. Ha trabajado en proyectos de arquitectura, urbanismo, planeación regional y diseño en México, Estados Unidos, Europa y África. Algunos de sus principales proyectos incluyen el diseño de los Juegos Olímpicos de 1968, el plan maestro de Dodoma (Tanzania) y el dise
The document discusses the history of major art styles and movements from Renaissance to contemporary art. It covers Renaissance, Baroque, Neoclassicism, Romanticism, Realism, Impressionism, Fauvism, Cubism, Expressionism and more modern styles. Key figures mentioned include Leonardo da Vinci, Michelangelo, Raphael, and movements like Hudson River School and Group of Seven are noted. The document aims to provide an overview of foremost art styles and their influences over time.
This document discusses the history and development of art in Cuba, particularly landscape painting in the eastern region of Santiago de Cuba. It describes how Cuban art was initially influenced by European traditions but developed its own authentic identity in the early 20th century. Landscape painting has been a recurrent theme in Cuban art, depicting the natural surroundings. Several generations of artists from Santiago de Cuba are discussed, from the 19th century painter José Joaquín Tejada to more recent generations in the late 20th century who have explored social and environmental themes through their work.
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Abstract art developed in the late 19th century as artists felt a need for a new art form that reflected the fundamental changes in technology, science, and philosophy. It uses forms, colors, and lines instead of attempting to represent recognizable reality. In the 20th century, several movements contributed to abstract art becoming more removed from visual references, including Romanticism, Impressionism, and Expressionism. Artists like Kandinsky and Mondrian were also influenced by Eastern and occult philosophies. During this time, abstract art developed in Russia, Germany, France, and the United States. It became an international art movement as artists fled Europe during World War II and spread abstract styles around the world.
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The French Art Nouveau Movement And The International...Tina Jordan
The document discusses the French Art Nouveau movement and the International Typographic Style and how they reflect their social environments. It provides examples of works that demonstrate the techniques and qualities of each style - Henri de Toulouse-Lautrec's 1891 poster "La Goulue au Moulin Rouge" represents Art Nouveau, while works by Josef Müller-Brockmann and Carlo L. Vivarelli represent the International Typographic Style. The document then discusses characteristics of "La Goulue au Moulin Rouge" and how it exemplifies qualities of Art Nouveau style.
Here are the key points to address in your contemporary art project:
1. Contemporary art refers to art made by living artists today. It reflects the ideas, technologies, and cultures of the present moment.
2. Contemporary art is often collaborative, involving input from multiple artists or the audience. It is integrative, combining different mediums, styles, and art forms. The process of making the work is emphasized over the finished product.
3. This differentiates it from traditional and modern art, which often featured a single artist and focused on realistic representation or abstraction. Contemporary art is less concerned with realistic depiction and more with ideas, participation, and experimentation.
4. Your cubist artwork can demonstrate these qualities
Renaissance humanism began in Italy in the 14th-15th centuries as a revival of classical antiquity that emphasized grammar, rhetoric, history, poetry and moral philosophy. Johannes Gutenberg introduced mechanical movable-type printing to Europe in the 15th century, vastly increasing the spread of knowledge. Leonardo da Vinci was one of the most influential polymaths of the High Renaissance in the late 15th-early 16th centuries, renowned as a painter, inventor, scientist and engineer. Christopher Columbus' voyage in 1492 led to the European discovery and colonization of the Americas. Michelangelo was a preeminent sculptor, painter, architect and poet of the High Renaissance in the early 16th century.
During the 17th century, the Dutch Republic experienced a Golden Age of art as prosperous Dutch merchants purchased portraits, landscapes, and genre scenes from prominent artists like Rembrandt, Vermeer, and Judith Leyster. In the 17th century, France surpassed Italy as the center of European art under the patronage of Louis XIV at Versailles. Rococo art featuring pastel colors and lighthearted scenes became popular among French nobles after Louis XIV's death. Realism in the mid-19th century challenged academic subjects by depicting working classes and peasants, influenced by earlier artists like Courbet.
The document summarizes several artworks that explore themes of globalization and how cultures interact and influence each other globally. It discusses works by artists from different countries that incorporate both traditional and modern iconography from diverse cultures like Li Lihong's porcelain sculptures blending Chinese and Western motifs and Korakrit Arunanondchai's video art examining the merging of art and life in contemporary Thailand. The document examines how artists acknowledge and comment on cultural exchange in an increasingly interconnected world.
Contemporary Philippine Arts : Introductionnino777estolas
Modern art refers to the period from the 1860s to the 1970s during which artists experimented with abstraction and new techniques to escape rigid realism. Contemporary art emerged after the 1960s and includes works created by living artists that often comment on social issues rather than just representing an individual perspective. Unlike modern art, contemporary art has a social impact and allows more freedom of expression.
History of art(west and middle east)- contemporary art ,art ,contemporary art ,art-history of art ,iranian art ,iranian contemporary art ,famous iranian artist ,middle east art ,european art
Este documento presenta una descripción general de la región Centro-País de México. Se divide la región en siete estados y varias áreas metropolitanas principales como la Ciudad de México, Toluca, Cuernavaca y Puebla. También describe brevemente los centros urbanos de la región y realiza un diagnóstico económico preliminar, señalando que la estructura territorial de los mercados ha cambiado y la región ha perdido participación en la población y el PIB nacional.
Este documento es un libro que presenta una colección de ensayos y textos sobre el artista Eduardo Terrazas y su obra. Incluye contribuciones de varios autores como Jaime Repollés, Tomás Maldonado, Guillermo Fadanelli y Jim Nikas. También contiene un catálogo de la obra de Terrazas, documentos fotográficos sobre su trabajo y una entrevista entre Rafael Argullol y el propio Eduardo Terrazas. El libro fue publicado por la editorial Turner con el apoyo del Conaculta.
La industria de la desconstrucción (1976)eduterrazas
Este documento describe varios problemas sociales contemporáneos como la marginación, la corrupción, la desunión y la tecnocratización que resultan del sistema industrial de producción. Argumenta que estos problemas no tienen soluciones correctivas dentro del sistema, sino que requieren un cambio de sistema para que la tecnología no margine o deshumanice al individuo. Finalmente, discute cómo el modo industrial de construir viviendas crea una enajenación entre las personas y sus hogares al concebir las viviendas como productos en lugar de instrumentos.
This document discusses the evolution of life on Earth and human civilization over time. It provides illustrations showing population growth, development of technology, increasing life expectancy, urbanization, energy and resource usage, and other trends. The document advocates for a transition from exponential to organic growth and the need for a new relationship between humanity and nature.
Las obras presentadas exploran posibilidades geométricas a través de líneas y colores. Dos series contrastan un crecimiento exponencial frente a formas orgánicas y aleatorias. Eduardo Terrazas explora combinaciones sistemáticas usando compás, reglas y acrílico. Entre 1971-1975 colaboró con el artista huichol Santos Motoaaopohua creando composiciones de lana de colores sobre madera.
Eduardo Terrazas es un artista y arquitecto mexicano multifacético que ha trabajado durante más de 40 años en una variedad de disciplinas como la pintura, el dibujo, el diseño y la arquitectura para entender y reflexionar sobre el mundo cambiante. Algunas de sus obras más destacadas incluyen investigaciones pictóricas, exposiciones y museografía. Además de su amplia producción artística, Terrazas ha colaborado con pensadores e instituciones internacionales y ha diseñado varios edific
Diáogo Rafael Argullol - Eduardo Terrazaseduterrazas
Este documento resume una conversación entre el arquitecto Eduardo Terrazas, el escritor Rafael Argullol y el pintor Jaime Repollés sobre el libro Posibilidades de una estructura. Discuten cómo Terrazas descubrió conexiones entre sus obras a lo largo de 40 años a través de estructuras geométricas subyacentes. También analizan conceptos como el punto, el infinito, lo caótico y lo cósmico en el arte, así como la influencia de las artes populares y diferentes perspectivas culturales sobre estos temas.
Eduardo Terrazas se interesó en el arte popular mexicano después de trabajar como asistente en una exposición de arte mexicano en París en 1962. Allí se expuso una sección de arte popular que resultó atractiva en Europa de los años 60. Terrazas fue testigo del movimiento Nouveau Réalisme en Francia, que apropiaba objetos cotidianos para crear arte. Años más tarde, Terrazas aplicó estos principios al arte popular mexicano para crear instalaciones en el Museo de lo Cotidiano con objetos artesanales sin modificarlos ni
Eduardo Terrazas fue un arquitecto, diseñador y artista mexicano que rescató artesanías populares y las tradujo a formas tecnológicas. Sus globos inflables de gran tamaño con diseños impresos en varios colores tuvieron gran éxito, especialmente los que decoraron la Alameda Central en Navidad. Terrazas creó una primera edición de diez globos con diferentes estructuras pictóricas y envió varios a exposiciones en Chile, Nueva York y París. Creía que para expresar al hombre modern
El documento describe cómo el arquitecto y diseñador Eduardo Terrazas descubrió una nueva forma de utilizar las técnicas artesanales huicholes al aprovechar los materiales y la mano de obra de los artesanos para crear diseños con un estilo personal. Terrazas logró desarrollar un estilo gráfico único al delgadar al máximo las hebras de lana, lo que le permitió crear diseños rítmicos y matices sutiles de sombras. Al asimilar conceptos de valor y contraste, Terrazas liberó los
Este documento resume las Tablas de Eduardo Terrazas, en las que se encuentra una reconciliación entre el diseño geométrico moderno y la ejecución manual tradicional realizada por artesanos anónimos. La autora señala que esta síntesis logra una alta calidad estética. Terrazas recurrió a artesanos huicholes para que cubrieran sus cuadros con diseños geométricos y colores usando una técnica tradicional, lo que aportó elementos plásticos a sus obras y unió lo viejo con lo
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
Communicating effectively and consistently with students can help them feel at ease during their learning experience and provide the instructor with a communication trail to track the course's progress. This workshop will take you through constructing an engaging course container to facilitate effective communication.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
Temple of Asclepius in Thrace. Excavation resultsKrassimira Luka
The temple and the sanctuary around were dedicated to Asklepios Zmidrenus. This name has been known since 1875 when an inscription dedicated to him was discovered in Rome. The inscription is dated in 227 AD and was left by soldiers originating from the city of Philippopolis (modern Plovdiv).
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
it describes the bony anatomy including the femoral head , acetabulum, labrum . also discusses the capsule , ligaments . muscle that act on the hip joint and the range of motion are outlined. factors affecting hip joint stability and weight transmission through the joint are summarized.
B. Ed Syllabus for babasaheb ambedkar education university.pdf
Terrazas bio by nc english
1. Eduardo Terrazas Biographical Profile
Eduardo Terrazas was born in the city of Guadalajara, Jalisco in 1936. Three months after
his birth, his family, originally from northern Mexico, relocated to Mexico City. During his years
of professional training as an architect (1953-1958), the National Autonomous University of
Mexico was transferred from the San Carlos Academy, located in the historic downtown area of
Mexico City, to the new University City campus south of the capital. There, Terrazas came into
contact with a whole new generation of teachers determined to rethink what kind of architecture
Mexico required. The Revolution of 1910 had permanently altered the conditions under which
architecture would develop, given that the national agenda was built around the search for
solutions to collective problems that had arisen from the country’s social needs. These men
dedicated their pedagogical activity towards the definition of a national architecture based on
actual social demands and aspirations.
This focus on Mexican architecture during Terrazas’ years of study decisively influenced
not only his career as an architect, but his artistic endeavors as well. The social orientation of his
work is manifested as a conscious drive to recover and renovate multiple creative expressions in
Mexico. One of the main focal points of Terrazas’ artistic career has been the appropriation of
elements belonging to the Mexican artisan tradition and national folk art culture and establishing
a constant dialogue between them and different trends in contemporary art. Through this dialogue
Terrazas opened up a permanent process of renovation and evolution of both traditions. However,
his perspective was already very different from that which, stemming from the Revolution,
proposed to depict national life under the ideological framework that characterized Mexican
muralism in the early 20th
century. Terrazas began his approach to artistic language as an end in
itself and for him, as for many artists of his generation, the language of art is, more than anything,
1
2. a set of formal challenges to be explored rather than a bearer of representation.
Upon completing his degree at the National School of Architecture, he began a long
period of studies and work outside Mexico that would significantly broaden the horizon of his
knowledge and interests in the visual arts beyond architecture. This period of more than five
years would take him to the United States, Italy, Russia, Poland, England and France. First, he
obtained his Master’s degree in Architecture from Cornell University, where he took Art History
classes with the Pop-art theorist Alan Solomon, who introduced him to the basics of art history.
Within the intellectual environment at Cornell, the borders between architecture, urbanism, and
art began to vanish, above all under the influence of his mentors John Reps –an urban planner
and historian of urban planning-, John Hejduk –an artist, architect and pedagogue- and Robert
Slutzky, a painter, writer and architectural theorist.
After a brief stay in Mexico, Terrazas embarked for Europe and headed for Rome, where
he studied under Pier Luigi Nervi for a short time and worked as an extra at Cinecittà. His stay in
Rome in the early 1960s, a city with intense artistic and intellectual activity, would wield a strong
influence over Eduardo’s career, and it was there, in the artistic circle surrounding the Via
Margutta –famous for its numerous contemporary art galleries- that he came into contact with the
European avant-gardes. This contact caused him great admiration and amazement and thus he
began to question himself, to experiment and to paint. His approach to art began with the
production of works based on autonomous principles and corresponding techniques and laws
with no external references. In this context, in which the visual arts encompassed architecture as
well as design and urbanism (De Stijl, Bauhaus), Terrazas adopted the formal investigation of
space in aesthetic terms as part of a search for harmony and visual rhythm and, progressively, as
a means of building a socially functional city environment. His artistic activity during this
multidisciplinary stage was strongly linked to a sense of social responsibility, in that he
2
3. conceived his activity as being tied to the search of a formal language that would reveal what is at
stake for contemporary urban society and will allow him to design applied strategies within the
new social order he perceived. A decade later, in the 1970s, he co-edited with Raymundo Cuervo
The Industry of Deconstruction, a work that they had prepared for the Habitat Forum -a United
Nations conference on human settlements- intended to become an analytical instrument for the
underlying issues faced by contemporary life. But this would happen later on, when he was
Technical Director of the National Institute for the Development of Community and Popular
Housing (Indeco), as well as part of the Institute of Urban Action and Social Integration (Auris)
and an advisor to the Ministry of Human Settlements and Public Infrastructure. Let us return to
the previous decade.
Still in Rome, Eduardo answered -through the Mexican embassy in Italy- the call of
Fernando Gamboa, a Mexican museographer, who was in need of an assistant to mount the
exhibition Masterpieces of Mexican Art, which was being installed at the time, in 1961, at the
Hermitage Museum in Leningrad. This great exhibition of pre-Hispanic, colonial, and modern art
from Mexico, which also included an abundant variety of Mexican crafts from the entire nation,
had a big impact on his European journey. When Terrazas arrived in Leningrad, he discovered
the quality, refinement and beauty of Mexican art and the effect was profound. Terrazas was able
to admire firsthand and as a whole, a representative set of folk art production from Mexico and a
series of pieces that, at the time, as the Museum of Anthropology in Mexico did not exist yet,
were only known partially or through photographs. Together with Fernando Gamboa, Terrazas
learned not only to mount an exhibition, but also to value and present a collection of works that
embodied the artistic and creative richness of his native country. Following the Leningrad show,
Terrazas traveled by train with the entire collection to Poland in order to present it at the National
Museum of Warsaw, where he again contributed to the exhibition mounting and design. From
3
4. Warsaw, Terrazas headed to London, invited by a friend from Cornell, and there he worked at the
architectural firm Howell, Killick, Partridge & Amis. During his stay in London, Fernando
Gamboa invited him to collaborate once again by mounting the exhibition Masterpieces of
Mexican Art at the Petit Palais in Paris, with a catalogue written by Raquel Tibol, that was
inaugurated by General Charles de Gaulle in the spring of 1962.
Terrazas decided to stay and live in Paris in order to complete his studies on
prefabrication at the Centre Scientifique et Technique du Bâtiment, where he met George
Candilis, an architect, urban planner and one of the closest collaborators of Le Corbusier, who
invited him to join his staff at Candilis, Josic & Woods. It was there that Terrazas first came into
contact with the members of Team X, helping in the organization of their meeting at Royaumont
in 1962. While in France, Terrazas also became acquainted with the French artistic movements of
the time through the galleries René Drouin, Maeght and Denise René, where exhibitions were
held on New Realism, Concrete Art, Art Brut, and Informal Art with works by Dubuffet, Fautrier,
Wolf, Ernst, Miró, Picabia, Soto, Mata and Cruz Diez, among others.
This experience outside Mexico, studying and working, enriched by his discovery of both
the artisanry and masterpieces of Mexican art and the European and American artistic movements
of the time, left a lasting mark on his work and gave him a deeper understanding of his country.
When Terrazas returned to Mexico, he met architect Pedro Ramírez Vázquez, who proposed that
he become the Mexican commissioner at the New York World’s Fair of 1964-1965 and thus he
was entrusted the building of the Mexican Pavilion. Soon after having arrived in New York, he
received an invitation to join Columbia University as a professor, where he taught at the
architectural design workshop. In New York, he found himself again in a city with intense artistic
life and met architects, painters and designers with whom he visited the major museums and art
galleries. Before returning to Mexico, Terrazas worked with the architect and designer George
4
5. Nelson. Doubtless, during his New York residence, Terrazas broadened his experience and his
knowledge of architecture, art, and design.
It was then, that architect Ramírez Vázquez, at the time President of the Organizing
Committee for the 19th
Olympic Games, invited him to be the artistic director of the event, with
the objective of making Mexico known throughout the world, inform about the preparations,
advances and activities prior to the Olympics and designing an urban environment tailored to
Mexico City. Given that these were the first Olympic Games organized by a developing country,
the task was particularly challenging, because it was of great importance to show that Mexico
was not only capable of rising to the occasion but also to contribute meaningfully to the Olympic
tradition. To that end, Ramírez Vázquez brought him on board the Organizing Committee,
together with Beatriz Trueblood -a major editor in New York who, in 1965, had published in
Mexico a book about the recently inaugurated Museum of Anthropology-, and bit by bit, working
as a team, they shaped the Program of Olympic Identity and Design, composed by the
Department of Ornament and Urban Design, under the direction of Terrazas, and the Department
of Publications, under the direction of Beatriz Trueblood.
Through the Program of Olympic Identity and Design, intended to showcase a modern
Mexico of great historical richness, Terrazas and Trueblood succeeded in bringing together the
Mexican long standing cultural traditions and contemporary visual arts in a project that became a
landmark in graphic design. The logo for the event, designed by Terrazas and Lance Wyman, was
inspired by a technique used by the Huichols –an ethnic group from northern Mexico- consisting
on colored wool yarn stuck with wax over wooden boards. This technique, which the Huichols
use to represent their cosmological vision, creates images based on concentric and ever-
expanding lines (the yarn being simultaneously line and brush). The team gradually grew thanks
to the invited designers, layout artists, writers and editors, some from abroad, who, under the
5
6. guidance of Terrazas and Trueblood, produced over 16 million prints; selected the ornamentation
and urban structures for Mexico City (posts, banners, maps); decorated sporting venues and
public buildings (balloons, judas figures, banners, logotype sculptures, olympic cauldron);
designed urban furniture (booths, screens, posts, billboards, signs); and created five systems of
symbols: one for Services, one for Sports, one for the Cultural Olympics events, one for Arenas
& Tickets, and one for the Official Olympics Program. The entire Program of Olympic Identity
and Design was part of the XIV Milan Triennale in 1968 with a pavilion designed by Terrazas,
who created a tridimensional-architectural version of the Mexican Olympics logo, offering inside
an exhibition with a complete view of how Mexico was organizing to host the grand scale event.
The official poster of the Olympic Games was chosen by Mildred Constantine for the graphic arts
exhibition Word and Image that she organized at the MOMA in 1968.
Terrazas’ work for the Games was not over after the competitions had ended; throughout
1969, Terrazas and Trueblood continued working at the offices of Ramírez Vázquez, where they
edited the Olympic Memoirs, a series of five volumes that account for all aspects of the event.
That same year, Terrazas worked on the exhibition Imagen Mexico, for the inauguration
of the Mexico City subway system. Presented all along the first line of the subway, was a vast
visual display that offered an integral image of the country; there were numerous photographs,
some solarized and painted, that showed all of Mexico’s diversity -flora, fauna, industry, crafts,
transportation, agriculture, ethnic groups, etc.-, installed in the light boxes along the hallways and
in the future advertising spaces positioned on the platforms. A special poster was designed with
the words “Imagen Mexico” printed on mirrored paper intended to reflect back the spectator’s
image. This poster was also included by Mildred Constantine in one of her renowned graphic art
exhibitions at the MoMA in New York. The peak of this exhibition, at the grand Insurgentes
Avenue roundabout, was an enormous serigraph mural covering the periphery of the plaza,
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7. depicting Mexico City’s urban life in lifesize format, where spectators and mural blended. Also
in the plaza, one could go into the future commercial premises and experience the first
multimedia exhibition in Mexico; in each one, there was a wall of 15 screens that showed the
images of the nation to the beat of music by mexican composers Moncayo and Revueltas, joining
the images together at times to form a single image or dividing them into infinite intermittent
mosaics. A year later, in 1970, Terrazas mounted for the Federal Electric Commission (CFE) a
kinetic spectacle in a similar vein, syncronizing electronic music and Bach compositions with 48
projectors that explored the phenomenon of light. Both the subway and the CFE exhibitions were
accomplished in collaboration with the engineer Gustavo Cota. That same year, Terrazas
designed the logo of the 1970 World Soccer Cup held in Mexico.
Between 1969 and 1971, Terrazas also worked as a professor giving two seminars at the
University of California at Berkeley, Limits to do and The ruralization of the urban and a seminar
entitled The intense use of space at the CIDOC (Centro Intercultural de Documentación) founded
in Cuernavaca, Mexico by Ivan Illich, with whom he established a long standing friendship.
During that period, Terrazas was already experimenting with geometry, playing with the
formal relationships between graphic elements in countless drawings. He designed abstract
geometrical works that he then produced in the Huichol technique (yarn stuck with wax on wood
boards) with Santos de la Torre, a Huichol who he invited to share his home, and together they
learned to elaborate Terrazas’ geometric patterns using this technique. Thus began the production
of works that compose the series Tablas which was exhibited in May 1972 at the Palace of Fine
Arts in Mexico City, with the backing and enthusiasm of Jorge Hernández Campos, a poet who
was, at the time, head of the Department of Visual Arts of the National Institute of Fine Arts.
Hernández Campos had already taken Terrazas’ Olympic balloons to the 6th
Paris Biennale in
1969 as curator of the Mexican pavilion, and afterwards, following a visit to Terrazas’ studio
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8. -along with Rufino Tamayo- he decided to exhibit the entire series Tablas along with the series
Deconstruction of an Image, where large wood frames examine the fragility of a total, unique
image through a construction based on parallel lines, which can be dismembered into pieces that
are itself autonomous, while conserving the memory of the set from which they emerged.
The series Possibilities of a Structure began after this period in an endeavor to
systematize these formal games; the structure Terrazas had chosen would prove, over the
following ten years, to be an unending source of visual exploration. During the 1970s, he
dedicated himself to architecture and urban planning, while at the same time assembling a major
archive of works, publications and exhibitions. The pieces he had exhibited at the Palace of Fine
Arts toured South America -Chile and Venezuela- with an important addendum: his balloons.
Since 1967, Terrazas had begun to explore the sculptural qualities of the balloon through the
installation of an enormous, translucid globe in the Zócalo or Main Square of Mexico City and,
during the Olympics, he multiplied its applications and uses. Later on, in the 1970s, he produced
several series of balloon-sculptures in different formats, colors and geometric patterns that
playfully delved into the space around them and interacted with the light and the spectators.
In 1975, together with Arnaldo Coen, Terrazas mounted the exhibition Without knowing it
existed and unable to explain it at the Benjamin Franklin Library gallery. This exhibition turned
out to be the starting point for a series of works and actions oriented towards broadening our gaze
by revealing the creativity and expressiveness of urban popular art. The interest of both artists
centered on revealing the aesthetic value of the commercial tactics visible in the shop windows of
downtown Mexico City. They proposed that local shop owners transfer their display cases to the
art gallery and fourteen of them agreed to participate, showing off their powerful commercial
displays. Through this gesture of dislocation, Coen and Terrazas wanted to show the full potential
of their direct discourse, both playful and overwhelming, in the very act of battling for the
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9. consumer gaze. This exhibition achieved a clear approach to two worlds: the commercial world
of the street, and the commercial world of the art gallery, placing them on the same level and
leaving it to our consideration to compare and linger over the strategies that come into play in
gallery and shopwindow staging, with regards to the appreciation of the products being offered
and their assigned value. This action generated, moreover, an exceptional publication that
reproduced the photographs Terrazas had taken of these display cases, printed in the style of
mexican wrestling posters. The images were accompanied by short, playful texts written by
Terrazas and Coen in collaboration with writer Gustavo Sainz who, using aphorisms and quotes
taken out of context, synthesized the artists’ attitude towards the phenomenon of shop window
display in the nation’s capital.
That same year, Terrazas was asked to create a publication and an exhibition to
accompany the meeting of the Club of Rome, an international interdisciplinary think tank
founded in 1968 by Aurelio Peccei with the objetive of studying and analyzing the future
challenges faced by humanity. This meeting, held in Guanajuato, Mexico in 1975, was organized
by Victor Urquidi, a Mexican economist member of the Club of Rome, and Luis Echeverría,
former President of the Mexico. The task included the creation of visual material to render the
Club of Rome’s report both intelligible and eloquent. The result was a codex-like publication
entitled Solidarity for Peace and Development containing graphics, images and photographs that
picture the “predicament of mankind” as published in the two reports of the Club of Rome; The
Limits to Growth of 1972 and Mankind at the Turning Point of 1974, along with a compendium
of the historical development of the world and humanity and its situation at that time. The Codex
also included a design of the Charter of Economic Rights and Duties of States, which President
Luis Echeverría had proposed at the United Nations Assembly. A selection of the material from
the Codex was then produced to be exposed in an exhibition entitled Everything Depends on
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10. Everything which included works that Terrazas had produced, once more on the threshold
between art and design, in order to visualize very specific concepts, including the series
Exponential Growth & Organic Growth.
From that point onwards, Terrazas’ scope of activity expanded considerably and his
former interest in integrated research regarding human modes of dwelling gave rise to urban and
regional planning. Having already experienced urban design for the Olympics in Mexico City,
Terrazas traveled to Tanzania as the Director of Technical Assistance provided by the Mexican
government through the Ministry of Human Settlements and Public Infrastructure for the
development of a master plan for Dodoma, the new capital of Tanzania. The summary of ideas
from this experience triggered the publication Dodoma is not a city. Dodoma is a capital. Upon
returning from Africa, he was charged with the design of urban furnishing, signaling and public
space for the boulevards known as Axes in Mexico City (1978-1979), that included: an integrated
signaling system, circulation structure, sidewalk design, street lighting and maps, synchronized
traffic lights as well as the landscape design, hedges and trees. In all of the numerous urban
planning projects he has designed across Mexico (Monterrey, Tampico, Guanajuato, State of
Mexico, among others), Terrazas implemented his studies of social spaces, community
development, and the possibilities for movement and rhythm in the public sphere.
In 1980, Eduardo Terrazas along with economist Victor Urquidi, founded the Tepoztlán
Center, which since then has periodically held meetings between academics and intellectuals,
Mexicans and foreigners, with the objective of creating a dialogue for the analysis of themes that
are fundamental to Mexico and Latin America. Through seminars, this group of economists,
politicians, sociologists, historians and anthropologists, where Terrazas is the only architect, form
a multidisciplinary environment in order to address contemporay issues.
At the same time, his artistic activity changed substantially as his work as an architect and
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11. urban planner intensified and multiplied. It was as if the geometry had been transferred to
regional layouts and architectural blueprints, and in their place, he created organic acrylics and
drawings that saturate space with the successive rhythm of multiplication. His work from the
1980s is marked by this meticulous gazing at elements that are isolated and repeated in reiterative
sequences, as if only persistent representation would allow us to capture their unique qualities.
This exercise in visual reiteration was not limited to his work on paper, which is very
abundant during that period. It also appears in his Multiplications, which are works that draw
upon all kinds of everyday life objects procured mainly in Mexican markets. The market
continually fascinates Terrazas as a space for creativity: the positioning of products; the
arrangement of stalls; the organization by zones, colors, and smells; all what Terrazas has dubbed
the intense layout. In these works, a single common daily object is repeated in compositions or
multiplications that intensify the saturation of space. Every set achieves the effect of emphasizing
the details that make every piece a unique work where assembly, repetition, superimposition,
accumulation and the incrustation of an object over itself devoids it of its daily function and
transforms it into a symbol of itself, an emblem, an image. Consequence of this fascination are
the exhibitions Everyday Museum at OMR Gallery and Multiplications at Mobil Oil’s offices in
Mexico.
During the 1990s, Terrazas continued to focus on the numerous urban planning and
architectural projects that he was developing nationwide, to which he dedicated most of his
energy. When he took up painting again, at the beginning the new century, his output was entirely
new. He has added to the accumulation and multiplication of elements, a practice from his
previous work, a highly physical confrontation with large format canvases to which he
successively applies and removes materials in an intensification of layers and strata. This reflects
a long gestation process during which the work is substantially and gradually transformed as
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12. actions are added and subtracted while showing in the end, traces of itself, of the changes it has
experienced and of all the complex strata that compose it. The use of acrylics and canvases in this
most recent stage is far from being exhausted and his production continues, as always, in parallel
to his multidisciplinary life.
Nuria Castañeda
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