Chapter14, 20 century art 4- 2019
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Chapter14, 20 century art 4- 2019
- 1. THE 20th CENTUR Y Edvard MUNCH The Scream 1893 fin de siecle "end of the century”
- 2. E=mc2 Energy=Mass x speed of Light 2 Describes energy as a form of matter. A large amount of energy could be released from a small amount of matter.
- 3. Sigmund FREUD(1856- 1939)• father of PSYCHOANALYS IS• investigations into the SUBCONSCIOUS MIND
- 4. WORLD WAR I 1914 - 1917 THE MACHINE THE 20TH
- 7. WORLD WAR I • THE GREAT WAR “The war to end all wars” …the dreams & promises of an industrialized UTOPIA are shattered …a glimpse of the future THE 20TH CENTURY
- 8. Dorothea Lange, Migrant Mother, Nipomo, California, 1936 The Great Depression, 1929- 39
- 9. Edward Hopper, Nighthawks, 1942 Human loneliness
- 10. 5 million African- Americans South to the northern States. Jacob Lawrence, The Migration of the Negro, Migration 50 1940-1941
- 11. Their Eyes Watching God (1937) Highly acclaimed novel in the canon of African-American literature.
- 12. The RUSSIAN REVOLUTION 1917 “BREAD, PEACE and THE RISE OF SOCIALISM 20TH CENTURY … after WORLD WAR I
- 13. 20TH CENTURY … after WORLD WAR I Vladimir Illyich LENI N U.S.S. United Soviet Socialist Republic 1917
- 14. Lenin’s utopian ideas fed the spirit of revolution Diego Rivera (1886- 1957), Liberation of the Peon, 1931
- 15. Siqueiros A Sunday Afternoon Dream in the Alameda Park
- 16. Assembly Line 1927 Detroit Institute of arts, Michigan
- 18. Lee Miller, Buchenwald, Germany: Dead Prisoners, 1945, 30 April
- 19. detail from The Triumph of Death by Pieter Bruegel (the Elder). 1562 Possibly the greatest work of all modernist literature.
- 21. An intriguing modern allegory.
- 22. 1949 People’s Republic of China Executed 2-5 million people Indoctrination, exile, and purges li-Hua”China,Roar!”1936
- 23. sought to use color and line to describe their emotional responses VAN GOGH 1853- 1890 CEZANNE 1839- GAUGUIN 1848- 1903 THE FOUNDATIONS OF 20th CENTURY PAINTINGPOST IMPRESSIONISTS (1880’s - early 1900’s)
- 24. Henri ROUSSEAU Sleeping Gypsy 1897 • self taught painter, admired by PICASSO THE TURN OF THE CENTURY • a preview of the coming
- 25. Subjects reduced to geometric shapes such as cubes like a 3-D picture flattened out. The Three Musicians (1921) and Guernica (1937) by Pablo Picasso,, Bottle and Fishes (1910) and Man and a Guitar (1911) by George Braque
- 27. GIRL BEFORE A MIRROR - 1932 BUST OF WOMAN WITH A HAT - 1962 BABY IN POLKA DOT ROBE - 1947
- 28. NAKED WOMAN UNDER A PINE TREE - 1959 RAPE OF THE SABINE WOMEN - 1963YOUNG GIRL - 1970
- 29. THE BULLFIGHT - 1934
- 30. Picasso said, "...this bull is a bull and this horse is a horse... If you give a meaning to certain things in my paintings it may be very true, but it is not my idea to give this meaning. What ideas and conclusions you have got I obtained too, but instinctively, unconsciously. I make the painting for the painting. I paint the objects for what they are." [1]
- 31. 2. The duck The bird = soul. 1 2
- 32. 4. The dead soldier on his deathbed.4. The dead soldier on his deathbed. 3 4
- 33. 6. The light - wisdom and intellect. 5 6
- 34. 8.women - mesmerized by the light. 7 8
- 35. 10. An open door. - symbolizing hope for the future. 9 10
- 36. Italian, - noise, technology, machines, war, photography and movement. Street Light, Study of Light (1909) and Dynamism of a Dog on a Leash (1912) by Giacomo Balla, Dynamism of a Soccer Player (1913) by Umberto Boccioni, and Armoured Train (1915) by Gino Severini.
- 37. Marcel DUCHAMPNude Descending a Staircase Futurism - Movement - Speed Futurist Manifesto 1909 - Anarchy, Violence THE 20TH CENTURY ABSTRACTIO N
- 38. Futurism Ferdinand LEGER • the new urban WORLD THE 20TH CENTURYABSTRACTIO N FUTURISM glorifies and celebrates:
- 39. Fauvism (wild beasts) -intense sometimes clashing colors and bold brush strokes . Joy of Life (1905) and Harmony in Red (1908) by Henri Matisse, The Blue House (1906) by Maurice de Vlaminck, and St. Paul’s Cathedral seen from the Thames (1906) by André Derain.
- 40. LES FAUVES Henri MATISSE THE WILD BEAST S 20th CENTURY EXPRESSIONISM
- 41. human feelings = fear, horrors of war, darker colors, and angry strokes Scream (1893) and The Dead Mother (1897) by Edvard Munch, Christ’s Entry into Brussels (1889) and Skeletons Warming Themselves at a Stove (1889) by James Ensor.
- 42. GERMAN EXPRESSIONISM Max BECKMAN 20TH CENTURY … after WORLD WAR I
- 43. • DA: YES in RUMANIAN • the French word for “HOBBY HORSE” • a child’s first few words DADA 20TH CENTURY … after WORLD WAR I
- 44. d a daDA D A da AFTER THE GREAT WAR… • a subversive movement: ANTI -EVERYTHING
- 46. da da 20TH CENTURY … after WORLD WAR I DUCHAMP’S “READYMADES Bicycle wheel 1913 In Advanc e of a Broken Arm 1915 L.H.O.O.Q. 1919
- 47. Marcel DUCHAM P The Fountain 1917 (aka: R. Mutt) da da 20TH CENTURY … after WORLD WAR I “READYMADES ”
- 48. dreamlikequality, confusingimages, strangecombinations Constellations (1940+) byJoanMiro’(Sp.), The Persistenceof Memory(1933) bySalvadorDali(Sp.), TheSonof Man(1964) byRene’ Magritte(Bel.), andI andtheVillage(1911) byMarc Chagall(Russ.)
- 49. SURREALISM Salvador DALI 20TH CENTURY …after WORLD WAR I• nightmarish visions • consummate technician
- 50. SURREALIS M 20TH CENTURY … after WORLD WAR I • fantastic landscapes and environments of the mind Giorgio de CHIRIC O
- 51. Rene MAGRITTE SURREALISM 20TH CENTURY … after WORLD WAR I • dream - like images • explorations into the UNCONSCIOU S MIND
- 52. “I never painted dreams, I painted my own reality.” The Broken Column, 1944
- 53. Frida Kahlo, Self-Portrait as Wounded Deer (1946)
- 54. Early to mid 1900’s, non-representational 2 dimensional forms, simple shapes and lines, no blending, pure colors White Center - Mark Rothko, bBroadway Boogie Woogie - Piet Mondrian, Red Canna - Georgia O’Keeffe (1924), and - Wassily
- 55. DE STIJL (The STYLE) Theo van DOESBURG Piet MONDRIAN 20TH CENTURY … after WORLD WAR I
- 56. DE STIJL Piet MONDRIAN (The STYLE) …after WORLD WAR I 20TH CENTURY …after WORLD
- 57. BAUHAUBAUHAU SS1919- 20TH CENTURY …after WORLD The ART SCHOOL of MODERNIST TRENDS
- 58. 20TH CENTURY … after WORLD WAR I THE BAUHAUS
- 61. Hannah Hoch, Cut with the Kitchen Knife, 1919 Photomontage, Berlin
- 62. The use of cinematic shots in rapid succession is known as montage. Let’s see the first montage! Sergi M. Eisentein, The Battleship Potemkin 1925
- 63. Falling Waters Depended on the inventive use of the cantilever. Pennsylvania, Mill Run
- 64. Frank Lloyd Wright's Guggenheim Museum, New York, 1957-59, ferroconcrete
- 65. Seagram building 1954-1958 Ludwig Mies van der Rohe, New York Former Bauhaus instructor “form follow function”
- 66. Le Corbusier, villa France 1929 International Style use of steel and reinforced concrete, wide windows, uninterrupted interior spaces, simple lines, and strict geometric forms.
- 67. Louis Armstrong The most important new musical genre of the 20th century. A major component is improvisation, syncopation, and the blues motif. W.C. St. Louis Blues, 1914, Lillian Hardin, Hotter than that, 1927 King Oliver’s Creole Jazz Band Duke Ellington, Black , Brown and Beige, 1948
- 68. The End.
- 69. DADA Raoul HAUSMAN N The Art Critic COLLAG E• favorite of the DADAISTS • cut outs from mass media: newspapers & magazines 20TH CENTURY … after WORLD WAR I
- 70. GERMAN EXPRESSIONISM 20TH CENTURY … after WORLD WAR I Ernst Ludwig KIRCHNE R URBAN ANGST • GERMANY: 1920’s -30’s (between WWI & WWII)
- 71. GERMAN EXPRESSIONISM Max BECKMAN 20TH CENTURY … after WORLD WAR I
- 72. Kasimir MALEVICH …BEFORE the RUSSIAN REVOLUTION 20TH CENTURY … after WORLD WAR I • influenced by CUBISM & FUTURISM
- 73. Andre DERAIN LES FAUVES - FAUVISM THE WILD BEASTS 20th CENTURY EXPRESSIONISM • wild “VIOLENT” colors • distortion of forms and perspective
- 74. LES FAUVES - FAUVISMTHE WILD BEAST S VLAMNIC K 20th CENTURY EXPRESSIONISM
- 75. CUBISM …an evolution of a style Juan GRIS Robert DELAUNAY Sonya DELAUNAY THE 20TH CENTURY • widespread influence of CUBISM • evolves into many variations • introduction of strong color ABSTRACTIO N
- 76. EXPRESSIONIS M• emotional • unrestrained color • bold distortions • takes root in GERMANY Wassily KANDINSKY Ernst Ludwig KIRCHNER • URBAN ANGST • PURE
- 77. Orphism is an art movement sometimes called Orphic Cubism, characterized by use of circles, and overlapping planes of bright, contrasting colors as seen in Simultaneous Contrasts: Sun and Moon (1912) and Carousel with Pigs (1922) by Robert Delaunay and Rythme Couleur (1958) Electric Prisms (1914) by his wife Sonia
- 79. 20TH CENTURY …after WORLD WAR I SUPREMATIS M …a new art for the new WORKER’S UTOPIA• LINE, SHAPE and COLOR distilled to its PURE essence Kasimir MALEVICH • rejects all the “OLD” / creation of a NEW
- 80. SUPREMATISMMALEVIC H 191 5 20TH CENTURY … after WORLD WAR I RUSSIA
- 81. 20TH CENTURY … after WORLD WAR I Alexander RODCHENK O Novyi Lef (Left Front of the Arts) Poster of LENIN: BREAD, PEACE , LAND CONSTRUCTIVISM
- 82. 20TH CENTURY … after WORLD WAR I CONSTRUCTIVIS M • incorporates MALEVICH’S ideas - PROMOTION of SOCIALLIST VALUES • visual foundation of today’s GRAPHIC DESIGN Lazar Markovich LISSITZKY 20TH CENTURY … after WORLD WAR I
- 84. WORLD WAR II Guernica, Picasso 1937
- 86. FUTURIS M Umberto BOCCIONI • celebrates industrialized urban THE 20TH CENTURY ABSTRACTIO N • incorporates CUBISM
- 87. Syntheti c Cubism Collage of elements Picass Braque THE 20TH CENTURY • abstraction through synthesis of elements ABSTRACTIO N
Hinweis der Redaktion
- so cial•ism, n. 1. The theory or system of the ownership and operation of the means of production and distribution by the society or community rather than by private individuals, with all the members of the society or community sharing the work and the products com mu•nism, n. (Fr. communisme, from L. communis, common) 1. An economic theory or system of the ownership of all the property by the community of society sharing in the work and the products
- He proposed a radically new approach to the concepts of time, space , and motion. In 1905, as part of his Special Theory of Relativity, he made the intriguing point that a large amount of energy could be released from a small amount of matter. This was expressed by the equation E=mc2 (energy = mass times the speed of light squared). The atomic bomb would clearly illustrate this principle. The atomic bombings of Japan occurred three months after the surrender of Germany, whose potential for creating a Nazi a-bomb had led Einstein to push for the development of an a-bomb for the Allies. Einstein withheld public comment on the atomic bombing of Japan until a year afterward. A short article on the front page of the New York Times contained his view: "Prof. Albert Einstein... said that he was sure that President Roosevelt would have forbidden the atomic bombing of Hiroshima had he been alive and that it was probably carried out to end the Pacific war before Russia could participate." ("Einstein Deplores Use of Atom Bomb", New York Times, 8/19/46, pg. 1). Einstein later wrote, "I have always condemned the use of the atomic bomb against Japan." (Otto Nathan & Heinz Norden, editors, "Einstein on Peace", pg. 589). In November 1954, five months before his death, Einstein summarized his feelings about his role in the creation of the atomic bomb: "I made one great mistake in my life... when I signed the letter to President Roosevelt recommending that atom bombs be made; but there was some justification - the danger that the Germans would make them."
- German. Luger, biplane, zeplin
- allied
- Race Riots were vey numerous all over the North.
- The FALL of the LAST MAJOR AUTOCRATIC MONARCHY in EUROPE so cial•ism, n. 1. The theory or system of the ownership and operation of the means of production and distribution by the society or community rather than by private individuals, with all the members of the society or community sharing the work and the products com mu•nism, n. (Fr. communisme, from L. communis, common) 1. An economic theory or system of the ownership of all the property by the community of society sharing in the work and the products Autocratic monarchy - a society or nation ruled by a person with absolute authority. — autocrat, n. — autocratie, adj. See also: Society
- Refers to the period from 1/30, 1933, when Hitler became Chancellor of Germany, to 5/8/1945 (V-E Day) the end of the war in Europe.
- Jules Verne Everybody knows that the great reversed triangle of land, with its base in the north and its apex in the south, which is called India, embraces fourteen hundred thousand square miles, upon which is spread unequally a population of one hundred and eighty millions of souls. I believe cats to be spirits come to earth. A cat, I am sure, could walk on a cloud without coming through. Liberty is worth paying for. On the morrow the horizon was covered with clouds- a thick and impenetrable curtain between earth and sky, which unhappily extended as far as the Rocky Mountains. It was a fatality! Science, my lad, is made up of mistakes, but they are mistakes which it is useful to make, because they lead little by little to the truth. The Nautilus was piercing the water with its sharp spur, after having accomplished nearly ten thousand leagues in three months and a half, a distance greater than the great circle of the earth. Where were we going now, and what was reserved for the future? The sea is everything. It covers seven tenths of the terrestrial globe. Its breath is pure and healthy. It is an immense desert, where man is never lonely, for he feels life stirring on all sides. We may brave human laws, but we cannot resist natural ones. We were alone. Where, I could not say, hardly imagine. All was black, and such a dense black that, after some minutes, my eyes had not been able to discern even the faintest glimmer.
- Between 1901-06, several comprehensive van Gogh, Gauguin & Cezanne exhibitions held in Paris and Germany
- deconstruction of the notion of beauty • redefined painting: rejects the idea of BEAUTY as the goal of art • fractured & redefined pictorial space
- The Bull is a symbol of Spanish pride It is also a symbol that shows “fecundity, protector qualities, sacrifice, chastity and patience” (from ht tp://www.umich.edu/~umfandsf/symbolismproject/symbolism.html/) ( from Notice how It’s getting yelled at and turning away from the rest of the painting? In most traditions, birds have a predominantly positive connotation. They represent the human desire to escape gravity, to reach the level of the angel. The bird is often the disembodied human soul, free of its physical constrictions.
- 3. The horse also represents Spain in many texts and pieces of artwork. Here it has been stabbed with a spear and is shreeking in pain as it’s crumpling to the ground. Check out the nose and top teeth. They form a human skull.
- 5. The dead soldier holds a sword which has been known to symbolize justice... “power, protection, authority, strength, and courage” It is broken and has a flower growing from the hilt 6. The light is shaped like an eye. Light means truth, goodness, purity, wisdom and intellect.
- The woman with the lantern; coming in from the window is probably the outside world, shocked to see what’s going on here and illuminating the tortured horse. . This women is mesmerized by the light
- 10. An open door. Western hemisphere paintings are read from left to right. The last part of the painting to be read is an open door symbolizing hope for the future.
- characterized by contrast, speed, and restlessness of modern life as seen in
- • optimism and faith in a better future through technology industrial UTOPIA
- leader of this loosely knit group experimentation and exploration
- an angry, cruel world
- • DA: YES in RUMANIAN • the French word for “HOBBY HORSE” a child’s first few words
- • attacked the notions held by BOURGEOIS society • celebrates & elevates absurdity
- challenges every artistic notion of the value of artistic skill
- ...SHOCK, PUZZLE & TEASE
- • an outgrowth of DADA • DADA falls apart
- • new visions of the “INTERNAL WORLD”
- Battleship Potemkin (Russian: Броненосец «Потёмкин», Bronenosets Potyomkin), sometimes rendered as Battleship Potyomkin, is a 1925 silent film directed by Sergei Eisenstein and produced by Mosfilm. It presents a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers of the Tsarist regime. Eisenstein wrote the film as a revolutionary propaganda film,[5][6] but also used it to test his theories of "montage".[7] The revolutionary Soviet filmmakers of the Kuleshov school of filmmaking were experimenting with the effect of film editing on audiences, and Eisenstein attempted to edit the film in such a way as to produce the greatest emotional response, so that the viewer would feel sympathy for the rebellious sailors of the Battleship Potemkin and hatred for their cruel overlords. In the manner of most propaganda, the characterization is simple, so that the audience could clearly see with whom they should sympathize. Eisenstein's experiment was a mixed success; he "was disappointed when Potemkin failed to attract masses of viewers",[8] but the film was also released in a number of international venues, where audiences responded more positively. In both the Soviet Union and overseas, the film shocked audiences, but not so much for its political statements as for its use of violence, which was considered graphic by the standards of the time.[2][9][10] The film's potential to influence political thought through emotional response was noted by Nazi propaganda minister Joseph Goebbels, who called Potemkin "a marvelous film without equal in the cinema ... anyone who had no firm political conviction could become a Bolshevik after seeing the film,"[10][11] The film was not banned in Nazi Germany, although Himmler issued a directive prohibiting SS members from attending screenings, as he deemed the movie inappropriate for the troops.[10]
- Notice that the warm glow from the interior lighting resonates with the autumn colors in this fall photo. Dramatic cantilevered terraces reflect the similar structure of the rock ledges below. Roomy terraces on either side of the living room on the main level, as well as the large terrace above it, create strong horizontal lines balanced by the almost unbroken vertical lines in the tower on the left (which in addition to stone columns over 10 meters tall, has 3 stories of floor-to-ceiling windows). These and many other clear horizontal and vertical lines in the house may be compared with the formation of the rock, with the horizontal and vertical of ground and trees, and with the water moving horizontally in the stream (Bear run) and vertically as "falling water" in the form of waterfalls (visible in the photo and downstream just out of view in this photo). The falls visible in the photo break at an angle, creating an illusion of water flowing out from beneath the middle of the house. The sound of the flowing water fills the house continuously. There is no grand front entrance, if that means big double doors flanked by decorations and symbolizing the barrier between outside and inside. Rather, the continuity of inside and outside is emphasized, in keeping with the theme of a harmonious and natural relationship to the setting. Other examples of this, besides everything mentioned above, include windows wrapping all the way around 3 sides of the huge living room, and at the corners where two window panes meet - here and at other places in the house such as the west tower (as well as in other Frank Lloyd Wright houses) - there are no bulky vertical support beams. Frank Lloyd Wright (born Frank Lincoln Wright, June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer and educator, who designed more than 1,000 structures and completed 500 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Fallingwater (1935), which has been called "the best all-time work of American architecture".[1] Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States. His work includes original and innovative examples of many different building types, including offices, churches, schools, skyscrapers, hotels, and museums. Wright also designed many of the interior elements of his buildings, such as the furniture and stained glass. Wright authored 20 books and many articles and was a popular lecturer in the United States and in Europe. His colorful personal life often made headlines, most notably for the 1914 fire and murders at his Taliesin studio. Already well known during his lifetime, Wright was recognized in 1991 by the American Institute of Architects as "the greatest American architect of all time."
- Metallic bronze and amber glass Sleek, unadorned slab a monument to the “form follow function”.
- In·ter·na·tion·al Style noun a functional style of 20th-century architecture, so called because it crossed national and cultural barriers. It is characterized by the use of steel and reinforced concrete, wide windows, uninterrupted interior spaces, simple lines, and strict geometric forms.
- This page: Share: On this pageThesaurusTranslations Word Browser Advertisement (Bad banner? Please let us know) syn·co·pa·tion (sngk-pshn, sn-)n.1. Music A shift of accent in a passage or composition that occurs when a normally weak beat is stressed. 2. Something, such as rhythm, that is syncopated. 3. Grammar Syncope. syncopationfrom Mozart's Symphony no. 25 The American Heritage® Dictionary of the English Language, Fourth Edition copyright ©2000 by Houghton Mifflin Company. Updated in 2009. Published by Houghton Mifflin Company. All rights reserved. syncopation [ˌsɪŋkəˈpeɪʃən]n1. (Music, other) Musica. the displacement of the usual rhythmic accent away from a strong beat onto a weak beat b. a note, beat, rhythm, etc., produced by syncopation 2. (Linguistics) another word for syncope [2]
- • chaos & anarchy • GERMANY in turmoil • bankrupt economy
- • bold colors, crude, angular strokes • crowded, jumbled, confused • content is pessimistic, chaotic, angry
- • a cerebral interpretation of nature• an analytical abstraction MORE CONCEPTUAL THAN PERCEPTUAL
- • revels in the promise of industry & technology -frenzied, frenetic, fractured