Cubism, modern architecture, bauhaus
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Cubism, modern architecture, bauhaus
- 1. Cubism, Modern Architecture, and The Bauhaus April 15, 2013
- 2. Henri Matisse, The Woman with the Hat, 1905
- 3. Franz Marc, The Large Blue Horses, 1911
- 4. Vassily Kandinsky, Improvisation 28, 1912
- 6. Georges Braque, Violin and Palette, 1909-10/Picasso, Portrait of Daniel-Henry Kahnweiler, 1910
- 7. Picasso, Glass and Bottle of Suze, 1912
- 8. Gino Severini, Armored Train in Action, 1915
- 9. Umberto Boccioni, Unique Forms of Continuity in Space, 1913
- 10. Kazimir Malevich, Suprematist Painting (Eight Red Rectangles), 1915
- 11. Adolf Loos, Steiner House, Vienna, 1910
- 12. Le Corbusier, Villa Savoye, Poissy-sur-Seine, 1929-30
- 13. Frank Lloyd Wright, Robie House, Oak Park, Chicago, 1906-9
- 15. Frank Lloyd Wright, Falling Water, Mill Run, Pennsylvania, 1937
- 16. Gerrit Rietveld, Schröder House, Utrecht, 1925
- 17. Piet Mondrian, Composition with Yellow, Red, and Blue, 1927
- 18. Walter Gropius, Bauhaus, Dessau, 1925-6
- 19. Dada and Surrealism April 17, 2013
- 20. Hans Arp, Arrangement according to the Laws of Chance, 1917-17
- 21. Hugo Ball, Reciting the Sound Poem “Karawane”, Cabaret Voltaire, 1916
- 22. Marcel Duchamp, Fountain, 1917
- 23. Duchamp, Bottle Dryer, 1914
- 24. Duchamp, Bicycle Wheel, 1913
- 27. Kurt Schwitters, Merzbild 5B, (April 26), 1919
- 28. Kurt Schwitters, Merzbau, Hanover, 1924
- 29. Hannah Hoch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919
- 30. Andre Masson, Battle of Fishes, 1927
- 31. Joan Miró, Composition, 1933
- 32. Max Ernst, The Horde, 1927
- 33. Salvador Dalí, The Persistence of Memory, 1931
- 34. Dalí, Birth of Liquid Desires, 1931-1
- 35. Meret Oppenheim, Object (Fur-Lined Tea Cup), 1936
- 36. Luis Bunuel, Still from Un Chien Andalou, 1929
Hinweis der Redaktion
- -deliberate disharmonies-was controversial because of its thick swatches of crude, arbitrary, nonnaturalistic color and its broad and blunt brushwork
- -spiritual affinity to animals which Marc felt were more “primitive” and thus purer than humans, enjoying a more spiritual relationship with nature-painted animals more than humans
- -was one of the first artists to to investigate the theoretical possibility of purely abstract painting-different colors express different emotions
- -was a member of the avant-garde (strikingly new) artists and was fascinated with the subject of traveling acrobats-worked with “primitive” art-one of the most radical and complex paintings of the twentieth century
- -the two artists had a close working relationshipShows the kind of relatively small-scale still-life paintings that the two artists experimented with originallyWas a move toward the gradual abstraction of recognizable subject matter and space is evidentElements have lost their natural spiritual relations but their coherent shapes as wellA) Analytic cubism for both artists- reflect the breaking out of form
- -complete abstraction-collage- composed of separate elements pasted together
- -Combination of technology and speed combined with Cubism to create Futurism -based on the photograph of a Belgian armored car on a train going over a bridge
- -was a futurist-figure striding powerfully through space
- -the supremacy of pure feeling in creative art
- -the exterior’s only function was to provide protection from the elements
- -icon of the international style -domino destruction
- -one of Wright’s first masterpieces in Prairie style-was designed around a central chimney
- -believed that buildings should not simply sit on the landscape but exist in it
- -composed of interlocking gray and white planes of varying sizes, combined with horizontal and vertical accents in primary colors and black
- -three primary colors and three neutrals and a grid of horizontal and vertical lines in his search for the essence of higher beauty and the balance of forces
- -believed that the design should emerge organically
- Not in the book
- -considered to be Dada’s opening moment
- -one of the most controversial works of art in the modern age of art(concept of the readymade- transforming the ordinary into works of art)
- Not in the book
- Not in the book
- -”modified readymade”- In changing this famous picture he turned a sacred cultural artifact into an object of crude ridicule
- Not in the book
- -collage of printed fragments from the street with newspaper scraps to comment on the postwar disorder of defeated Germany
- Not in the book
- -collages images and words from the popular press, political posters, and photographs to create a complex and angry critique of the Weimar Republic in 1919
- Not in the book
- -surrealist artists employed a variety of techniques including automatism- the control of the artist is foregone-shows a nightmarish scene of wooden-looking monsters who advance against some unseen opponent
- Not in the book surprisingly
- -biomorphic- an organic shape resembling a living form-Dali arrived at his imagery by writing down his nightmares and merely painting what his paranoid-critical mind had conjured up
- GROSS-was part of the surrealist movement; one of the few women to be invited to join the movement-transformed to ordinary objects into an uncanny object that is simultaneously desirous and deeply disturbing
- Not in the book