Exam 1 Slide IDs Flashcards
Bathers at Moritzburg
Ernst Ludwig Kirchner
1909-1910
German
Oil on Canvas
- By othering the non-western cultures, they were able to impose their own rationale and desires onto their objects.
- These artists also saw nudity as a way of personal freedom and expression as opposed to a continuation of the classical tradition.
- His friends and female models enjoying themselves by skinny dipping in the lake. The nudity here would have challenged contemporary social constraints.
Kirchner
looked at the world around him for subject matter.
Feminist scholars have identified the german expressionist movement as largely masculine dominance emphasis.
his military career was shortlived-physical and mental damage from the war.
Kirchner, Self Portrait as a Soldier, 1915
-didn’t actually lost his limb. vacancy to his eyes like we saw previously.
-assume the limb mutilation as a phsycological amputation, an expression through the surrogate of his arm.
moves to Switzerland to recover, but never does. Committed suicide in 1938.
Before the war, different Kirchner–Sexually charged, interested in art of the non-western cultures. Ooked to the art of Oceania and Africa. Carving and Painting.
Street Scene in Berlin
Ernst Ludwig Kirchner
1913
German
Oil on Canvas
distorted, gothic forms.
“melancholy of the big, city streets.
Increasingly difficult living conditions, industrialization and closer living, but more disconnection between people. Psychologically isolated.
Study for the cover of the almanac “Der Blaue Reiter”
Wassily Kandinsky
1911
German
Watercolor
Der Blaue Reiter
founded by Vassily Kandinsky
-Aimed to reboot a process of spiritual rejuvination through art.
-features an abstract by Kandinsky.
Die Brücke used distortion and exaggeration to express, Blauer Reiter used spirutual and emotional dimensions…
The Fate of the Animals
Franz Marc
1913
German
Oil on Canvas
Harsh diagionals in the form to lend a sense of anxiety etc.
original title “All is Flaming Suffering”
motif of apocolypse, destruction.
Blue was the color of hope for Marc
the theme of the paintinng is destruction of hope. Masculine
yellow being feminine, red was matter-brutal and heavy.
Color as visual poetry
Marc died in WWI
Expressionism in France: Matisse and Fauvism
Different in emotional feel than even that which came 10 years previous. reclaiming some ofo the joy from impressionism. combining it with post impressionism expressive depth.
still pretty tradtional in what they are painting…
French Expressionsim builds on classical traditions.
Fauve name comes from an exclamation by a criti that saw room 7 at the exhibition at the Salon in 1905. “it was like seeing Donatello among the wild beasts.”
Lux, calme et volupte
Henri Matisse
1904-5
French
Oil on Canvas
Responding to, yet rejecting some of the approaches of the impressionists. He felt that the impressionists were too devoded to recording that what they saw.
Matisse (remember readings) wanted to imbue what was inside, not just outside into his paintings.
Taking the plein aire painting of the impressionists and simplifying down to the core of what is it about. tring to get back to basics.
enjoying paint for paint’s sake–enjoying the color saturation etc
Bonheur de vivre
Henri Matisse
1905-6
French
Oil on Canvas
Similar to Lux, calme, et volupte
concious of the way that the body has been depicted through the history of art. some thingsin the composition share similarities with other workds. such as Ingres’ Grand Odalisque.
Idealized world, but did use a real landscape for it. The motifs of the dancers in the ring were later condenced into the 1910 paingint The Dance.
Breakthrough painting for Matisse.
Gertruede Stein bought this painting.
Houses at L’Estaque
Georges Braque
1908
French
Oil on Canvas
Braque developed a vocabulary of cubism in painting by his obsession with Cezanne …he would paint everything Cezanne had painted etc
not using light for representational purposes
Color palette models the forms and breaks them up too
The Portuguese
Georges Braque
1911
French
Oil on Canvas
Fragmentation, multiple viewpoints,
4th dimension
Trying to paint the process
Braque and Picasso are rewlly similar at this point
Hermeneutic cubism
Using signs, signals and ciphers to depict. Not mimetic
Relationship between the artist and the viewer, not just seeing but thinking
Les Demoiselles d’ Avignon
Pablo Picasso
1907
Spanish Artist
Oil on Canvas
Still Life with Chair Caning
Pablo Picasso
1912
Spanish Artist
Oil, Oilcloth, and pasted paper on canvas with rope surround
Synthetic cubism collage, things stuck down
Strengthens the link between cubism and the world…references to real things
In modernist world we are aware of the frame
Picasso is playing here. messing with our ideas of perspective etc.
gives us uncertainty rather than a clear image of depicting something.
Collage: from Coller–to paste of to glue. Co-habitation slang.
Maquette for Guitar
Pablo Picasso
1912
Spanish Artist
construction of cardboard, string, and wire
- Same time as he is producing the two diemensional collages.
- has many qualities of a guitar, but doesnt quite look like one. mix of what we see and what we know and asks for a conversation with the viewer to determine meaning.
- Trying to get at something more real thatn illusionistic paintings etc. Trying to reject what had been established and create something new.
Suburban Train Arriving in Paris
Gino Severini
1915
Italian
Oil on Canvas
- thinking of war prior to 1914 as a destructive porcelain for good
He began painting in 1900,
Stimulated by accounts by his mentor of the nudist painting before he became a futurist.
Futurist also inspired by cubism in France
The Crowd
Wyndham Lewis
1914-15
English
Oil and Pencil on Canvas
Looked to the futurists and cubists
Liked some of the futurist stuff, but hated the moving multiplicity, the
This is a critique of modern life.
Unlike futurists he is not unilateral in his praise of the modern era, critical of the drone like existence, the monotony.
Wassily Kandinsky
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Wassily Kandinsky
initially looked a lot like Fauves in France, much like Durant.
between 1912 and 1913 though he begins to become more abstract and free in his works. Makes what will be the first free form, non-objective art of the 20th cnetury.
-said that he first learned from Manet’s haystack paintings-
-That the color could be removed from the object–less refereential and more expression. Less a depiction of stuff around us. Dynamism, etc–refer to the artists inner rather than outer vision. He called his stuff Improvisations and Compositions.
Drawn to scuptures and images o fhorses and riders.
Liberating color from it’s descriptive role.
Kandinsky’s abstratiion is more organic, in contrast with the cubists. A style of painting that becomes increasingly non-objective.
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A theory is that Kandinsky had Synesthesia.
Cubism,
Braque and Picasso
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Braque and Picasso well supported by art collector Kahnweiler (sp). With his support were secure financially and free from the stressful conditions that plague so many artists.
Some of the salon Cubists regurlarly visited Kahnweiler’s gallery and were able to see what Picasso and Braque were producing.
That there were Salon cubists meant that for many they were THE cubists…
Delaunay–Salon Cubist. Painted modern subjects such as the Eiffel Tower,
High and low cultures, and mixture of them in Modern art.
mass culture–comes out of industrialized, capitalist societies. produced by entrepeneurs.
cubism is full of refernces to mass and popular culture.
Braque’S Checkerboard: Tivoli-Cinema, 1913–
Picasso and Braque belong to the world of the elite but what they are producing references the everyday.
