Lesson 4 Flashcards
Cubism 1907
-one of the most influential visual styles (of the early twentieth century)
-created by Pablo Picasso / Georges Baroque
-the stylisation and distortion
-emphasise the two dimensionality of the canvas -> reduced / fractured objects its geometric forms (realigned them)
“Analytic Cubism” 1910-1912 - reduced to just a drier of overlapping planes -> monochromatic browns, grays, blacks
“Synthetic Cubism” 1912-1913 cut out in there designed shape / graphic element
- also had a influence on sculpture / architecture
Pablo Picasso “Les Demoisells d’Avignon” 1907
-starting point form cubism
-influences linked to Cézanne, primitivism and African art
Pablo Picasso 1881-1973
-his creative style transcend realism and abstraction (Cubism / Neoclassicism / Surrealism / Expressionism)
-1901-1904 = Blue Period -> themes poverty, loneliness, despair
1905 = Rose Period-> more pleasant themes carnival performers, harlequins, clowns
-After WWI to traditional styles inspired by the classic world of Italy
Pablo Picasso “ Accordionist 1911
= Analytical Cubism
Pablo Picasso “ Maquette For guitar” 1912
= Synthetic Cubism
Pablo Picasso “Guernica” 1937
-cruel / dramatic situation
-created to be part of the Spanish Pavilion at the International Exposition in Paris 1937
-motivation was the German aerial booming of the Basque town (Name of the peace)
-constituting a generic plea against the barbarity of terror and war
-giant poster = testimony to the horror that the Spiny Civil War was caring
-Muted colours intensity each motif => extreme tragedy of the scene
-two groups : 1 = tree animals (bull, wounded horse, winged bird) 2=human beings (dead soldiers, women
-during WW2 paint wen to New Yorks Museum of modern Art for keepsake - stayed longer until the democrat war restored in Spain and paint returned in 1981
Georges Braque 1882-1963
-1909 after contact with the Fauves - worked the Picasso and developed Cubism
-extremely similar style - collaboration lated until 1914
-after cubism - many composition of sill lives and inters with contrition patters more complex effects of space
-1920 returned to a more realistic interpretation of nature
Georges Barque Art Works
Analytical Cubism = Ma with a Guitar
Synthetic Cubism = Nature morte
Purism 1918
-founded by Edouard Jeanneret = le Corbusier and Amédée Ozenfant
-set out the theory of purism in their book Après le Cubisme
-criticized the fraction of the object in cubism , how it has become decorative
-proposed a painting in which object were represented as powerful basic forms stripped of detail
-embrace of technology and the machine -> timeless, classical quality
-climax = Pavilion of the New Spirit
Orphism 1912
-new joyously sensuous art (roots in cubism) though colour and light
-tendency towards abstraction
-painting new totality’s with elects that the artist does not take form visual reality -> create entirely themself
-untroubled aseptic pleasure with meaningful suture
-they must reflect the subject = Pure art
-restricted to the implications color and light = expression of abstract-rhythm colour compositions
Sonia Delaunay Terk 1885-1979
research on the geometrical deconstruction and its recomposition bas on colour filling could be continued in applied arts = fashion
-created “Simultaneous dresses” based on the same principle - the Structure is visibly decompose by purse colour in waves, triangles, zigzag lines, circles
-tunic dresses 1913
-robes poèmes the colour cloaks are alternated with dada mottos
1922 saunende the Atelier Simultané
Futurism 1909
young Italian writers and artists we’re frustrated by Italian declined status
-believed in the Machine Age
-capture the idea of modernity, the semsationand aesthetic of speed, movement, industrial development
-launched with the publication the “Futurist manifest” (Le Figaro)
-international movement
-started fracturing the images (same time as cubism)
-was politiczied
Umberto Boccioni 1882-1916
-most influential artists about the Italian Futurists
-developed the movement theories / introduced visual innovations that led to the dynamic Cubist-like style
-later produced significant Futurist sculptures
-matured as an Neo-Impressionist painted , later encountered cubism -> match the ideology of dynamism at the mark of Futurism
-strong believe in the importance of intuition - mythical dimension that evoked the artis emotion as much as the objective reality of modern life (different cubism)
Umberto Boccioni “Elasticity” 1912
hose and man
Umberto Boccioni “Unique Formo Continuity in Space” 1913
-puts speed and fore into a sculptural form
-figure strives forward
-powerful body action
-the body itself reshaped as if the new conditions of modernity wer product a new man
- figure appear to be carved by the forces of the wind and speed a sit forges ahead
Giacomo Balla 1871-1958
one of the founding members of the fist wave of Futurist painters
-occupied with the pectoral depiction of light, movement and speed
-reflection his socialist politics
-celebrated the machine -> capturing figures an objects in motion by showing the forming related sequence
-compositon gradually moved closer to total abstraction
-
Giocoma Balla “Girl on the Balcony” 1912
showing the movement though abstract forms and repetition
École de Paris
-Young Artis wer supported especially by the private market wich developed in the second halt of the XIX century
-Bohémien - terim fo the Romani people of france -> unifying factor = the rejection of bourgeois values scubas river property, strict moral and pursuit of wealth living solely for art
-
Constantin Brancusi 1876-1957
-left Romania in 1903 to Paris
-looked for inspiration to non-european cultures as sour of “primitive” vitality
-dependent on form of folk art, Roumanisn asks
-1909 introduced ovoids = virtually self-sufficient object, threshold of abstraction though the identification the form with th human body
-intrest in photography - type show a cancer with light and environment inherent in his sculptural works and often document the evolution of sculpture
-attention was on refining an simplifying his favourite motifs
Amado Modigliani 1884-1920
-move to Paris, working along side Brancusi
sculptures with elgongated features, oval head and thinly incised eyes that show the definite infuse of Brancusi as well as of African sculpture
-his models: Fauvism, Picassos Blue Period, Cézannes late portraits
-limited subject-matter - archived an extraordinary range of psychological interpretation of the human face
-maintaining his individuality though his detective elongations of face or form
Chaim Soutien 1893-1943 (Russian)
-lived / worked in Paris
his innovation was in the way he chose to represent his subject: with a thick impasto of pain covering the surface of the canvas, visible brushwork and forms the translated the Artis inner torment
-common themes with the eye of an outsider
