MODERN AND MODERNISM A Year 12 Summary Gerrit Rietveld Red-Blue Chair 1917

MODERN AND MODERNISMA Year 12 Summary

Gerrit Rietveld Red-Blue Chair 1917

PART 1: Early Modernism – Realism and Impressionism in 19th Century France

Gustave Courbet (1819-77). The Stormy Sea (or The Wave) 1869

Realism in the 19th Century• The art-historical definition of realism originated in the

movement that was dominant primarily in France from about 1840 to 1870-80 and that is identified particularly with the work of Gustave Courbet. Realism was decidedly an outgrowth of its particular time -- one of great political and social upheaval. This unrest stirred the realists to reject prevailing canons of academic and romantic art and to undertake instead a nonescapist, democratic, empirical investigation of life as it existed around them. They painted ordinary people leading their everyday lives. Although other artists had depicted similar subjects in earlier times, the realists took a fresh and unemotional view.

Realism in the 19th Century• Realism was most emphatically proclaimed in 1855,

when Courbet, having been rejected for the Paris Exposition, arranged a private showing of his paintings that centered on his huge The Artist's Studio (1855; Musée d'Orsay, Paris). He also distributed a manifesto of realism outlining his program. Among the other realists were Honoré Daumier, most noted for his incisive mockery of the petty bourgeoisie, and Jean François Millet, whose peasant scenes are more reflective in tone than those of Courbet. The early works of Edouard Manet and Edgar Degas (1860s and '70s) are realist, and, like Courbet's, contain elements that prefigure impressionism. The art of the Pre-Raphaelites in England and of Adolf von Menzel in Germany is also related to the realist movement.

• Important artists: Gustave Courbet, Honore Daumier, Edouard Manet, Edgar Degas, Henri de Toulouse-Lautrec and Vincent van Gogh.

Honore Daumier Third-Class Carriage 1863-65

Edouard Manet Bar at the Folies-Bergeres 1881-82

Edgar Degas Laundress (Silhouette)

c. 1874

Henri de Toulouse Lautrec Woman Pulling up her

Stocking1894

Vincent van Gogh Self-Portrait with Dark Felt

Hat1886

Impressionism

Claude Monet Impression, soleil levant Impression, Sunrise 1872

Impressionism

• The impressionist style of painting is characterized chiefly by concentration on the general impression produced by a scene or object and the use of unmixed primary colors and small strokes to simulate actual reflected light.

• Impressionism, French Impressionnisme, a major movement, first in painting and later in music, that developed chiefly in France during the late 19th and early 20th centuries. Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques.

• The most conspicuous characteristic of Impressionism was an attempt to accurately and objectively record visual reality in terms of transient effects of light and colour.

Claude Monet The Japanese Bridge probably 1918-24Look at the abstract paintings of Philip Guston, Jules

Olitski, or Jackson Pollock.

Mary Cassatt The Boating Party 1893-4

Pierre-Auguste RenoirSeated Batherc. 1883-1884

Abraham Derby The Iron Bridge, Shropshire 1779

Modern Architecture of the 18th Century

Modern Architecture of the 19th Century

W.H. Barlow Engine Shed, St Pancras Station, London 1868

Modern Architecture of the 19th Century

George Gilbert Scott Midland Grand Hotel, St Pancras Station, London 1868

Modern Architecture of the 19th Century

Claude Monet Gare Saint-Lazare 1877

Modern Architecture of the 19th Century

Louis Sullivan Auditorium Building, Chicago, 1886-89

Modern Architecture of the 20th Century

Daniel Burnham Flatiron Building New York 1902 (photo Alfred Stieglitz 1903)

Links• Rietveld’s Red-Blue Chair – analysis

http://www.geocities.com/Athens/Aegean/4217/red_bluechair.html http://www.geocities.com/Athens/Aegean/4217/rbanalysis.htm

• Realism http://www.discoverfrance.net/France/Art/realism.shtml

• Gustave Courbet http://www.ibiblio.org/wm/paint/auth/courbet/

• Honore Daumier http://www.ibiblio.org/wm/paint/auth/daumier/

• Claude Monet http://www.artchive.com/artchive/M/monet.html

• Edouard Manet http://www.artchive.com/artchive/M/manet.html

• Edgar Degas http://www.artchive.com/artchive/D/degas.html

• Toulouse-Lautrec http://www.artchive.com/artchive/T/toulouse-lautrec.html

• Van Gogh http://www.artchive.com/artchive/V/vangogh.html

• Impressionism http://www.ibiblio.org/wm/paint/glo/impressionism/

• Cassatt http://www.artchive.com/artchive/C/cassatt.html

• Renoir http://www.artchive.com/ftp_site.htm

PART 2: Analysing Visual Experience

Paul Cezanne, Still Life with Curtain and Flowered Pitcher c. 1899

Analysing Visual Experience• Post Impressionism was NOT a style of Art, it is a

collective term used to describe those artists who came after the Impressionist group and were influenced by it. Two artists who extended the impressionist analysis of the visual experience of fleeting effects of light were Georges Seurat and Paul Cezanne.

• Georges Seurat developed a very “labour intensive” method of painting in small dots of pure colour, allowing the colours to mix in the eye of the viewer. His paintings took a long time to complete and have a stillness about them that is very unlike Impressionism.

• Paul Cezanne sought to “make something solid out of Impressionism”. He emphasized the three dimensional forms he saw in his subjects.

• Braque and Picasso, before embarking on their Cubist style worked in a style based on Cezanne’s paintings.

Georges Seurat The Seine at Le Grande Jatte 1888

Georges Seurat The Models 1887-88

Georges Seurat Young Woman Powdering Herself 1890

Paul Signac The Green Sail, Venice. 1904

Paul Cezanne, Mont Sainte-Victoire 1900

Paul Cezanne, Turning Road at Montgeroult

1899

Paul Cezanne, Bathers 1900-1906

Paul Cezanne, Portrait of Ambroise Vollard

1899(see Picasso’s portrait of the same man, done in

1910)

Georges Braque, Houses at L’Estaque

1908

Georges Braque, Grand Nu 1908

Pablo Picasso, Portrait of Ambroise Vollard

1910

Links

PART 3: Expressing

Emotion

Vincent van GoghCafe Terrace on the Place

du ForumSeptember 1888

Vincent van Gogh Wheat Field Under Threatening Skies 1890

Vincent van GoghSelf-Portrait 1889

Paul GauguinSelf-portrait with Palette

c. 1894

Paul Gauguin Nevermore 1897

Edvard Munch The Dance of Life 1899-1900

Henri MatisseGreen Stripe (Madame Matisse)

1905

Pablo Picasso. Self-Portrait. 1907.

Henri Matisse Dance (I) 1909

Pablo Picasso  The Three Dancers ( Les Trois

Danseuses) 1925

Ernst Ludwig Kirchner,

Girl Under a Japanese Parasolc. 1909

Oskar Kokoschka Die Windsbraut (Bride of the Wind) 1913-14

Max BeckmannSelf-Portrait in a Tuxedo

1927

Jean DubuffetThe Tree of Fluids  (L'Arbre de fluides)

1950

Francis Bacon Self Portrait 1975

Links

PART 4: Abstraction

Wassily KandinskyImprovisation No. 7

Wassily Kandinsky Composition IV 1911

Wassily Kandinsky Accent en rose

1926

Piet Mondrian The Gray Tree 1911

Piet Mondrian Ocean 5 1915

Piet Mondrian Composition with

Yellow1930

Gerrit Rietveld Red-Blue Chair 1917

Piet Mondrian Broadway Boogie Woogie 1942-1943

Roy de Maistre Rhythmic Composition in Yellow Green Minor 1919

Henry MOORE Hill Arches 1973

Barbara HepworthHEIROGLYPH 1953

Willem de Kooning Night 1948

Willem de Kooning Excavation 1950

David Smith – From the Voltri series 1962

Franz Kline, New York, N.Y.1953

Jackson Pollock Autumn Rhythm (Number 30) 1950

Ralph Balson Matter Painting 1961

Sean Scully Wall of Light Brown 2000(Installation View)

PART 5: Disorder and

Dissent!

Marcel Duchamp, Fountain1917

From The Futurist ManifestoF. T. Marinetti 1909

• The essential elements of our poetry will be courage, audacity and revolt.

• We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its bonnet adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on machine-gun fire, is more beautiful than the Victory of Samothrace.

• Beauty exists only in struggle. There is no masterpiece that has not an aggressive character. Poetry must be a violent assault on the forces of the unknown, to force them to bow before man.

• We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman.

• We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.

• We want to sing the love of danger, the habit of energy and rashness.

Filippo Tommaso Marinetti, Zang Tumb Tumb, 1914.

(cover of a book of poetry by Marinetti)

GiacomoBallaBoccioni's Fist 1915

Antonio Sant'Elia (1888-1916). Architectural Drawings“Sant‘Elia gives a static representation of movement”

Giacomo BallaDynamism of a Dog on a Leash 1912

Umberto Boccioni The City Rises 1910-11

Anton Giulio Bragaglia . Photographic Autocaricature

(self portrait) 1932.

From James Joyce – Finnegans Wake

The fall (bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk!) of a once wallstrait oldparr is retaled early in bed and later on life down through all christian minstrelsy. The great fall of the offwall entailed at such short notice the pftjschute of Finnegan, erse solid man, that the humptyhillhead of humself prumptly sends an unquiring one well to the west in quest of his tumptytumtoes: and their upturnpikepointandplace is at the knock out in the park where oranges have been laid to rust upon the green since dev-linsfirst loved livvy.

Dadaism By Tristan Tzara• The beginnings of Dada were not the beginnings of an art, but of a

disgust. Disgust with the magnificence of philosophers who for 3ooo years have been explaining everything to us (what for? ), disgust with the pretensions of these artists-God's-representatives-on-earth, disgust with passion and with real pathological wickedness where it was not worth the bother; disgust with a false form of domination and restriction *en masse*, that accentuates rather than appeases man's instinct of domination, disgust with all the catalogued categories, with the false prophets who are nothing but a front for the interests of money, pride, disease, disgust with the lieutenants of a mercantile art made to order according to a few infantile laws, disgust with the divorce of good and evil, the beautiful and the ugly (for why is it more estimable to be red rather than green, to the left rather than the right, to be large or small?). Disgust finally with the Jesuitical dialectic which can explain everything and fill people's minds with oblique and obtuse ideas without any physiological basis or ethnic roots, all this by means of blinding artifice and ignoble charlatans promises.

From - dada manifestoby Hugo Ball 14th July 1916

• dada manifestoby hugo ball14th July 1916

• Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. it is terribly simple. In French it means "hobby horse." In German it means "good-by," "Get off my back," "Be seeing you sometime." In Romanian: "Yes, indeed, you are right, that's it. But of course, yes, definitely, right." And so forth.

………………………………………….• Each thing has its word, but the word has become a thing by

itself. Why shouldn't I find it? Why can't a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlement, is a public concern of the first importance.

Christian MorgensternNight song of the

Fishesa graphic poem

Jean (Hans) Arp Collage Arranged

According to the Laws of Chance 1916–17

Magazine cover.Der blutige Ernst.

Edited by John Höxter, Carl Einstein, and

George Grosz. Berlin, 1919.

Raoul Hausmann The Art Critic1919-1920

Raoul Hausmann, Mechanical Head

[The Spirit of Our Time], 1919

John Heartfield,

The real meaning of the Hitler salute The little man asks for big gifts I've got millions standing behind me 1932

Kurt Schwiters Merz 163, with

Woman Sweating 1920.

Kurt Schwiters Merzbau Hannover 1933

Kurt Schwiters Merzbarn Wall England 1947-8

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Kurt Schwitters’ poemRibble Bobble Pimlico England 1946

Dom Sylvester Houedard

Sliced Lurch1970

Robert Rauschenberg Monogram 1955-9

Jasper Johns Flag 1954-55

Jean Tinguely Homage to New York Museum of Modern Art, New York, 1960

Self-destructive sculpture

Single Tub with Machine Gun 1981 Bucket, Mop and Lobster 1982

Bill Woodrow

Modern Architecture of the 20th Century

Antoni Gaudí The Crypt, Colonia Güell,near Barcelona 1908-14

Modern Architecture of the 20th Century

Walter Gropius & Adolf Meyer Fagus Shoe Factory, Germany 1911

Modern Architecture of the 20th Century

Walter Gropius Bauhaus, Dessau, 1925-26

Modern Architecture of the 20th Century

Le Corbusier Villa Savoye, Poissy-sur-Seine 1929-30

Modern Architecture of the 20th Century

Frank Lloyd Wright Fallingwater 1935

Modern Design of the 20th Century

Marcel Breuer Chairs 1925-26

Modern Architecture of the 20th Century

Giles Gilbert Scott The Jubilee Kiosk1936

Modern Architecture of the 20th Century

Harry Seidler Rose Seidler House Sydney 1948

Modern Architecture of the 20th Century

Australia Square. Design/Completion 1961-1967 Australia Square. Design/Completion 1961-1967 Australia Square. Design/Completion 1961-1967

Harry Seidler Australia Square. Sydney 1961-1967

Modern Architecture of the 20th Century

Oscar Niemeyer House of Congress Brasilia 1960

Modern Architecture of the 20th Century

Mies van der Rohe & P. Johnson: Seagram Building NYC, 1954-58

Modern Architecture of the 20th Century

I. M. Pei (and Henry Cobb) John Hancock Tower, Boston 1972-75

Frank Lloyd Wright Solomon Guggenheim Museum, New York 1959.

Modern Architecture of the 20th Century

Modern Architecture of the 20th Century

Maya Lin Vietnam Veterans Memorial 1980-82

Modern Architecture of the 20th Century

Daniel Libeskind The Jewish Museum Berlin 1999

Modern Architecture of the 20th Century

Daniel Libeskind The Jewish Museum Berlin 1999