Ch 33 Early 20th Century art

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Ch 33 Early 20th Century art

• The Development of Modernist Art

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20th Century

• Developments continue in science, economics,
  politics, technology
• These new discoveries were explored in the art
• Most artists display radical rejection rejection
  of traditional limitations definitions of art
• Most artists deeply affected by upheaval of 20th
  cent
• Expressionism refers to art that is the result
  of the artists unique inner or personal vision
  that has some emotional quality

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Henri Matisse, Woman with the hat , 1905, oil on
canvas, 2 7 x 1 11 Fig 33-1
4
Henri Matisse, Red Room (Harmony in red)
1908-1909, oil on canvas, 5 11 x 8 1 Fig 33-2
5
Ernst Ludwig Kirchner, Street, Dresden, 1908, oil
on canvas, 4 11 x 6 6 Fig 33-4
6
Vassily Kandinsky, Improvisation 28 (second
version)1912, oil on canvas, 3 7 x 5 3 Fig
33-6
7
Franz Marc, Fate of the Animals, 1913, oil on
canvas, 6 4 x 8 9 Fig 33-7
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Pablo Picasso, Gertrude Stein, 1906-1907, oil on
canvas, 3 3 x 2 8
9
Pablo Picasso, Les Demoiselles dAvignon,
June-July 1907, oil on canvas, 8 x 7 8 Fig
33-9
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Cubism!

• Cubism a radical turning point in the history of
  art, dismissal of the pictorial illusionism that
  had dominated western art
• Cubists replaced natural depictions with
  compositions of shapes and forms abstracted from
  the perceived world
• Matisse described some of Braques work to a
  critic avec des petits cubes (with little
  cubes)
• Analytic Cubism first phase of cubism
  dissection of a form into shapes

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Georges Braque, The Portuguese, 1911, oil on
canvas, 3 10 x 2 8 Fig 33-10
12
Georges Braque, bottle, newspaper, pipe and
glass, 1913, charcoal various papers pasted on
paper, fig 33-13
13
Aleksandr Archipenko, Woman Combing her hair,
1915, bronze, 1 1 tall, FIG 33-16
14
Julio Gonzalez, Woman Combing her hair,
1930-1933, iron, 4 9 Fig 33-17
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Ferdinand Leger, The City, 1919, oil on canvas,
7 7 x 9 9 Fig 33-18
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Giacomo Balla, Dynamism of a dog on a leash,
1912, oil on canvas, 2 11 x 3 7 Fig 33-19
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Umberto Boccioni, Unique Forms of Continuity of
Space, 1913, bronze, 3 7 x 2 3 Fig 33-20
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DADA (say what?)

• WWI brought about untold horrors
• Many artists joined group called Dada- began in
  reaction to war massacres
• Dada emerged all over the world
• Element of absurdity hence the name!
• Cynicism and pessimism inspired Dada but
  undercurrent of whimsy humor
• Worked with element of chance (Jean Hans Arp)

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Marcel Duchamp, Fountain (second version) 1950
(original version produced in 1917) ready-made
glazed sanitary china with black paint, 1 high
Fig 33-23
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Kurt Schwitters, Merz 19, 1920, paper collage,
7x5 Fig 33-26
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The armory show-1913 Nyc, Ny
Marcel Duchamp, Nude Descending a Staircase No.
2, 1912, oil on canvas, 4 10 x 2 11 Fig 33-29

• Major ways to show the American public the
  European art was through the Armory show
• Critics wanted to shut down to the show calling
  it a menace to public morality
• The show traveled to Chicago Boston after NYC

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Alfred Stieglitz, The Steerage, 1907 (print
1915), photogravure (on tissue), 1 x 10 Fig
33-30
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Edward Weston, Nude, 1925, platinum print, Fig
33-31
24
Man Ray, Cadeau (Gift) ca 1958, (replica of 1921
original) painted flat iron with row of 13
tacks, 6 high x 3wide x 4 deep Fig 33-32
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Georgia OKeefe, New York, Night, 1929, oil on
canvas, 3 4 x 1 7 Fig 33-37
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Georgia OKeefe, Jack in the Pulpit No. 4, 1930,
oil on canvas, 3 4 x 2 6 Intro 4
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Kathe Kollwitz, woman with dead child, 1903,
etching soft ground etching, 1 4 x 1 7 Fig
33-41
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Wilhelm Lehmbruck, Seated Youth, 1917, composite
tinted plaster, Fig 33-42
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Giorgio De Chirico, Melancholy and Mystery of a
Street, 1914, oil on canvas, 2 10 x 2 4 Fig
33-44
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Max Ernst, The children are threatened by a
Nightingale, 1924, oil on wood with wood
construction, 2 3 x 1 10 4 deep, Fig 33-45
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Salvador Dali, The persistence of Memory, 1931,
oil on canvas, 9 x 1 Fig 33-46
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Rene Magritte, The treachery (or perfidy) of
Images, 1928-1929, oil on canvas, 1 11 x 3 1
Fig 33-47
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Meret Oppenheim, object (le dejeuner en fourrure)
1936, fur covered cup, 4 Diameter, 9 saucer, 8
spoon, Fig 33-48
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Frida Kahlo, The Two Fridas, 1939, oil on canvas,
57 x 5 7 Fig 33-49
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Joan Miro, Painting, 1933, oil on canvas, 5 8 x
6 5 Fig 33-50
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Paul Klee, Twittering Machine, 1922, watercolor
Pen and ink, on oil transfer drawings on paper,
mounted on cardboard, 2 1 x 17 Fig 33-51
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Kazimir Malevich, Supremacist Composition
Airplane flying, 1915, oil on canvas, 1 10 x 1
7 Fig 33-52
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Piet Mondrian, Composition with red, blue and
yellow, 1930, oil on canvas, 18 x 18 Fig 33-53
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Gerrit Thomas Rietveld, Schroder House, Utrecht,
the Netherlands, 1924, Fig 33-56
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Bauhaus

• Walter Gropius developed a new vision of
  architecture total architecture
• At Bauhaus Gropius trained artists, architects
  and designers to anticipate 20th cent needs
• 1) Importance of strong basic design
  craftsmanship
• 2) Unity of art, architecture and design
• 3) Thorough knowledge of machine-age technologies
  materials
• Marriage between art and industry
• The influence of Bauhaus was monumental

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Josef Albers, Homage to the Square Ascending,
1953, oil on composition Board, 3 7 x 3 7 Fig
33-58
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Walter Gropius, Shop Block, the Bauhaus, Dessau,
Germany, 1925-1926, Fig 33-59

• Bauhaus moved north to Dessau
• Nazis tore down this building
• It was rebuilt
• The structure is made of concrete set back so
  that glass can cover the wall allowing light in
• Design follows simplicity outlined by Gropius
• The interior space is open and airy and allows
  the intermingling of artists to share ideas

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Marcel Breuer, tubular chair, 1925, Fig 33-60
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Nazi influence

• Nazis closed down the Bauhaus
• Infamous Entartete Kunst Degenerate Art
  exhibition Hitler assembled in 1937
• 16,000 works of art confiscated and shown
• The show contained books, prints, sculptures and
  paintings
• 20,000 people a day visited, 2 million people
• Hitlers insistence on suppressing discrediting
  this art dramatically demonstrates arts power to
  affect viewers

Work hung askew by Kandinsky, Klee and Schwitters
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Cantilever

• A cantilever is a beam that is supported at only
  one end and carries a load at the other end.
• Cantilevers are often used in architecture, as
  they allow for overhanging structures that do not
  need to be supported from the outside.
• Because only one end of the beam is supported, a
  cantilever is typically subjected to a great deal
  of stress
• Sometimes, cantilevers are used in the
  construction of bridges

3 Types of Cantilevers
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Ludwig mies van der Rohe, model for a glass
skyscraper, berlin, germany, 1922 (no longer
exists), Fig 33-62
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Le Corbusier, Villa Savoye, Poissy-sur-Seine,
France, 1929, Fig 33-64
Domino House, Fig 33-63
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William van Alen, Chrysler Building, Ny, NYC,
1928-1930, Fig 33-65
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Frank Lloyd Wright, Robie House, Chicago, Il,
1907-1909, Fig 33-66
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Frank Lloyd Wright, Kaufmann House
(Fallingwater), Bear Run, Pennsylvania,
1936-1939, Fig 33-68
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Constantin brancusi, Bird in space, 1928, bronze,
4 6 x8 x6 Fig 33-69
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Barbara Hepworth, Oval Sculpture (No 2) 1943,
plaster cast, Fig 33-70
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Henry Moore, Reclining Figure, 1939, elm wood, 3
1 x 6 7 x 2 6 Fig 33-71
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Alexander Calder, untitled, 1976, aluminum
honeycomb, tubing and paint, 29 10 x 76 Fig
33-72
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Pablo Picasso, Guernica, 1937, oil on canvas, 11
5 x 25 5 Fig 33-73
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Dorothea Lange, Migrant Mother, Nipomo Valley,
1935, gelatin silver Print, Fig 33-75
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Edward Hopper, Nighthawks, 1942, oil on canvas,
2 6 x 4 8 Fig 33-76
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Thomas Hart Benton, Pioneer Days Early
Settlers, State Capitol, Jefferson City, 1936,
mural, Fig 33-79
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Diego rivera, Ancient Mexico, history of Mexico
fresco murals, National palace, Mexico city,
1929-1935 Fig 33-81