World off art 8th edtion by henry m sayre chapter 20

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by Pearson Education, Inc or its affiliates.

From 1900 to the Present

20

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Learning Objectives

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German Expressionism, and Futurism

emergence of Surrealism

art of Diego Rivera and Pablo Picasso

in the 1930s

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Learning Objectives

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modernist and Abstract Expressionist painters to European modernism

both responded to the example of

Abstract Expressionism

contemporary art

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(The Cardiff Team), men of the Cardiff

rugby team are depicted leaping up at

a rugby ball in the center of the

painting

of sport

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Robert Delaunay, L'Équipe de Cardiff (The Cardiff Team).

1913 Oil on canvas, 10' 8-3/8" × 6' 10" Van Abbemuseum, Eindhoven, Holland.

Inv 84 De Agostini/Bridgeman Images [Fig 20-1]

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a term that refers to the immediacy of vision—suggesting that in any given

instant an infinite number of states of being simultaneously exist

art—speed, motion, change,

culminating in the twenty-first century

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The New "Isms"

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change and innovation was Pablo

Picasso

artists flocked to see Les Demoiselles d'Avignon, which by 1910 had come to symbolize the modernist break from

tradition

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Georges Braque, Houses at l'Estaque.

1908 Oil on canvas, 28-3/4 × 23-3/4" Hermann and Margit Rupf Foundation.

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The New "Isms"

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day, and new art movements—"isms"—rapidly succeeded one another

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takes Paul Cézanne's manipulation of space even further

and cubes as much as he does a

landscape

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Pablo Picasso, Houses on the Hill, Horta de Ebro.

1909 Oil on canvas, 25-5/8 × 31-7/8" Nationalgalerie, Museum Berggruen, Staatliche

Museen zu Berlin.

[Fig 20-3]

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Picasso and Braque created the

movement known as Cubism.

Spain in the fall of 1909, he brought

with him landscapes that showed just how much he had learned from Braque

Picasso and Braque

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form

three-dimensional world in increasingly dimensional terms

Violin and Palette are flattened and

cubed

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Georges Braque, Violin and Palette.

September 1, 1909 Oil on canvas, 36-1/8 × 16-7/8" Solomon R Guggenheim Museum,

New York.

54.1412 Photo © Solomon R Guggenheim Foundation, New York Photo by David Heald

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the reality of the world soon led both

Picasso and Braque to experiment with collage

Sheet Music, and Wine Glass.

as the setting in which art and the real world must engage one another

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Pablo Picasso, Guitar, Sheet Music, and Wine Glass.

1912 Charcoal, gouache, and papiers-collés, 18-7/8 × 14-3/4" The McNay Art Museum,

San Antonio, Texas.

New York [Fig 20-5]

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deemphasize color in order to

emphasize form, Henri Matisse and other young painters favored the expressive possibilities of color

Beasts")

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greatest uproar

could transform an otherwise traditional portrait with such a violent and

nonrepresentational use of color

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Henri Matisse, Woman with a Hat.

1905 Oil on canvas, 31-1/4 × 23-1/2" San Francisco Museum of Modern Art.

York [Fig 20-6]

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German Expressionism

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Die Brücke ("The Bridge") advocated a

raw and direct style, epitomized by the slashing gouges of the woodblock print

Reiter ("The Blue Rider") formed in

Munich around the Russian Wassily

Kandinsky

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line, works of art could express the

feelings and emotions of the artist—this

came to be called Expressionism.

Kandinsky considered his painting to be equivalent to music, alive in

nonfigurative movement and color

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Wassily Kandinsky, Sketch I for "Composition VII".

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"the power to create [a] spiritual

atmosphere" that would "lead us away from the outer to the inner basis."

symbolism in his depiction of animals

again

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Franz Marc, Die grossen blauen Pferde (The Large Blue Horses).

1911 Oil on canvas, 41-5⁄16" × 5' 11-1/4" Walker Art Center, Minneapolis.

Gift of the T B Walker Foundation, Gilbert M Walker Fund, 1942 De Agostini/Bridgeman

Images [Fig 20-8]

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published his manifesto announcing the advent of Futurism

Russolo, Giacomo Balla, and Gino

Severini embodied the spirit of the

machine and of rapid change that

seemed to define the century itself

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captures the Futurist fascination with

movement

 It demonstrates its debt to new

technological media—in particular,

photography.

Space gives a sense of a figure striding

forward, clothing flapping in the wind

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Giacomo Balla, Dynamism of a Dog on a Leash.

1912 Oil on canvas, 35-3/8 × 43-1/2" Albright-Knox Art Gallery, Buffalo, New York Bequest of A Conger Goodyear and Gift of George F Goodyear, 1964 © 2015 Albright Knox Art Gallery/Art Resource, New York/Scala, Florence © 2015 Artists Rights Society

(ARS), New York/SIAE, Rome [Fig 20-9]

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Umberto Boccioni, Unique Forms of Continuity in Space.

1913 Bronze, 43-7/8 × 34-7/8 × 15-3/4" Museum of Modern Art, New York.

Modern Art, New York/Scala, Florence [Fig 20-10]

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Dada and Surrealism

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up Futurism's call for the annihilation of tradition but, as a result of the war,

without its sense of hope for the future

senselessness, noise, and illogic

outrage

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Dada and Surrealism

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tradition in a spirit of fun

which is an image of Leonardo's Mona Lisa with a mustache drawn on her

Exhibition of the Society of Independent

Artists, Fountain, and claimed for it the

status of sculpture

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Marcel Duchamp, L.H.O.O.Q.

1919 Rectified Readymade (reproduction of Leonardo da Vinci's Mona Lisa altered with

pencil), 7-3/4 × 4-1/8" Philadelphia Museum of Art.

Paris/Artists Rights Society (ARS), New York [Fig 20-11]

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Marcel Duchamp, Fountain.

1917 Glazed sanitary china with black print Photo by Alfred Stieglitz in The Blind Man,

No 2 (May 1917); original lost Philadelphia Museum of Art.

Louise and Walter Arensberg Collection, 1950, 1998-74-1 Photo Philadelphia Museum of

Paris/Artists Rights Society (ARS), New York [Fig 20-12]

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Dada and Surrealism

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as authorize the art world to consider

all manner of things in aesthetic terms

Dada's preoccupation with the irrational and the illogical, as well as its interest

in ideas

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Dada and Surrealism

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fantastic, subject matter

 Examples are Giorgio de Chirico's

Melancholy and Mystery of a Street and

Salvador Dalí's The Persistence of

Memory.

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Giorgio de Chirico, Melancholy and Mystery of a Street.

1914 Oil on canvas, 24-1/4 × 28-1/2" Private collection.

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Salvador Dalí, The Persistence of Memory.

1931 Oil on canvas, 9-1/2 × 13" Museum of Modern Art, New York.

Society (ARS), New York [Fig 20-14]

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Dada and Surrealism

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presenting us with a world of

indecipherable visual riddles

 An example is Joan Miró's Painting.

movement, in the late 1920s and early 1930s Picasso worked in a Surrealist

mode and contributed regularly to

Surrealist publications

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Joan Miró, Painting.

1933 Oil on canvas, 4' 3-3/8" × 5' 4-1/8" Wadsworth Atheneum, Hartford Ella Gallup Sumner and Mary Catlin Sumner Collection Fund Photo Wadsworth Atheneum, Hartford © 2015 Successió Miró/Artists Rights Society (ARS), New

York/ADAGP, Paris [Fig 20-15]

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Pablo Picasso, Girl before a Mirror.

1932 Oil on canvas, 5' 4" × 4' 3-1/4" Museum of Modern Art New York.

New York [Fig 20-16]

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Politics and Painting

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a massive building campaign, a new

school of muralists arose to decorate

these buildings

Siquieros, and José Clemente Orozco

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Politics and Painting

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of the Universe where he appears to be

saying Man must steer his course

between the evils of capitalism and the virtues of Communism

the era is Pablo Picasso's Guernica

representing an event in the Spanish

Civil War

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Diego Rivera, Man, Controller of the Universe.

1934 Fresco, main panel 15' 11" × 37' 6" Palacio de Bellas Artes, Mexico City, D.F

Mexico.

York [Fig 20-17]

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American Modernism and Abstract

Expressionism

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Picasso's Guernica.

angular forms and turbulent energy, but differs in that it is totally abstract and

uses vibrant colors

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Pablo Picasso, Guernica.

1937 Oil on canvas, 11' 5-1/2 × 25' 5-1/4" Museo Nacional Centro de Arte Reina Sofía,

Madrid.

Picasso/Artists Rights Society (ARS), New York [Fig 20-18]

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Expressionism

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the competing aesthetic directions of

European abstraction, fusing the

geometric and Expressionist tendencies

of modern art

responsive to trends in European

painting since the early years of the

century

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Lee Krasner, Untitled.

ca 1940 Oil on canvas, 30 × 25".

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Expressionism

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realist approach, supported by the

growing popularity of photography and the belief that art should deal with the problems of daily life

O'Keeffe utilizes the sensuous line of

the German Expressionist painter Franz Marc

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Georgia O'Keeffe, Purple Hills near Abiquiu.

1935 Oil on canvas, 16 × 30" San Diego Museum of Art.

Foundation/Artists Rights Society (ARS), New York [Fig 20-20]

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Expressionism

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the emotional isolation of the average American

of World War II causef the development

of abstract painting in the U.S

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Edward Hopper, Nighthawks.

1942 Oil on canvas, 30" × 5' The Art Institute of Chicago.

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Expressionism

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Abstract Expressionism soon

developed

of painters dedicated to the expressive capacities of their own individual

gestures and styles

has been labeled "action painting."

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Expressionism

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Bicycle is a celebration of his own

freedom from the conventions of figural representation

Rothko's canvases produces a

meditative, not active, space

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Willem de Kooning, Woman and Bicycle.

York [Fig 20-22]

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Mark Rothko, Four Darks in Red.

1958 Oil on canvas, 9' 4" × 9' 8" Whitney Museum of American Art, New York.

Purchase with funds from the Friends of the Whitney Museum of American Art, Mr and Mrs Eugene M Schwartz, Mrs Samuel A Seaver, and Charles Simon, 68.9 © 2015 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York [Fig 20-23]

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Pop Art and Minimalism

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• Pop Art was created by a group of

younger artists, led by Andy Warhol,

Claes Oldenburg, and Roy Lichtenstein

authenticity of Abstract Expressionist gesture

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lived it, a world of Campbell's soup

cans, Coca-Cola bottles, comic strips, and movie stars

You, Too…But… suggests, by its very

size, the powerful role of popular

culture in our emotional lives

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Roy Lichtenstein, Oh, Jeff I Love You, Too But

1964 Oil on magma on canvas, 4 × 4'.

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media and turned instead to renderings made by mechanical reproduction

techniques, that evoked commercial

illustration more than fine art

Expressionism led, in the same period,

to a style of art known as Minimalism.

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asks is "What, minimally, makes a work

of art?"

contemplate its sometimes seductively simple beauty

#146A.

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Sol LeWitt, Wall Drawing #146A: All two-part combinations of arcs from corners

and sides, and straight, not straight, and broken lines within a 36" (90-cm) grid.

June 2000 White crayon on blue wall LeWitt Collection, Chester, Connecticut Mass

MoCA, North Adams, Massachusetts.

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Cross-Fertilization in Contemporary Art

to engage in a wide spectrum of

experimental approaches to painting

cross-fertilization between the approaches

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A Plurality of Styles

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abstraction in the work of the

contemporary artist Gerhard Richter

abstraction, in this case, the

inexplicable horror of the events of September 11, 2001

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Gerhard Richter, September.

2005 Oil on canvas, 20-1/2 × 28-3/8" Museum of Modern Art, New York.

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creating her paintings are likewise

simultaneously recognizable and

abstract, as can be seen in Bop.

irreconcilable forms lies at the heart of sculptor Diana al-Hadid's work

• Nolli's Orders incorporates human

forms into a pyramidal structure

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Elizabeth Murray, Bop.

2002–03 Oil on canvas, 9' 10" × 10' 10-1/2".

Family Trust/Artists Rights Society (ARS), New York [Fig 20-27]

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Diana al-Hadid, Nolli's Orders.

2012 Steel, polymer gypsum, fiberglass, wood, foam, paint, plaster, aluminum foil,

pigment, 22' × 19' × 10' 2".

Credit: Dennis Harvey [Fig 20-28]

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of the transfer decals popular among

Japanese schoolgirls, as is the case in

I'm Learning to Fly!!

all-inclusiveness and heterogeneity

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Fiona Rae, I'm Learning to Fly!!

2006 Oil and acrylic on canvas, 7' × 5' 9"

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