modernism. move toward modernism eakins, shad fishermen setting the net at gloucester, new jersey...
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Modernism
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Move Toward Modernism
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Eakins, Shad Fishermen Setting the Net at Gloucester, New Jersey (1881)
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Eakins, Shad Fishing at Gloucester on the Delaware River (1881)
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Symbolism
• “simplification of line”
• “arbitrary color”
• “expressive, flattened form” (Fiero 790)
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Hodler, The Chosen One (1893-94)
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Hodler, Tired of Life
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Japanese Woodblock Prints
• Imported to West beginning in 1860s
• Flat colors, curving lines
• “Empty” space
• Unique perspectives
• Everyday life & landscapes
• See quote, Fiero 797: “Before Japan . . . the painter always lied.”
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Katsushika Hokusai, Mount Fuji Seen Below Wave at Kanagawa
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Degas, Before the Ballet, 1890-92
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Degas, The False Start, 1870
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Thomas Cole, The Oxbow (1836)
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Cassatt,
The Bath (1891)
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Cassatt,
The Letter
(1890-91)
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Cassatt,
The Bath
(1891-92)
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Cassatt, Portrait of a Little Girl (1878)
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Cassatt, The Boating Party (1893-94)
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Art Nouveau
• Ornamental style extremely popular in 1890s & early 1900s—a popular modernism
• Serpentine lines, organic forms• Modern industrial materials (iron, glass)• Influenced by Asian & Islamic art• Often featured women with luxuriant hair,
seducing or enchanting
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Nietzsche
• “God is dead. God remains dead. And we have killed him”(787).
• A critic of democracy: democracy=mediocrity• Celebrates the “superman” who rises above
traditional morality• Celebrates the “Dionysian” (irrational) over the
“Apollonian” (rational) spirit in the Western tradition
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Monet,
Rouen Cathedral,
1893
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Rodin,
Gates of Hell
1880-1917
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Rodin, The Thinker
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Elements of Modernism
• Abstraction
• Primitivism
• Experimentation with time and space
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Abstraction in Painting
• Abstraction: nonrepresentational art: self-consciousness of medium: art for art’s sake
• Maurice Denis: painting is “a flat surface covered with shapes, lines, and colors assembled in a particular order” (809)
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Cezanne, The Basket of Apples (c. 1895)
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Cezanne, Still Life with Peppermint
Bottle, c. 1894
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Mount Sainte-Victoire Seen from
Bellevue. c. 1882-85.
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Mont Sainte-Victoire Seen from the Bibemus Quarry, c. 1897
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Cezanne, Mount Sainte-Victoire. 1904-1906
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Abstraction in Literature
• Ezra Pound: imagism: “rhythmic arrangement of words” producing an emotional “shape” (820)—Pound inspired by Chinese calligraphy
• Pound declared, “make it new”
• Pound, “In a Station of the Metro” (1916)
• Frost, “The Road Not Taken” (1916)
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Pound’s explanation
Three years ago in Paris I got out of a "metro" train at La Concorde, and saw suddenly a beautiful face, and then another and another, and then a beautiful child’s face, and then another beautiful woman, and I tried all that day to find words for what this had meant to me, and I could not find any words that seemed to me worthy, or as lovely as that sudden emotion.
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And that evening, as I went home along the Rue Raynouard, I was still trying and I found, suddenly, the expression. I do not mean that I found words, but there came an equation . . . not in speech, but in little splotches of colour.
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Mondrian, Composition with Red, Yellow and Blue (1921)
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Primitivism
• Modernists influenced traditional cultures of Africa and Oceania (Gauguin, Picasso, etc.)
• Background: 1889 Paris Exposition Universelle: showed arts of Asia, Africa, and Oceania
• Rise of anthropology: Sir James Frazer, The Golden Bough, a comparative study of traditional folk customs
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Primitivism
• Modernist interest in primitive cultures arose from contact with those cultures
• Ironically, this contact contributed to the destruction of those cultures
• Modernist primitivism is therefore nostalgic
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Gertrude Stein, 1906
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Picasso, Les Demoiselles d’Avignon (1907)
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Time and Space: Experimentation
• Background: Einstein’s special theory of relativity: time and space related
• Henri Bergson: duration: the fusing or streaming together of past and present
• Painting (spatial medium): introduces time
• Literature (temporal medium): introduces space: “Spatial Form”
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Cubism
• Analytic: through multiple perspectives, time enters into the space of the canvas
• Synthetic: real objects pasted onto the canvas—presentation and representation merge together
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Daniel-Henry Kahnweiler
1910
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Braque, Still Life on a Table, c. 1914
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Juan Gris,
Roses
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Picasso, Guernica (1937)
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Literature and Time-Space Experimentation
• Literature (temporal medium) calls attention to space: “Spatial Form” (see cummings 851); OR
• Disruptions in experience of time (stream of consciousness): Proust, Remembrance of Things Past (847); Joyce, Ulysses (850); Jarrell, “The Death of the Ball Turret Gunner” (878)
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Futurism
• Marinetti issues Futurist manifestoes
• Focus on modern sensation: “A roaring motorcar is more beautiful than the winged Victory of Samothrace” (827)
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Joseph Stella
The BrooklynBridge
(c. 1920-22)
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Duchamps, Nude Descending a Staircase, #2 (1912)
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Balla, Dynamism of a Dog on a Leash (1912)
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Nonobjective Art
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Mondrian, Brabant Farmyard (1904)
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Mondrian, Gray Tree (1911)
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Mondrian, Composition with Red, Yellow and Blue (1921)
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Lozenge Composition in Red, Grey, Blue, Yellow, and Black (1924-25)
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Broadway Boogie Woogie (1942-43)
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De Stijl (The Style)
• Rietveld, Red and Blue Chair (1918)
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Modern Architecture
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Louis Henry Sullivan (1856-1924)• mastered high-rise construction using the load-
bearing steel frame• 1871 Chicago Fire provided a clean slate for
Chicago building• 1891 Monadnock Building (Burnham & Root):
limit of bearing-wall construction: 16 floors• 1894-5, Sullivan’s Guaranty Building in Buffalo:
vertical piers dominate the pattern and emphasize verticality
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Burnham & Root,
Monadnock Building
(1889-91)
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Sullivan and Adler,
Guaranty Building,
Buffalo
(1894-95)
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Louis Sullivan: Carson, Pirie, Scott, Building, Chicago, 1899.
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Frank Lloyd Wright
• Student of Sullivan
• Stressed horizontality
• Influenced by Japanese architecture
• Founded the so-called Prairie School
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Wright, Robie House, Chicago (1909)
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Wright, Fallingwater, Pennsylvania (1936-39)
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Walter Gropius (1883-1969)
• Founder of the Bauhaus (“House for Building”) in 1919 through a fusion of Grand Ducal Academy of Art with the Arts and Crafts School
• The idea was to create an idealistic community of craftsmen, like the medieval cathedral builders
• Wanted to unify architecture, sculpture, painting, and design
• Gropius embraced mass housing and industrial design
• His preferred materials: steel, concrete, and glass
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Walter Gropius, Bauhaus, Dessau (1925-26)
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International Style• Emphasis on truth-telling: no decoration
• Subscribed to idea that form follows function
• Building seen as volume generated by interplay of planes and spaces
• Planar flatness of walls: preference for stucco, which unfortunately cracks
• Le Corbusier (France), Walter Gropius (Germany), Philip Johnson (U.S.)
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Ludwig Mies van der Rohe (1886-1969)
• mastered the use of glass in the steel-frame skyscraper, creating the face of the modern corporation
• linear, rational, and (in theory) cheap
• believed in an objective architecture based on the machine age; rejected ornaments, calling them “noodles”
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Mies, continued
• Philip Johnson said: “[Mies] believed in the ultimate truth of architecture, and especially of his architecture.”
• 1954-58 Seagram Building: made the curtain wall of bronze because he wanted a warm dark color: most elegant but most expensive curtain wall ever hung on steel frame
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Ludwig Mies van der Rohe, Seagram Building, New York, 1954-58
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Ludwig Mies van der Rohe, Seagram Building, New York, 1954-58
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Charles-Edouard Jeanneret (“Le Corbusier”—the crowlike one)
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Le Corbusier and the International Style
• Le Corbusier was a failed sociological architect but an inspired aesthetic one
• He was among the founders of the International Style (term coined in 1932 by Philip Johnson and Henry Russell Hitchcock), as evidenced in his Villa Savoye, 1929-31
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Villa Savoye, 1929-31
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Le Corbusier
• Promoted La Ville Radieuse, the “Radiant City”
• Voisin Plan of 1925 would clear 600 acre L-shaped site on Right Bank
• Get rid of history to make way for a “vertical city . . . bathed in light and air”
• Wanted wide roads for cars (Voisin was the carmaker that sponsored the research: Peugeot and Citroen declined)
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Le Corbusier, Ville contemporaine pour trois million d’habitants (1922)
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Le Corbusier, Drawing for the Voisin Plan (1925)
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Le Corbusier, Drawing for the Voisin Plan (1925)
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Le Corbusier, Unite d’Habitation, Marseilles (1946-52)
• A one-unit Radiant City• Influenced by utopian ideas of Charles
Fourier (1772-1837)• 18 stories, containing flats for 1600 people• Unrealistic: shopping mall on the 5th floor,
but the French shop in outdoor markets• Roof is sun-drenched, simple, the only
successful part of the building
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Brasilia, Brazil
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What can we learn from Le Corbusier’s failures?
• Modernist principles might be good for a painting, or even a house, but they do not succeed as a basis for organizing a city or society.
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