twentieth artistic language (techniques of century … cent bef w… · · 2011-07-27artistic...

The Dance, 1909

Fauvism and Early Matisse

the 20th century dialectic:

artistic language (techniques of representation) versus the

image and its source[or]

disintegration of the real versus the hallucination

Twentieth Century

Ruptures and Continuities

This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes.Image of 14

20th cent before WWII.shw

cubism, phase I: PIcasso, Ma Jolie, 1912, and Braque, The Portuguese, 1912

Picasso:

Les Demoiselles d'Avignon

19078' x 7'8"

[before cubism]

Matisse: Harmony in Red, 1908-9Derain: Dance, 1906

Matisse: Joy of Life, 1905/6



Italian Futurism

Guitar, 1912

Guitar (El Diluvio)1913, papier colle

Guitar, Sheet Music and Glass, 1912

Braque: Bottle, Newspaper, Pipe, and Glass, 1913

(pasted papers; charcoal)Picasso: Violin, 1912

Picasso: Still Life with Chair Caning, 1912, oil paint, oil

cloth, rope



Rodin:

The Walking Manc.1900Bronze

33 1/8 in. (84.1 cm)

Sculptural modernism in the first quarter of the 20th century

Umberto Boccioni:

Dynamism of a Soccer Player

1913

Giacomo Balla: Young Girl

Running on a Balcony

1912



Lehmbruck: The Fallen Man1915/1916, cast stone, 78x240x82cm.

Archipenko:Woman Combing Her Hair

1915

Bronze

13 3/4 x 3 1/4 x 3

1/8"

Male Torso, 1917, brass, 19" ht.

Torso of a Girl, 1923, onyx, 13" ht.

Constantin Brancusi

the part becomes the whole

Boccioni:

Unique Forms of Continuity in Space1913, bronze, h. 44"



The 0.10 Last Futurist Exhibition of Painting

St. Petersburg, 1915

[Malevich and Russian Suprematism]

Composition VII, 1913

78" x 118" oil on canvas

Improvisation #30 (warlike

theme)

Improvisation #28 (War), 1912 oil/can., 44 x 64"developments toward complete abstraction:

Kandinsky



Hannah Hoch:Cut with the Kitchen Knife Dada through

the Last Weimar Beer Belly Cultural Epoch

of Germany

1919-20

photomontage, 3'9" x 2'11"

Duchamp: The Fountain

1917

DADA

the art of being irrational

Mondrian:

Composition with Red, Blue and Yellow1930, oil/canvas, 1'6 x 1'6

De Stijl



the challenges of constructivism:

interest in materials interest in the construction

interest in efficacy

TENSEGRITY (dynamic balance)ACTIVATION OF THE SPECTATOR

Monument to the Third

International, 1919

leading to Russian constructivism: Tatlin and the culture of materials

counterreliefs

Jean (Hans) Arp: Concrete Relief, 1916-17

painted wood, 41.2 x 60.6 cm

Schlichter: Phanomen-Werke (Phenomenon

Works)

1920

Photomontage and collage of papers and fabric with watercolor

and opaque watercolor on paper, 61.7 x 46.6



photograph from performance compared with one of Popova's untitled paintings from 1921

model of the stage set for the 1922 production of the Magnanimous Cuckold; designer: Liubov Popova

Gustav Klutsis: early version of the

"Activist must Study"

(late 1920s)

the 1921 ObMoKhu exhibition in Moscow

the 1921 ObMoKhu exhibition in Moscow

Karl Ioganson and the difference between a composition and a construction



Dali: The Lugubrious Game

1929

Oil and collage on card, 44 x 30 cm

Joan Miro: Head of a Woman, 1938

Surrealism

automatism and dreams as the path to the unconscious

key words: biomorphismand automatism

El LIssitsky: fold-out from the catalogue for the Soviet Pavilion at the Pressa exhibition in Cologne, 1928

1928 model for reconstruction of theater and performance of "I Want a Child" -- designer: El LIssitsky

Klutsis illustration for a book called "One Week"



Stylistic sources:

1) a structural axis: cubism and geometric abstraction

focus on language; rejection of perspective; incorporation of the

real world

Abstract Expressionism: Axes

of Influence



politics, social relevance and the myth of "modern man"

Hofmann: Summer Night's Dream, 1957, o/c, 52 x 60in.

Untitled, Hans Hofmann1944, mixed media on

gessoed plywood

3) the axis of spiritual abstraction and the challenge to

the closed-form canon: Kandinsky and Hofmann

the gesamtkunstwerkrealism = abstraction

push-and-pull of color and form

2) a counter-geometric axis of the unexpected, the unplanned, and the unconscious

the importance of unexpected juxtapositions

connection from the collective unconscious to the real

world

automatism and biomorphism and the freedom to develop new techniques



Jackson Pollock: One, No. 31, 1950; oil and enamel paint on canvas, 8'10 x 17'5

Untitled

Mark Rothko, 1952

oil on canvas81 x 68 in.

Vir Heroicus Sublimis1950/51, oil on canvas

96" x 216"

5) the abstract sublimePicasso: Guernica, 1937, oil on canvas, 11'5" x 25'5"



De Kooning: Woman No. 1,

1950-526'3 x 4'10

Abstract expressionism: the art work becomes an environment andthe presence of the artist becomes central

as the artist "lives" in the act of painting



twentieth artistic language (techniques of century … cent bef w… · · 2011-07-27artistic...

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