DOCSLIB.ORG

History of Modern Art Painting Sculpture Architecture Photography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
History of Modern Art Painting Sculpture Architecture Photography HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago. Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16. Copyright © 2013, 2010, 2004 Pearson Education, Inc. All rights reserved. Printed in the United States of America. This publication is protected by Copyright and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmis- sion in any form or by any means, electronic, mechanical, photocopying, recording, or likewise. To obtain permission(s) to use material from this work, please submit a written request to Pearson Education, Inc., Permissions Department, One Lake Street, Upper Saddle River, New Jersey 07458 or you may fax your request to 201-236-3290. Library of Congress Cataloging-in-Publication Data Arnason, H. Harvard, author. History of modern art : painting, sculpture, architecture, photog- raphy / H.H. Arnason, Elizabeth C. Mansfield, National Humanities Center. -- Seventh Edition. pages cm Includes bibliographical references and index. ISBN-13: 978-0-205-25947-2 (pbk.) ISBN-10: 0-205-25947-2 (pbk.) 1. Art, Modern. I. Mansfield, Elizabeth - author. II. Title. N6490.A713 2013 709.04--dc23 2012029474 10 9 8 7 6 5 4 3 2 1 ISBN 10: 0-205-25947-2 ISBN 13: 978-0-205-25947-2 LK024_P0004EDarmason_HoMA_FM_Combined.indd iv 04/10/2012 18:20 Contents Preface xii 3 Acknowledgments xiii Post-Impressionism 42 Why Use this Seventh Edition xiv The Poetic Science of Color: Seurat and the Neo-Impressionists 43 Chapter-by-chapter Revisions xiv Form and Nature: Paul Cézanne 45 Early Career and Relation to Impressionism 46 Later Career 48 The Triumph of Imagination: Symbolism 50 Reverie and Representation: Moreau, Puvis, and 1 Redon 50 The Origins of Modern Art 1 The Naive Art of Henri Rousseau 52 An Art Reborn: Rodin and Sculpture at the SOURCE: Théophile Gautier, Preface to Mademoiselle de Fin de Siècle 53 Maupin (1835) 2 Early Career and The Gates of Hell 54 Making Art and Artists: The Role of the Critic 2 The Burghers of Calais and Later Career 56 A Marketplace for Art 3 Exploring New Possibilities: Claudel and Rosso 58 CONTEXT: Modernity and Modernism 3 Primitivism and the Avant-Garde: Gauguin and The Modern Artist 3 Van Gogh 59 What Does It Mean to Be an Artist?: From Academic Emulation Gauguin 59 toward Romantic Originality 4 SOURCE: Paul Gauguin, from Noa Noa (1893) 61 Making Sense of a Turbulent World: The Legacy of Van Gogh 62 Neoclassicism and Romanticism 5 SOURCE: Vincent van Gogh, from a letter to his brother History Painting 6 Theo van Gogh, August 6, 1888 62 TECHNIQUE: Printmaking Techniques 6 A New Generation of Prophets: The Nabis 64 Landscape Painting 9 Vuillard and Bonnard 65 Montmartre: At Home with the Avant-Garde 67 2 The Search for Truth: Early 4 Photography, Realism, and Arts and Crafts, Art Nouveau, and the Impressionism 14 Beginnings of Expressionism 70 New Ways of Seeing: Photography and its Influence 14 “A Return to Simplicity”: The Arts and Crafts Movement TECHNIQUE: Daguerreotype versus Calotype 15 and Experimental Architecture 70 Only the Truth: Realism 20 Experiments in Synthesis: Modernism beside the Hearth 72 France 20 SOURCE: Walter Pater, from the Conclusion to Studies in England 22 the History of the Renaissance (1873) 74 Seizing the Moment: Impressionism and the With Beauty at the Reins of Industry: Aestheticism and Avant-Garde 24 Art Nouveau 74 Manet and Whistler 24 Natural Forms for the Machine Age: The Art Nouveau From Realism to Impressionism 28 Aesthetic 76 Nineteenth-Century Art in the United States 36 Painting and Graphic Art 76 SOURCE: Charles Baudelaire, from his SOURCE: Sigmund Freud, from The Interpretation of “Salon of 1859” 36 Dreams (1899) 78 Later Nineteenth-Century American Art 37 Art Nouveau Architecture and Design 79 CONTENTS V LK024_P0004EDarmason_HoMA_FM_Combined.indd v 04/10/2012 18:20 Toward Expressionism: Late Nineteenth-Century 7 Avant-Garde Painting beyond France 84 Scandinavia 84 Cubism 136 Northern and Central Europe 87 Immersed in Tradition: Picasso’s Early Career 137 Barcelona and Madrid 137 Blue and Rose Periods 137 5 CONTEXT: Women as Patrons of the Avant-Garde 140 The New Century: Les Demoiselles d’Avignon 142 Beyond Fauvism: Braque’s Early Career 144 Experiments in Color and Form 90 “Two Mountain Climbers Roped Together”: Braque, Fauvism 90 Picasso, and the Development of Cubism 146 “Purity of Means” in Practice: Henri Matisse’s Analytic Cubism, 1909–11 147 Early Career 91 Synthetic Cubism, 1912–14 152 Earliest Works 91 TECHNIQUE: Collage 152 Matisse’s Fauve Period 92 Constructed Spaces: Cubist Sculpture 155 SOURCE: Charles Baudelaire, Invitation to the Voyage Braque and Picasso 155 (1857) 93 Archipenko 157 The Influence of African Art 97 Duchamp-Villon 158 “Wild Beasts” Tamed: Derain, Vlaminck, and Dufy 99 Lipchitz 158 Religious Art for a Modern Age: Georges Rouault 101 Laurens 159 The Belle Époque on Film: The Lumière Brothers and An Adaptable Idiom: Developments in Cubist Painting in Lartigue 102 Paris 160 CONTEXT: Early Motion Pictures 102 Gris 160 Modernism on a Grand Scale: Matisse’s Art Gleizes and Metzinger 162 after Fauvism 103 Léger 163 Forms of the Essential: Constantin Brancusi 106 Other Agendas: Orphism and Other Experimental Art in Paris, 1910–14 163 Duchamp 166 6 Expressionism in Germany and Austria 111 8 From Romanticism to Expressionism: Corinth and Modersohn-Becker 112 Early Modern Architecture 169 SOURCE: Paula Modersohn-Becker, Letters and “Form Follows Function”: The Chicago School and the Journal 113 Origins of the Skyscraper 169 Spanning the Divide between Romanticism and SOURCE: Louis Sullivan, “The Tall Office Building Expressionism: Die Brücke 114 Artistically Considered” (1896) 172 Kirchner 114 Modernism in Harmony with Nature: Frank Lloyd TECHNIQUE: Woodcuts and Woodblock Prints 117 Wright 172 Nolde 117 Early Houses 173 Heckel, Müller, Pechstein, and Schmidt-Rottluff 118 The Larkin Building 175 Die Brücke’s Collapse 121 Mid-Career Crisis 176 The Spiritual Dimension: Der Blaue Reiter 121 Temples for the Modern City: American Classicism Kandinsky 122 1900–15 176 Münter 124 New Simplicity Versus Art Nouveau: Vienna Before World Werefkin 125 War I 177 Marc 126 Tradition and Innovation: The German Contribution to Macke 127 Modern Architecture 179 Jawlensky 128 Behrens and Industrial Design 180 Klee 128 CONTEXT: The Human Machine: Modern Feininger 129 Workspaces 180 Expressionist Sculpture 130 Expressionism in Architecture 181 Self-Examination: Expressionism in Austria 132 Toward the International Style: The Netherlands and Schiele 132 Belgium 183 Kokoschka 133 Berlage and Van de Velde 183 CONTEXT: The German Empire 134 TECHNIQUE: Modern Materials 184 New Materials, New Visions: France in the Early Twentieth Century 184 VI CONTENTS LK024_P0004EDarmason_HoMA_FM_Combined.indd vi 04/10/2012 18:20 9 11 European Art after Cubism 186 Art in France after World War I 242 Fantasy Through Abstraction: Chagall and the Metaphysical Eloquent Figuration: Les Maudits 242 School 186 Modigliani 242 Chagall 187 Soutine 243 De Chirico and the Metaphysical School 188 Utrillo 245 “Running on Shrapnel”: Futurism in Italy 189 Dedication to Color: Matisse’s Later Career 246 SOURCE: Filippo Tommaso Marinetti, from The Founding Response to Cubism, 1914–16 246 and Manifesto of Futurism 189 Renewal of Coloristic Idiom, 1917–c. 1930 247 Balla 191 An Art of Essentials, c. 1930–54 249 Bragaglia 192 CONTEXT: Matisse in Merion, Pennsylvania 250 Severini 192 Celebrating the Good Life: Dufy’s Later Career 250 Carrà 194 Eclectic Mastery: Picasso’s Career after the War 250 Boccioni 194 Parade and Theatrical Themes 252 Sant’Elia 196 CONTEXT: Diaghilev’s Ballets Russes 253 “Our Vortex is Not Afraid”: Wyndham Lewis and Postwar Classicism 254 Vorticism 197 Cubism Continued 255
Load more

Recommended publications
  • Flexible Film: Interactive Cubist-Style Rendering
    Flexible Film: Interactive Cubist-style Rendering M. Spindler† and N. Röber and A. Malyszczyk and T. Strothotte Department of Simulation and Graphics School of Computing Science Otto-von-Guericke University Magdeburg, Germany Abstract This work describes a new approach of rendering multiple perspective images inspired by cubist art. Our imple- mentation uses a novel technique which not only allows an easy integration in existing frameworks, but also to generate these images at interactive rates. We further describe a cubist-style camera model that is capable of em- bedding additional information, which is derived from the scene. Distant objects can be put in relation to express their interconnections and possible dependencies. This requires an intelligent camera model, which is one of our main motivations. Possible applications are manifold and range from scientific visualization to storytelling and computer games. Our implementation utilizes cubemaps and a NURBS based camera surface to compute the final image. All pro- cessing is accomplished in realtime on the GPU using fragment shaders. We demonstrate the possibilities of this new approach using artificial renditions as well as real photographs. The work presented is work in progress and currently under development. To illustrate the usability of the method we suggest several application domains, including filming, for which this technique offers new ways of expression and camera work. 1. Introduction The familiar representation of objects in our environment is that they usually face us with one side only, except they are viewed from odd angles or mirrored in reflective surfaces. An often expressed desire of artists and scientist throughout the centuries was the combination of different viewpoints of objects and scenes into a single image.
    [Show full text]
  • Explorations of the Painted Real
    EXPLORATIONS OF THE PAINTED REAL: TECHNOLOGICAL MEDIATION IN THE WORK OF FOUR ARTISTS. By Gina Margareta Heyer Thesis presented inpartial fulfilment of the requirements for the degree of Masters of Arts in Visual Arts at the University of Stellenbosch Supervisor: Dr. Stella Viljoen (thesis) Co-supervisor: Mr. Vivian H. van der Merwe (practical) March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. 2 March 2011 Copyright © 2011 Stellenbosch University All rights reserved i Abstract This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges.
    [Show full text]
  • International Journal of Education & the Arts
    International Journal of Education & the Arts Editors Terry Barrett Peter Webster The Ohio State University University of Southern California Eeva Anttila Brad Haseman Theatre Academy Helsinki Queensland University of Technology http://www.ijea.org/ ISSN: 1529-8094 Volume 17 Number 21 July 23, 2016 Land Art In Preschools. An Art Practice Ingunn Solberg Queen Maud University College of Early Childhood Education, Norway Citation: Solberg, I. (2016). Land art in preschools. An art practice. International Journal of Education & the Arts, 17(21). Retrieved from http://www.ijea.org/v17n21/. Abstract The basis for my article is how, and if, a collaborative land art project can provide opportunities for such co-creating as suggested in the national framework plan for preschools, which explicitly states the child as a co-creator of a shared expressive culture. I further wish to propose land art as a meaningful cultural practice, closely connected to children’s physical awareness and sense of place. In doing so, I use the concepts of sensation, making and knowledge, exploring them as mutually beneficial. The way I worked to explore these matters, was to initiate and conduct a land art project in an open air preschool. I was with a group of children for several days. Adults and children worked together to make a shape, in a landscape well known to the children. While initiating, suggesting and participating, I experienced and observed the children’s interaction with the land, with forms of knowledge and with each other. IJEA Vol. 17 No. 21 - http://www.ijea.org/v17n21/ 2 My experiences and observations, that constitute my data from this project, are composed into a story.
    [Show full text]
  • Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2
    MIT 4.602, Modern Art and Mass Culture (HASS-D) Spring 2004 Professor Caroline A. Jones Lecture Notes History, Theory and Criticism Section, Department of Architecture Week 9, Lecture 2 PHOTOGRAPHY, PROPAGANDA, MONTAGE: Soviet Avant-Garde “We are all primitives of the 20th century” – Ivan Kliun, 1916 UNOVIS members’ aims include the “study of the system of Suprematist projection and the designing of blueprints and plans in accordance with it; ruling off the earth’s expanse into squares, giving each energy cell its place in the overall scheme; organization and accommodation on the earth’s surface of all its intrinsic elements, charting those points and lines out of which the forms of Suprematism will ascend and slip into space.” — Ilya Chashnik , 1921 I. Making “Modern Man” A. Kasimir Malevich – Suprematism 1) Suprematism begins ca. 1913, influenced by Cubo-Futurism 2) Suprematism officially launched, 1915 – manifesto and exhibition titled “0.10 The Last Futurist Exhibition” in Petrograd. B. El (Elazar) Lissitzky 1) “Proun” as utopia 2) Types, and the new modern man C. Modern Woman? 1) Sonia Terk Delaunay in Paris a) “Orphism” or “organic Cubism” 1911 b) “Simultaneous” clothing, ceramics, textiles, cars 1913-20s 2) Natalia Goncharova, “Rayonism” 3) Lyubov Popova, Varvara Stepanova stage designs II. Monuments without Beards -- Vladimir Tatlin A. Constructivism (developed in parallel with Suprematism as sculptural variant) B. Productivism (the tweaking of “l’art pour l’art” to be more socialist) C. Monument to the Third International (Tatlin’s Tower), 1921 III. Collapse of the Avant-Garde? A. 1937 Paris Exposition, 1937 Entartete Kunst, 1939 Popular Front B.
    [Show full text]
  • (Art)N VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS
    (art)n WWW.ARTN.COM VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS Museum News: Catalogue Features Museum Masterworks Winter 2005 In celebration of recent acquisitions and a stunning new facility, the Fred Jones Jr. Museum of Art, in conjunction with the University of Oklahoma Press, is offering art lovers a catalogue featuring works from the museum’s rich and diverse permanent collection. Combining more than 270 full-color reproductions with explanatory text, the book highlights 101 of the museum’s most important holdings as well as related works by the artists and their peers. “This book celebrates one of the nation’s finest university art collections,” says Eric M. Lee, museum director and co- author with Rima Canaan, of Selected Works: The Fred Jones Jr. Museum of Art at the University of Oklahoma. “More than half of the featured works in the catalogue have been acquired by the museum in the past decade. With the new building opening in January, it is the perfect time to showcase our permanent collection. We are extremely grateful to the Jones family for making this publication possible.” The catalogue is dedicated to Mary Eddy and Fred Jones, who built the museum’s original facility in 1971 as a E L LE N S AN D O R D I RE C T O R (art)n WWW.ARTN.COM VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS memorial to their son, Fred Jones Jr., who died in a plane crash during his senior year at OU. The family’s tradition of support continues through the Jones’ daughter, Marilyn Jones Upsher, and grandsons Fred Jones Hall, Brooks Hall and Kirkland Hall, who provided funding for the catalogue.
    [Show full text]
  • Chapter 12. the Avant-Garde in the Late 20Th Century 1
    Chapter 12. The Avant-Garde in the Late 20th Century 1 The Avant-Garde in the Late 20th Century: Modernism becomes Postmodernism A college student walks across campus in 1960. She has just left her room in the sorority house and is on her way to the art building. She is dressed for class, in carefully coordinated clothes that were all purchased from the same company: a crisp white shirt embroidered with her initials, a cardigan sweater in Kelly green wool, and a pleated skirt, also Kelly green, that reaches right to her knees. On her feet, she wears brown loafers and white socks. She carries a neatly packed bag, filled with freshly washed clothes: pants and a big work shirt for her painting class this morning; and shorts, a T-shirt and tennis shoes for her gym class later in the day. She’s walking rather rapidly, because she’s dying for a cigarette and knows that proper sorority girls don’t ever smoke unless they have a roof over their heads. She can’t wait to get into her painting class and light up. Following all the rules of the sorority is sometimes a drag, but it’s a lot better than living in the dormitory, where girls have ten o’clock curfews on weekdays and have to be in by midnight on weekends. (Of course, the guys don’t have curfews, but that’s just the way it is.) Anyway, it’s well known that most of the girls in her sorority marry well, and she can’t imagine anything she’d rather do after college.
    [Show full text]
  • Art History Undergraduate 2000-2001
    Art History - pathways & 1000 Level modules School of Art History Head of School Professor P B Humfrey Degree Programmes Single Honours Degree: Art History Joint Honours Degrees: Art History and Ancient History, Biblical Studies, Classical Studies, English, FrenchW, Geography, GermanW, Hebrew, Integrated Information Technology, International Relations, ItalianW, Management, Mathematics, Mediaeval History, Middle East Studies, Modern History, Philosophy, Psychology, RussianW, Social Anthropology, SpanishW. Minor Degree Programme: Mediaeval Studies (See School of History) W available also as ‘with Integrated Year Abroad Degrees’ Programme Prerequisites For all Programmes: A pass at Grade 11 or better in 3 of: AH1001, AH1003, AH2001 and AH2002 Programme Requirements Single Honours Degree: AH3099 and at least a further 180 credits in Art History Honours modules - at least one module in a subject area before 1600 and at least one in a subject area post 1600. Joint Honours Degree: At least 90 credits in Art History Honours modules - at least one module in a subject area before 1600 and at least one in a subject area post 1600. In the case of students who spend part of the Honours Programme abroad on a recognised Exchange Scheme, the Programme Requirements will be amended to take into account courses taken while abroad. Modules AH1001 Art of Renaissance Italy Credits: 20.0 Semester: 1 Description: The module will provide a survey of painting, sculpture and architecture in Italy from c.1280 to 1580. It will trace a chronological development through the work of the major creative personalities, from Giotto at the beginning of the fourteenth century, to Leonardo, Michelangelo, Raphael and Titian in the earlier sixteenth century.
    [Show full text]
  • Stanton Macdonald-Wright: Homage to Color for Immediate Release: July 30, 2013
    237 East Palace Avenue Santa Fe, NM 87501 800 879-8898 505 989-9888 505 989-9889 Fax [email protected] Stanton Macdonald-Wright: Homage to Color For immediate release: July 30, 2013 Peyton Wright Gallery is pleased to announce “Stanton Macdonald-Wright: Homage to Color” The exhibition commences with an artist’s reception on Friday, September 6th, 2013 from 5:00 to 8:00 p.m., and continues through October 2nd, 2013. Peyton Wright Gallery is pleased to announce the second major exhibition of works by Stanton Macdonald-Wright (1890-1973). One of America's leading modernist painters and an early and prolific champion of abstract art, Macdonald- Wright moved to Paris as a teenager and founded the avant-garde painting movement Synchromism in 1912 with Morgan Russell. Often considered the first American abstract art style, the movement was described by Macdonald- Wright as follows: “Synchromism simply means ‘with color’ as symphony means ‘with sound’, and our idea was to produce an art whose genesis lay not in objectivity, but in form produced in color.” Macdonald-Wright and Russell wrote Treatise on Arrival Return of the Astronauts, 1965, oil on Color in 1924 to further panel, 72 x 42 inches; 73 x 43 inches framed. explain Synchromism. The book postulated that color and sound are exact and literal equivalents of each other, wherein color is responsive to and reflective of mood and thought; musical tones have corresponding hues, wherein warm colors translate to outward, convex surfaces and cool colors indicate areas of compositional repose, much like the way a break functions in a piece of music.
    [Show full text]
  • Rayonists and Futurists: a Manifesto, 1913
    MIKHAIL LARIONOV AND NATALYA GONCHAROVA Rayonists and Futurists: A Manifesto, 1913 For biographies see pp. 79 and 54. The text of this piece, "Luchisty i budushchniki. Manifest," appeared in the miscel- lany Oslinyi kkvost i mishen [Donkey's Tail and Target] (Moscow, July iQn), pp. 9-48 [bibl. R319; it is reprinted in bibl. R14, pp. 175-78. It has been translated into French in bibl. 132, pp. 29-32, and in part, into English in bibl. 45, pp. 124-26]. The declarations are similar to those advanced in the catalogue of the '^Target'.' exhibition held in Moscow in March IQIT fbibl. R315], and the concluding para- graphs are virtually the same as those of Larionov's "Rayonist Painting.'1 Although the theory of rayonist painting was known already, the "Target" acted as tReTormaL demonstration of its practical "acKieveffllBnty' Becau'S^r^ffie^anous allusions to the Knave of Diamonds. "A Slap in the Face of Public Taste," and David Burliuk, this manifesto acts as a polemical гейроп^ ^Х^ШШУ's rivals^ The use of the Russian neologism ШШ^сТиШ?, and not the European borrowing futuristy, betrays Larionov's current rejection of the West and his orientation toward Russian and East- ern cultural traditions. In addition to Larionov and Goncharova, the signers of the manifesto were Timofei Bogomazov (a sergeant-major and amateur painter whom Larionov had befriended during his military service—no relative of the artist Alek- sandr Bogomazov) and the artists Morits Fabri, Ivan Larionov (brother of Mikhail), Mikhail Le-Dantiyu, Vyacheslav Levkievsky, Vladimir Obolensky, Sergei Romano- vich, Aleksandr Shevchenko, and Kirill Zdanevich (brother of Ilya).
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • CUBISM and ABSTRACTION Background
    015_Cubism_Abstraction.doc READINGS: CUBISM AND ABSTRACTION Background: Apollinaire, On Painting Apollinaire, Various Poems Background: Magdalena Dabrowski, "Kandinsky: Compositions" Kandinsky, Concerning the Spiritual in Art Background: Serial Music Background: Eugen Weber, CUBISM, Movements, Currents, Trends, p. 254. As part of the great campaign to break through to reality and express essentials, Paul Cezanne had developed a technique of painting in almost geometrical terms and concluded that the painter "must see in nature the cylinder, the sphere, the cone:" At the same time, the influence of African sculpture on a group of young painters and poets living in Montmartre - Picasso, Braque, Max Jacob, Apollinaire, Derain, and Andre Salmon - suggested the possibilities of simplification or schematization as a means of pointing out essential features at the expense of insignificant ones. Both Cezanne and the Africans indicated the possibility of abstracting certain qualities of the subject, using lines and planes for the purpose of emphasis. But if a subject could be analyzed into a series of significant features, it became possible (and this was the great discovery of Cubist painters) to leave the laws of perspective behind and rearrange these features in order to gain a fuller, more thorough, view of the subject. The painter could view the subject from all sides and attempt to present its various aspects all at the same time, just as they existed-simultaneously. We have here an attempt to capture yet another aspect of reality by fusing time and space in their representation as they are fused in life, but since the medium is still flat the Cubists introduced what they called a new dimension-movement.
    [Show full text]
  • Art for People's Sake: Artists and Community in Black Chicago, 1965
    Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago.
    [Show full text]