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Parcours Pédagogique Collège Le Cubisme
PARCOURS PÉDAGOGIQUE COLLÈGE 2018LE CUBISME, REPENSER LE MONDE LE CUBISME, REPENSER LE MONDE COLLÈGE Vous trouverez dans ce dossier une suggestion de parcours au sein de l’exposition « Cubisme, repenser le monde » adapté aux collégiens, en Un autre rapport au préparation ou à la suite d’une visite, ou encore pour une utilisation à distance. réel : Ce parcours est à adapter à vos élèves et ne présente pas une liste d’œuvres le traitement des exhaustive. volumes dans l’espace Ce dossier vous propose une partie documentaire présentant l’exposition, suivie d’une sélection d’œuvres associée à des questionnements et à des compléments d’informations. L’objectif est d’engager une réflexion et des échanges avec les élèves devant les œuvres, autour de l’axe suivant « Un autre rapport au réel : le traitement des volumes dans l’espace ». Ce parcours est enrichi de pistes pédadogiques, à exploiter en classe pour poursuivre votre visite. Enfin, les podcasts conçus pour cette exposition vous permettent de préparer et d’approfondir in situ ou en classe. Suivez la révolution cubiste de 1907 à 1917 en écoutant les chroniques et poèmes de Guillaume Apollinaire. Son engagement auprès des artistes cubistes n’a jamais faibli jusqu’à sa mort en 1918 et a nourri sa propre poésie. Podcasts disponibles sur l’application gratuite du Centre Pompidou. Pour la télécharger cliquez ici, ou flashez le QR code situé à gauche. 1. PRÉSENTATION DE L’EXPOSITION L’exposition offre un panorama du cubisme à Paris, sa ville de naissance, entre 1907 et 1917. Au commencement deux jeunes artistes, Georges Braque et Pablo Picasso, nourris d’influences diverses – Gauguin, Cézanne, les arts primitifs… –, font table rase des canons de la représentation traditionnelle. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
Jean METZINGER (Nantes 1883 - Paris 1956)
Jean METZINGER (Nantes 1883 - Paris 1956) The Yellow Feather (La Plume Jaune) Pencil on paper. Signed and dated Metzinger 12 in pencil at the lower left. 315 x 231 mm. (12 3/8 x 9 1/8 in.) The present sheet is closely related to Jean Metzinger’s large painting The Yellow Feather, a seminal Cubist canvas of 1912, which is today in an American private collection. The painting was one of twelve works by Metzinger included in the Cubist exhibition at the Salon de La Section d’Or in 1912. One of the few paintings of this period to be dated by the artist, The Yellow Feather is regarded by scholars as a touchstone of Metzinger’s early Cubist period. Drawn with a precise yet sensitive handling of fine graphite on paper, the drawing repeats the multifaceted, fragmented planes of the face in the painting, along with the single staring eye, drawn as a simple curlicue. The Yellow Feather was one of several Cubist paintings depicting women in fashionable clothes, and with ostrich feathers in their hats, which were painted by Metzinger in 1912 and 1913. Provenance: alerie Hopkins-Thomas, Paris Private collection, Saint-Germain-en-Laye, until 2011. Literature: Jean-Paul Monery, Les chemins de cubisme, exhibition catalogue, Saint-Tropez, 1999, illustrated pp.134-135; Anisabelle Berès and Michel Arveiller, Au temps des Cubistes, 1910-1920, exhibition catalogue, Paris, 2006, pp.428-429, no.180. Artist description: Trained in the Académie des Beaux-Arts in Nantes, Jean Metzinger sent three paintings to the Salon des Indépendants in 1903 and, having sold them, soon thereafter settled in Paris. -
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. -
Copyright by Laura Kathleen Valeri 2011
Copyright by Laura Kathleen Valeri 2011 The Thesis Committee for Laura Kathleen Valeri Certifies that this is the approved version of the following thesis: Rediscovering Maurice Maeterlinck and His Significance for Modern Art APPROVED BY SUPERVISING COMMITTEE: Supervisor: Linda D. Henderson Richard A. Shiff Rediscovering Maurice Maeterlinck and His Significance for Modern Art by Laura Kathleen Valeri, BA Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2011 Abstract Rediscovering Maurice Maeterlinck and His Significance for Modern Art Laura Kathleen Valeri, MA The University of Texas at Austin, 2011 Supervisor: Linda D. Henderson This thesis examines the impact of Maurice Maeterlinck’s ideas on modern artists. Maeterlinck's poetry, prose, and early plays explore inherently Symbolist issues, but a closer look at his works reveals a departure from the common conception of Symbolism. Most Symbolists adhered to correspondence theory, the idea that the external world within the reach of the senses consisted merely of symbols that reflected a higher, objective reality hidden from humans. Maeterlinck rarely mentioned symbols, instead claiming that quiet contemplation allowed him to gain intuitions of a subjective, truer reality. Maeterlinck’s use of ambiguity and suggestion to evoke personal intuitions appealed not only to nineteenth-century Symbolist artists like Édouard Vuillard, but also to artists in pre-World War I Paris, where a strong Symbolist current continued. Maeterlinck’s ideas also offered a parallel to the theories of Henri Bergson, embraced by the Puteaux Cubists Jean Metzinger and Albert Gleizes. -
LS-GR-98-Four-Dimensions-Physics-Arts-Eirini-Siotou-Pdf
Europeana Learning Scenario Title Four Dimensions in Physics and Arts Author(s) Eirini Siotou Summary This is an interdisciplinary learning scenario combing the courses of Physics and Art History. The main objective of the learning scenario is to combine a variety of elements from the two above-mentioned courses in order to examine the dimensions of width, height, depth and time as presented and taught in Physics lessons, from a different perspective the Arts. Through Europeana's art collections students would have the chance to study how the four dimensions of physics have been attributed over the centuries. Finally, they will also investigate the new concepts learned by using an Augmented Reality (AR) app which will give them the chance to “control” time and space variables and make changes to the (virtual) painting of the painter. The teaching approach that will be applied is Inquiry Based Learning as it is the one applied to Physics lessons of Secondary School. This scenario was part of the Erasmus + European Program: Augmented and Virtual Reality in Education. Table of summary Subject Physics Art History Topic Time and Space Art History Age of students 13 years old Preparation time 3 h Teaching time 45 min Online teaching Europeana: https://www.europeana.eu/portal/el material AR App: Van Gogh's Stargate Star (Starry Night) http://www.experenti.eu/advertising-en/visual-art-and-augmented-reality-curioos- new-app-and-a-bit-of-van-gogh/ Offline teaching iPads material Europeana resources https://www.europeana.eu/portal/en/exhibitions/from-dada-to-surrealism used https://www.europeana.eu/portal/el/record/2063619/CZR_280_006.html?q=cubism# dcId=1560999742520&p=1 https://www.europeana.eu/portal/en/exhibitions/towards-abstraction#ve-anchor- intro_4158-js https://www.europeana.eu/portal/el/record/2063624/UK_280_027.html?q=cubism#d cId=1560999742520&p=1 Licenses Please indicate below which license you attribute your work with by picking one of the options below. -
Edgar Degas French, 1834–1917 Woman Arranging Her Hair Ca
Edgar Degas French, 1834–1917 Woman Arranging her Hair ca. 1892, cast 1924 Bronze McNay Art Museum, Mary and Sylvan Lang Collection, 1975.61 In this bronze sculpture, Edgar Degas presents a nude woman, her body leaned forward and face obscured as she styles her hair. The composition of the figure is similar to those found in his paintings of women bathing. The artist displays a greater interest in the curves of the body and actions of the model than in capturing her personality or identity. More so than his posed representations of dancers, the nude served throughout Degas’ life as a subject for exploring new ideas and styles. French Moderns McNay labels_separate format.indd 1 2/27/2017 11:18:51 AM Fernand Léger French, 1881–1955 The Orange Vase 1946 Oil on canvas McNay Art Museum, Gift of Mary and Sylvan Lang, 1972.43 Using bold colors and strong black outlines, Fernand Léger includes in this still life an orange vase and an abstracted bowl of fruit. A leaf floats between the two, but all other elements, including the background, are abstracted beyond recognition. Léger created the painting later in his life when his interests shifted toward more figurative and simplified forms. He abandoned Cubism as well as Tubism, his iconic style that explored cylindrical forms and mechanization, though strong shapes and a similar color palette remained. French Moderns McNay labels_separate format.indd 2 2/27/2017 11:18:51 AM Pablo Picasso Spanish, 1881–1973 Reclining Woman 1932 Oil on canvas McNay Art Museum, Jeanne and Irving Mathews Collection, 2011.181 The languid and curvaceous form of a nude woman painted in soft purples and greens dominates this canvas. -
Cubism Futurism Art Deco
20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905. -
Complex Networks Reveal Emergent Interdisciplinary Knowledge in Wikipedia ✉ Gustavo A
ARTICLE https://doi.org/10.1057/s41599-021-00801-1 OPEN Complex networks reveal emergent interdisciplinary knowledge in Wikipedia ✉ Gustavo A. Schwartz 1,2 In the last 2 decades, a great amount of work has been done on data mining and knowledge discovery using complex networks. These works have provided insightful information about the structure and evolution of scientific activity, as well as important biomedical discoveries. 1234567890():,; However, interdisciplinary knowledge discovery, including disciplines other than science, is more complicated to implement because most of the available knowledge is not indexed. Here, a new method is presented for mining Wikipedia to unveil implicit interdisciplinary knowledge to map and understand how different disciplines (art, science, literature) are related to and interact with each other. Furthermore, the formalism of complex networks allows us to characterise both individual and collective behaviour of the different elements (people, ideas, works) within each discipline and among them. The results obtained agree with well-established interdisciplinary knowledge and show the ability of this method to boost quantitative studies. Note that relevant elements in different disciplines that rarely directly refer to each other may nonetheless have many implicit connections that impart them and their relationship with new meaning. Owing to the large number of available works and to the absence of cross-references among different disciplines, tracking these connections can be challenging. This approach aims to bridge this gap between the large amount of reported knowledge and the limited human capacity to find subtle connections and make sense of them. 1 Centro de Física de Materiales (CSIC-UPV/EHU)—Materials Physics Center (MPC), San Sebastian, Gipuzkoa, Spain. -
Synthetic Cubism at War: New Necessities, New Challenges
RIHA Journal 0250 | 02 September 2020 Synthetic Cubism at War: New Necessities, New Challenges. Concerning the Consequences of the Great War in the Elaboration of a Synthetic-Cubist Syntax Belén Atencia Conde-Pumpido Abstract When we talk about the Synthetic Cubism period, what exactly are we referring to? What aesthetic possibilities and considerations define it insofar as its origin and later evolution are concerned? To what extent did the disorder that the Great War unleashed, with all its political, sociological and moral demands, influence the reformulation of a purely synthetic syntax? This article attempts to answer these and other questions relating to the sociological-aesthetic interferences that would influence the Parisian Cubist style of the war years, and in particular the works of Juan Gris, María Blanchard, Jacques Lipchitz and Jean Metzinger during the spring and summer that they shared with one another in 1918, until it consolidated into what we now know as Crystal Cubism. Contents Cubism and war. The beginning of the end or infinite renewal? At a crossroads: tradition, figuration, synthesis and abstraction The Beaulieu group, the purification of shape and the crystallization of Cubism in 1918 and 1919 Epilogue Cubism and war. The beginning of the end or infinite renewal? [1] The exhibition "Cubism and War: the Crystal in the Flame", held in the Picasso Museum in Barcelona in 2016,1 highlighted the renewed production undertaken in Paris during the war years by a small circle of artists who succeeded in taking Synthetic Cubism to its ultimate consequences. 1 Cubism and War: the Crystal in the Flame, ed. -
Linking Local Resources to World History
Linking Local Resources to World History Made possible by a Georgia Humanities Council grant to the Georgia Regents University Humanities Program in partnership with the Morris Museum of Art Lesson 5: Modern Art: Cubism in Europe & America Images Included_________________________________________________________ 1. Title: Les Demoiselles d’Avignon Artist: Pablo Picasso (1881– 1973) Date: 1907 Medium: Oil on canvas Location: Museum of Modern Art, New York 2. Title: untitled (African mask) Artist: unknown, Woyo peoples, Democratic Republic of the Congo Date: c. early 20th century Medium: Wood and pigment Size: 24.5 X 13.5 X 6 inches Location: Los Angeles County Museum of Art 3. Title: untitled (African mask) Artist: Unknown, Fang Tribe, Gabon Date: c. early 20th century Medium: Wood and pigment Size: 24 inches tall Location: Private collection 4. Title: Abstraction Artist: Paul Ninas (1903–1964 Date: 1885 Medium: Oil on canvas Size: 47.5 x 61 inches Location: Morris Museum of Art 5. Title: Houses at l’Estaque Artist: Georges Braque (1882–1963) Date: 1908 Medium: Oil on Canvas Size: 28.75 x 23.75 inches Location: Museum of Fine Arts Berne Title: Two Characters Artist: Pablo Picasso (1881– 1973) Date: 1934 Medium: Oil on canvas Location: Museum of Modern Art in Rovereto Historical Background____________________________________________________ Experts debate start and end dates for “modern art,” but they all agree modernism deserves attention as a distinct era in which something identifiably new and important was under way. Most art historians peg modernism to Europe in the mid- to late- nineteenth century, with particularly important developments in France, so we’ll look at that time in Paris and then see how modernist influences affect artworks here in the American South. -
1874 – 2019 • Impressionism • Post-Impressionism • Symbolism
1874 – 2019 “Question: Why can’t art be beautiful instead of fascinating? Answer: Because the concept of beautiful is arguably more subjective for each viewer.” https://owlcation.com/humanities/20th-Century-Art-Movements-with-Timeline • Impressionism • Dada • Post-Impressionism • Surrealism • Symbolism • Abstract Expressionism • Fauvism • Pop Art • Expressionism • Superrealism • Cubism • Post-Modernism • Futurism • Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter • Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work • Symbolism, a loosely organized literary and artistic movement that originated with a group of French poets in the late 19th century, spread to painting and the theatre, and influenced the European and American literatures of the 20th century to varying degrees. • Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth- century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. • Expressionism is a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. ... Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. • Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.