Assessment Task Notification

Total Page:16

File Type:pdf, Size:1020Kb

Assessment Task Notification MOUNT ANNAN HIGH SCHOOL ASSESSMENT TASK NOTIFICATION Year 9 Stage 5 Subject: Visual Arts Focus Area: Still Life Weighting: Due Date: Week 3 Term 2 2021 30% Task No.: 2 Student Name: Type of Task: Practical Outcomes addressed A student: 5.1 develops range and autonomy in selecting and applying visual arts conventions and procedures to make artworks 5.3 makes artworks informed by an understanding of how the frames affect meaning 5.4 investigates the world as a source of ideas, concepts and subject matter in the visual arts Assessment Policy- This is a brief outline, you must check your assessment booklet for further details. Assessment task must be submitted on the due date. • Failure to complete an assessment task will result in a zero mark. • Late submission of assessment items will be awarded zero unless there are very extenuating circumstances (Doctor’s Certificate, etc.) • Students found guilty of malpractice will be awarded a zero mark. If a piece of work is incomplete at the time of submission, it should be submitted as is, and you will be given a mark on what has been completed. • See their teacher or head teacher on the first day they return back to school Please see page 2 for specific task information Year 9 Assessment Still Life Prac 2021ASSESSMENT TASK NOTIFICATION 1 MOUNT ANNAN HIGH SCHOOL ASSESSMENT TASK NOTIFICATION Specific task information as needed: Part One: All practical work from class In the development of skills throughout the semester students will be creating multiple artworks in class. All class tasks will need to be submitted along with your Visual Arts Diary (VAD). Students will undergo a series of exercises using the elements of design resulting in a body of work that reflects this learning. All works created are to be submitted. Your classroom teacher will provide you with a checklist of artworks that are due as each Visual Arts class will differ. Visual Arts Diary: Submit your Book Using the Visual Arts Diary, students will show an understanding of still life in the Visual Arts. Through experimentation and reflection, students will develop Visual Arts techniques and skills. Part Two: Major Work Students are to select a period of modern art and draw a still life artwork to create a modern inspired artwork that is influence by their chosen period of art. These modern movements include Neo-Impressionism, Symbolism, Fauvism, Cubism, Futurism, Expressionism, Suprematism, Constructivism, Metaphysical painting, De Stijl, Dada, Surrealism, Social Realism, Abstract Expressionism, Pop art, Op art, Minimalism, and Neo-Expressionism. What you need to do: 1. Create a draft drawing using still life objects approved in class. 2. Select a modern artist/ artwork that you are influenced by and incorporate elements of their work into your still life drawing. 3. Begin your final copy. 4. Students can use mixed media materials. Students are to document the process including drafts in their Visual Arts Diaries. Year 9 Assessment Still Life Prac 2021ASSESSMENT TASK NOTIFICATION 2 MOUNT ANNAN HIGH SCHOOL ASSESSMENT TASK NOTIFICATION Final Mark/ GRADE MARKING GRID Grade A student in this range is able to: Teacher Notes • Use a sophisticated range of techniques to explore art making and make outstanding quality artworks. • Thoroughly document their processes and choices made throughout A the production of their works in the Visual Arts Diary • Demonstrates a deep understanding of the frames as a source of ideas 25-30 in their body of work • Comply with all Task Instructions. • Use a deep range of techniques to explore art making and make B outstanding quality artworks. • Thoroughly document their processes and choices made throughout the production of their works in the Visual Arts Diary 19-24 • Demonstrates a deep understanding of the frames as a source of ideas in their body of work • Comply with all Task Instructions. • Use a sound range of techniques to explore different art making and make quality artworks. C • Document some of their processes and choices made throughout the production of their works in their Visual Arts Diary. • Demonstrates a sound understanding of the frames as a source of ideas 13-18 in their Body of Work. • Comply with some Task Instructions. • Use a developing range of techniques to explore different art making and make artworks. D • Document developing processes and choices made throughout the production of their works in their Visual Arts Diary. • Demonstrates a developing understanding of the frames as a source of 7-12 ideas in their Body of Work. • Comply with basic Task Instructions. • Show 1-2 minimal techniques to explore different art making and make artworks. E • Document minimal techniques of their works in their Visual Arts Diary. • Demonstrates a minimal knowledge of the frames as a source of ideas 1-6 in their Body of Work. • Incomplete Task Instructions. Year 9 Assessment Still Life Prac 2021ASSESSMENT TASK NOTIFICATION 3 MOUNT ANNAN HIGH SCHOOL ASSESSMENT TASK NOTIFICATION NON ATTEMPT Assessment Task Registration Subject Class Teacher Task description/title: Date Date Name of student Student signature Teacher signature issued submitted 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. Year 9 Assessment Still Life Prac 2021ASSESSMENT TASK NOTIFICATION 4 MOUNT ANNAN HIGH SCHOOL ASSESSMENT TASK NOTIFICATION 28. 29. 30. Year 9 Assessment Still Life Prac 2021ASSESSMENT TASK NOTIFICATION 5 .
Recommended publications
  • Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
    Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1.
    [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]
  • Italian Painting in Between the Wars at MAC USP
    MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters.
    [Show full text]
  • Sretenovic Dejan Red Horizon
    Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc.
    [Show full text]
  • Download PDF Datastream
    Representations of Hybridity: Science, Techne and the Human in the Works of Alberto Savinio By Nicole Torian Gercke B.A., Dartmouth College, 1998 M.A., Middlebury College, 2008 Dissertation Submitted in partial fulfillment of the requirements for Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Nicole Torian Gercke ii This dissertation by Nicole Gercke is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date ___________ ______________________________________ Massimo Riva, Advisor Recommended to the Graduate Council Date ____________ ______________________________________ Suzanne Stewart-Steinberg, Reader Date ____________ ______________________________________ Keala Jewell, Reader Approved by the Graduate Council Date ____________ ______________________________________ Peter Weber, Dean of the Graduate School iii CURRICULUM VITAE Nicole Gercke was born in Charlottesville, Virginia, on August 17, 1976. She earned her Bachelor of Arts in Classics, with a minor in Studio Art from Dartmouth College in 1998. She taught English in Italy for four years before returning to pursue a Masters of Arts in Italian Studies from Middlebury College, which was awarded in 2008. iv ACKNOWLEDGEMENTS I would like to thank wholeheartedly all of the faculty and my colleagues in the Italian Studies department and those friends and family, near and far, who through all these years have supported me, believed in me, challenged me to think critically, inspired me with their creativity and dedication, made me laugh and kept my eyes open to the world around me. My deepest love and gratitude to you all.
    [Show full text]
  • Neue Sachlichkeit, Metaphysical Painting, and Leftist Visions of Labor in 1920S Weimar
    27 Superstructure: Neue Sachlichkeit, Metaphysical Painting, and Leftist Visions of Labor in 1920s Weimar Ara H. Merjian Two figures stand barefoot on opposite sides of a narrow street, the plunging vectors of which converge upon a distant, central vanishing point [fig. 1]. Clad in red and green cloaks respectively, they seem, at first blush, trans- posed from some Biblical scene. The long hair and beard of the impassive figure in a red robe at left conjures up a time-traveling Christ, while the figure in green raises a hand to his pained face like some latter-day Adam har- ried from Eden. This Manichean face-off occurs not in a distant Biblical antiquity, however, but the contemporary moment of the painting’s making. Giuseppe Scalarini cre- ated the image in 1920 at the height of Italy’s Red Bienni- um: a violent conflagration between left and right which reached the dimensions of civil war in scale and intensity. A pair of institutional entities – and their respective flags – stand here in an embodiment of that conflagration. The local Socialist Party headquarters of some provincial town fig. 1 G. Scalarini, Luce e ombra, 1920 squares off against the offices of the Christian-democratic oriented Partito Popolare – a party even- tually riven by pro- and anti-Fascist elements following the March on Rome. 1919 had seen the Partito Popolare debut to great success, gaining twenty percent of deputies in Italy’s new electoral system – bested only by the Socialists.1 The latter would find themselves increasingly targeted by Mussolini’s Blackshirts, with the collective occupation of factories matched by widespread Black- shirt violence against Socialist offices across the country.
    [Show full text]
  • Uncannily Real Italian Painting of the 1920S 28 September 2018 – 13 January 2019 Opening: 27 September, 7 P.M
    Press materials Uncannily Real Italian Painting of the 1920s 28 September 2018 – 13 January 2019 Opening: 27 September, 7 p.m. Content 1. Press release 2. Biographies – a selection 3. Wall texts 4. General information 5. Catalogue 6. Press images 7. Fact sheet Museum Folkwang Press Release Uncannily Real – a major special exhibition on Italian painting of the 1920s on display at Museum Folkwang from 28 September. Essen, 27.9.2018 – The exhibition Uncannily Real: Italian Painting of the 1920s presents more than 80 paintings from Realismo Magico. This artistic movement emerged in Italy in the wake of the First World War, parallel to Neue Sachlichkeit in Germany. Outstanding works by key protagonists such as Felice Casorati, Antonio Donghi and Ubaldo Oppi are featured alongside influential paintings by Giorgio de Chirico and Carlo Carrà. This represents the first comprehensive presentation of these works in Germany, allowing visitors to rediscover this strand of Modernism. After the experiences of the First World War, in Europe and beyond, many artists returned to a realistic form of representation, definitively abandoning Expressionism. Picking up on the metaphysical painting of Giorgio de Chirico and Carlo Carrà and the rappel à l’ordre (call for a return to order) issued by Parisian Neo-Classicism, the artists cause time to stand still in their paintings. They imbue their realistic depictions with dream-like, uncanny, at times disturbing elements. The paintings depict their subject matter clearly and precisely, while retaining a cryptic quality to their atmospheres and themes. The result is the production of evocative works of outstanding painterly quality, often in dazzling colours.
    [Show full text]
  • Metaphysical Painting" by Smarty
    www.smartymagazine.com "Metaphysical painting" by smArty >>PARIS "The abolition of meaning in art was not invented by us painters. Let's be fair, this discovery came to the Polish Nietzsche, and if the Frenchman Rimbaud was the first to apply it in poetry, it was yours truly who applied it for the first time in painting. » (1919). This is how Giorgio de Chirico defined his metaphysical art, whose singularity and novelty struck Apollinaire immediately, as early as 1913. An Italian painter from an old family in Constantinople, perfectly cosmopolitan, Chirico was one of the great figures of the Paul Guillaume gallery, which represented him until the 1930s. And the well-known episode of André Breton discovering in the gallery window the painting Le Revenant (The Child's Brain), which crystallized his idea of a metaphysical painting, or the homage that Picasso painted in 1915 through his painting, The Man Sitting with the Bowler Hat, remind us of the importance of this artist for modern art. SEE THE PRIVATE VISIT Today, although his works do not appear in the collections of the Musée de l'Orangerie, it seemed important to return to the history of this meeting between the artist and Paris, between the painter and Apollinaire, and Paul Guillaume, during his first stay in Paris, between 1911 and 1915, when he conceived and painted the very heart of his metaphysical work. Born in Greece and trained in the melting pot of classical culture and late German Romanticism, Chirico developed the foundations of a new artistic conception alongside his younger brother Alberto Savinio.
    [Show full text]
  • Vietinghoff Vietinghoff – the Mystic and His
    Vietinghoff – the mystic and his contemporaries Translated and reviewed in January 2012 Egon von Vietinghoff’s birth and artistic awakening belongs to an era of several revolutions, particu- larly socio-political ones (partly due to World War II) such as the collapse of centuries old monarchies in the short period from 1910 to 1924 in Greece, Portugal and the multiethnic empires in China, Mon - golia, Austria (including Hung ary, Czech, Slovakia and the Balkan) and Turkey, Syria, Lebanon (Otto - man empire). Last but not least , the revolutions in Germany and Russia were both decisive in the his - tory of the Vietinghoff family. In Egon’s biography, music and literature were alrea dy “occupied” by his father and mother, both of them distinctive personalities. Thus, their sensual son found in the fine arts an inviting field for his youthful start to his career. This area was popular among other sensitive and creative people as well because the fine arts were as exposed to fundamental change as the political and social structures. Young Egon was confronted with multiple “isms” with which the present layman is no longer familiar (in alphabetic order): Alogism, Concretism , Constructivism, Cubo-Futurism, Fauvism, Futurism, Mini- malism, Neo-Plasticism, Orphism, Primitivism, Projectionism, Rayonism, Simultanism, Suprematism, Symbolism, Tachism, Tubularism, and Vibrationism. In modern general education, there still remains aft er Impressionism, only Expressionism, Cubism, Dadaism, and Surrealism. Vietinghoff soon considered these styles, trends, proposals, fragments and ideological fractions as dead ends, fashion or phantasm. Comparing his works with those of his contemporaries, it is hard to imagine a common denominator without describing the atmo sphere at that time.
    [Show full text]
  • Alberto Savinio: a Bridge Between Metaphysical Painting and Mexican Modern Art
    ITALIAN MODERN ART | ISSUE 2: ISSN 2640-8511 A Bridge Between Metaphysical Painting and Mexican Modern Art ALBERTO SAVINIO: A BRIDGE BETWEEN METAPHYSICAL PAINTING AND MEXICAN MODERN ART italianmodernart.org/journal/articles/alberto-savinio-a-bridge-between-metaphysical-painting-and- mexican-modern-art 0 Carlos Segoviano Alberto Savinio, Issue 2, July 2019 -------------https://www.italianmodernart.org/journal/issues/alberto-savinio/ Abstract In 1993, alongside the first exhibition in Mexico of works by Giorgio de Chirico, a parallel exhibition entitled “Metaphysics Iconography in Mexico” explored the connections between Metaphysical Painting and Mexican modern art. Omitted from this survey was the significant relationship between Alberto Savinio and the Mexican artist Marius de Zaya: both of these artists were not only considered part of Apollinaire’s creative circle but also collaborated together on projects for international magazines such as 291. This presentation investigates the reception of Alberto Savinio’s painting and art criticism in Mexico, as well as, more specifically, his connection with the artists de Zayas, Siqueiros and Antonio Ruiz “El Corcito.” It may seem strange to write an essay that relates Andrea de Chirico, better known as Alberto Savinio, to Mexican art, given that the Greek-born Italian artist never visited “the land of the Aztecs.” There is likewise an absence of information concerning any friendships he may have maintained with promiment Mexican painters who were his contemporaries. I have identified only five translated
    [Show full text]
  • Mimesis International
    MIMESIS INTERNATIONAL LITERATURE n. 2 FICTIONAL ARTWORKS Literary Ékphrasis and the Invention of Images Edited by Valeria Cammarata and Valentina Mignano MIMESIS INTERNATIONAL This book is published with the support of the University of Palermo, “Department of Cultures and Society”, PRIN fund 2009, “Letteratura e cultura visuale”, Prof. M. Cometa. © 2016 – MIMESIS INTERNATIONAL www.mimesisinternational.com e-mail: [email protected] Isbn: 9788869770586 Book series: Literature n. 2 © MIM Edizioni Srl P.I. C.F. 02419370305 TABLE OF CONTENTS PREFACE 9 Michele Cometa Daniela Barcella BEINGS OF LANGUAGE, BEINGS OF DESIRE: FOR A PSYCHOANALYTICAL READING OF RAYMOND ROUSSEL’S LOCUS SOLUS 11 Michele Bertolini THE WORD THAT YOU CAN SEE: VISUAL AND SCENIC STRATEGIES IN LA RELIGIEUSE BY DIDEROT 25 Valeria Cammarata THE IMPOSSIBLE PORTRAIT. GEORGES PEREC AND HIS CONDOTTIERE 43 Clizia Centorrino THE DREAM-IMAGE IN GRADIVA’S GAIT FROM POMPEII TO MARRAKESH 59 Roberta Coglitore MOVING THE LIMITS OF REPRESENTATION: INVENTION, SEQUEL AND CONTINUATION IN BUZZATI’S MIRACLES 75 Duccio Colombo CAN PAINTINGS TALK? AN ÉKPHRASTIC POLEMIC IN POST-STALIN RUSSIA 87 Giuseppe Di Liberti HOMO PICTOR: ÉKPHRASIS AS A FRONTIER OF THE IMAGE IN THOMAS BERNHARD’S FROST 113 Mariaelisa Dimino BETWEEN ONTOPHANY AND POIESIS: HUGO VON HOFMANNSTHAL’S DANCING STATUES 127 Floriana Giallombardo THE OPTICAL WONDERS OF AN EIGHTEENTH-CENTURY MICROSCOPIST: GEOMETRIC CRYSTALS AND GOTHIC RÊVERIES 137 Tommaso Guariento DESCRIPTION AND IDOLATRY OF THE IMAGES: ROBERTO CALASSO’S
    [Show full text]
  • PDF Download Putting Modernism Together : Literature, Music, And
    PUTTING MODERNISM TOGETHER : LITERATURE, MUSIC, AND PAINTING, 1872-1927 PDF, EPUB, EBOOK Daniel Albright | 344 pages | 10 Jun 2015 | JOHNS HOPKINS UNIVERSITY PRESS | 9781421416441 | English | Baltimore, MD, United States Putting Modernism Together : Literature, Music, and Painting, 1872-1927 PDF Book Suprematism was a key art movement in Russia, being closely linked with the Revolution. Cambridge: Polity Press, Expressionist Movement onwards. Durham: Duke UP, PDF Edna Aizenberg. Surrealism is a phenomenon of semantic dislocation and fissure. In this novel argument, Lara Harb suggests that literary quality depended on the ability of linguistic expression After giving birth to some of the greatest modern paintings of the 19th century, Impressionism was succeeded by Seurat's Neo-Impressionism and Cezanne's Post-Impressionism. Minimalism Minimalism is an extreme form of abstract art developed in the USA in the s and typified by artworks composed …. PDF Hassan Melehy. Postmodernism Postmodernism can be seen as a reaction against the ideas and values of modernism, as well as a description of …. Pop Art The term Pop-Art describes a style of art - emerging simultaneously in both America and Britain - that derived its inspiration, creative techniques and philosophy from popular and commercial culture. Showing Music has been assumed not to have gone through much of a surrealist stage. Michael J. Harvard professor Philip Fisher described The Poems as "[one] part Yeats, [one] part line-by-line commentary with wonderful mini-essays by Dan Albright on every topic in Yeats. The group foundered after the exhibition, although Wyndham Lewis essayed a brief revival of its ideas with Group X, in Art Deco also drew inspiration from the modern architectural designs of The Bauhaus.
    [Show full text]