Modernism Timeline

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MODERNISM TIMELINE 1863 Edouard Manet, “Luncheon on the Grass” 1874 Impressionism 1884 Edward Burne Jones, “Cophetua and the Beggar Maid” (cf Pound, Hugh Selwyn Mauberley) 1903 Monet, “Water Lilies (The Clouds)” 1904 June 16: Bloomsday Portrait of James Joyce as a Young Man 1905 – Fauvism Matisse, Woman With Hat Picasso, Portrait of Gertrude Stein 1906 Cezanne, Les Grandes Baigneuses 1907 Matisse, Music (Study) Picasso, Les Demoiselles D’Avignon 1908 – Cubism from The Salon by Nick Bertozzi (2007) Georges Braques, Houses at L’estaque 1909 – Futurism 1910 Post-Impressionism Exhibition, London 1911 Eliot visits Paris Matisse, The Red Studio Braque, The Portuguese 1912 Pound, “Seafarer” Ezra Pound Italian Futurism Show IMAGISM 1913 – New York Armory Show Duchamp, Nude Descending a Staircase No. 2 Boccioni, Dynamism of a Soccer Player de Chirico, Melancholy and Mystery of a Street Stravinsky, Rite of Spring 1914 WORLD WAR I BEGINS VORTICISM BLAST http://dl.lib.brown.edu:8080/dl_reader/reader?mets=http://pike.services.brown. edu/metsrecords/1143209523824844.xml Wyndham Lewis Eliot meets Pound Stein, Tender Buttons Home of Gertrude Stein and her brother, 27 Rue de Fleurus 1916 –Dada Arp, Collage with Squares Arranged According to the Laws of Chance 1917 U.S. ENTERS WAR Duchamp, Fountain Eliot, Prufrock and Other Observations 1918 WORLD WAR ONE ENDS 1919 Leger, The City 1920 Pound, Hugh Selwyn Mauberley Pound moves to Paris 1921 Picasso, Three Musicians 1922 – Surrealism T. S. Eliot Eliot, The Waste Land Joyce, Ulysses 1923 Stevens, Harmonium Williams, Spring and All Duchamp, The Bride Stripped Bare by Her Bachelor Even 1926 Hemingway, “A Clean, Well-Lighted Place” 1928 Yeats, The Tower W. B. Yeats Magritte, The Treachery of Images 1929 Bunuel and Dali, Un Chien Andalou 1930 Picasso, Seated Bather 1931 Dali, The Persistence of Memory 1936 Oppenheim, Object .

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Recording of Marcel Duchamp’S Armory Show
Recording of Marcel Duchamp’s Armory Show Lecture, 1963 [The following is the transcript of the talk Marcel Duchamp (Fig. 1A, 1B)gave on February 17th, 1963, on the occasion of the opening ceremonies of the 50th anniversary retrospective of the 1913 Armory Show (Munson-Williams-Procter Institute, Utica, NY, February 17th – March 31st; Armory of the 69th Regiment, NY, April 6th – 28th) Mr. Richard N. Miller was in attendance that day taping the Utica lecture. Its total length is 48:08. The following transcription by Taylor M. Stapleton of this previously unknown recording is published inTout-Fait for the first time.] click to enlarge Figure 1A Marcel Duchamp in Utica at the opening of “The Armory Show-50th Anniversary Exhibition, 2/17/1963″ Figure 1B Marcel Duchamp at the entrance of the th50 anniversary exhibition of the Armory Show, NY, April 1963, Photo: Michel Sanouillet Announcer: I present to you Marcel Duchamp. (Applause) Marcel Duchamp: (aside) It’s OK now, is it? Is it done? Can you hear me? Can you hear me now? Yes, I think so. I’ll have to put my glasses on. As you all know (feedback noise). My God. (laughter.)As you all know, the Armory Show was opened on February 17th, 1913, fifty years ago, to the day (Fig. 2A, 2B). As a result of this event, it is rewarding to realize that, in these last fifty years, the United States has collected, in its private collections and its museums, probably the greatest examples of modern art in the world today. It would be interesting, like in all revivals, to compare the reactions of the two different audiences, fifty years apart.
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The Founders of the Woodstock Artists Association a Portfolio
The Founders of the Woodstock Artists Association A Portfolio Woodstock Artists Association Gallery, c. 1920s. Courtesy W.A.A. Archives. Photo: Stowall Studio. Carl Eric Lindin (1869-1942), In the Ojai, 1916. Oil on Board, 73/4 x 93/4. From the Collection of the Woodstock Library Association, gift of Judy Lund and Theodore Wassmer. Photo: Benson Caswell. Henry Lee McFee (1886- 1953), Glass Jar with Summer Squash, 1919. Oil on Canvas, 24 x 20. Woodstock Artists Association Permanent Collection, gift of Susan Braun. Photo: John Kleinhans. Andrew Dasburg (1827-1979), Adobe Village, c. 1926. Oil on Canvas, 19 ~ x 23 ~ . Private Collection. Photo: Benson Caswell. John F. Carlson (1875-1945), Autumn in the Hills, 1927. Oil on Canvas, 30 x 60. 'Geenwich Art Gallery, Greenwich, Connecticut. Photo: John Kleinhans. Frank Swift Chase (1886-1958), Catskills at Woodstock, c. 1928. Oil on Canvas, 22 ~ x 28. Morgan Anderson Consulting, N.Y.C. Photo: Benson Caswell. The Founders of the Woodstock Artists Association Tom Wolf The Woodstock Artists Association has been showing the work of artists from the Woodstock area for eighty years. At its inception, many people helped in the work involved: creating a corporation, erecting a building, and develop ing an exhibition program. But traditionally five painters are given credit for the actual founding of the organization: John Carlson, Frank Swift Chase, Andrew Dasburg, Carl Eric Lindin, and Henry Lee McFee. The practice of singling out these five from all who participated reflects their extensive activity on behalf of the project, and it descends from the writer Richard Le Gallienne.
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Responses to the Armory Show Reconsidered
"One Term is as Fatuous as Another": Responses to the Armory Show Reconsidered J. M. MANCINI University College Cork If the picture, the Nude Descending the Staircase, had not had that title, it would never have attractedany attentionat all. It was the title. At that moment in history, art and politics came together.... Everythingone wanted stood together at the end of a single perspective and everything one hated stood together in the opposite direction.2 Perhaps because of its familiarity to students of American culture, the 1913 InternationalExhibition of Modem Art is an event whose meaning has remained peculiarly impervious to serious reevaluation. The exhibition, better known as the Armory Show, was the first large- scale exhibition of modernistart in the United States. It was arranged under the auspices of the American Association of Painters and Sculptors, a loosely organized group of artists who had decided by 1911 that there were too few exhibition opportunitiesin the United States, and mastermindedby ArthurB. Davies, Walt Kuhn, and Walter Pach, who negotiated the display of approximately1300 works, more than a third of them European,in order to show Americans what was new and exciting in the world of art. The show was a success in terms of sales and attendance;nearly $45,000 worth of art-including works by the likes of Picasso, Matisse, and Gauguin-changed hands, and approximately275,000 people came to see it during its two months in J. M. Mancini is a lecturer in history at University College Cork and Post-Doctoral Fellow for 1999-2000 at the National Museum of American Art, Smithsonian Institution.
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Walter Pater — Imagism — Objectivist Verse
22 WALTER PATER — IMAGISM — OBJECTIVIST VERSE Richard Parker (The University of Sussex) Abstract In this paper I make a two-fold argument; first that the Objectivist inheritance from modernism is, in a specific sense, Paterian, and secondly, that this Paterian influence (manifested principally in the form of the Paterian aesthetic moment) is not, as might be assumed, in conflict with the political tendencies exhibited by my central examples—Ezra Pound and Louis Zukofsky—but that the arguably apolitical aesthetic moment is in fact key to their political understandings. I will begin analysing how the Paterian moment lingers in Pound's poetry, especially his Imagist and Vorticist work, and is still at the core of his poetics when he begins The Cantos . I will then go on to argue that this same Paterian aesthetic moment continues in the early work of second-generation Modernists the Objectivists, and will look at the works of Louis as a representative example. I will then argue that this group of poets' Communism is not a break with their engagement with Paterian aestheticism, but that the Paterian moment is in fact alloyed with their understanding of Marxist-Leninism. The engagement with the far left that is generally supposed to mark these writers' defining divide with their modernist forebears will therefore be shown to be more closely linked to the older generation's practices than it might be thought and I will, finally, question the apparently aesthetic basis of Pound's alignment with the far-right. A consensus has developed regarding Walter Pater's influence upon the early stages of literary modernism.
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The Fragmentation of Imagism It Was 1912, and a New Mode of Poetry Was Taking Root
The Fragmentation of Imagism It was 1912, and a new mode of poetry was taking root. Sparked by the ideas of T.E. Hulme and from distaste of the drippy sentimentalism of the Romantic era (Britannica “Imagist”), Ezra Pound, Richard Aldington, and H.D. literally wrote the rules of Imagism. Their dry, concise look at an image or “complex,” as Pound described it, helped lay the foundation for modernist poetry. However, the Imagists’ granite rules could not ensure strict adherence to their form, not even from founding members of Imagism themselves. As the years went by, the Imagists themselves grew weary of their own form by both their own admittance and through their later works. Ezra Pound was the first leader of the Imagist movement, and his autocratic grip on the concept of Imagism may be partly to blame for the fragmentation of the movement. Pound makes it quite clear that, “At least for myself, I want [twentieth-century poetry] so, austere, direction, free from emotional slither (“A Retrospect” 23).” He carefully selected and edited poems for published volumes of Imagist poetry, but the appearance of the popular and wealthy poet heiress Amy Lowell swept in a new democratic format for the group’s publications. Authors were to select what they considered their best work, without the stamp of approval from Pound deeming it true to the Imagist credo (Bradshaw 159). Amy Lowell and Ezra Pound clashed quite famously over the direction Imagism would take, as seen in Lowell’s poem to Pound, harshly dubbed “Astigmatism.” The poem pulls no punches; the analogy is clear in Lowell’s image of the Poet smashing lovely flowers of all kinds, saying “They are useless.
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Société Anonyme
Société Anonyme Research Question: Modern art of the early 20th century: To what extent did the Société Anonyme contribute to the change of appreciation and perception of art? Visual Arts Extended Essay Word Count: 3,015 1 Table of Contents Title Page……………………………………………………………………….….page 1 Introduction…………………………………………………………………….. page 3 Representation………………………………………………………………..…page 5 Beginning of Modern Art …………………………………………………...page 6 Artistic Styles before the Société……………………………………....…page 7 Impact of Société Anonyme…………………………………………...……page 10 Conclusion…………………………………………………………………………page 11 References………………………………………………………………………....page 12 Images…………………………………………………………………………….…page 14 2 Introduction The Société Anonyme was an organization created by pioneering artists Marcel Duchamp, Man Ray, and Katherine Dreier in 1920. The goal of the society was to normalize modern art in America that was already popular in Europe and introduce American avant-garde artists, by sponsoring lectures, exhibitions, concerts, and publications. The organization collected over a thousand pieces of art, and held 80 exhibitions between 1920 and 1940. The founding members were disappointed by the lack of appreciation for modern art in America by critics and citizens and “believed it was important that the history of art be chronicled not by the historians or academics but by the artists.” (Gross) They felt responsible to give credit to all pieces and artists. This society has had a lasting effect since it first began, donating over a thousand pieces to the Yale art gallery. Marcel Duchamp, a French-American painter born in 1887, was well known for his works of cubism and Dadaism. Cubism is an early 20th century art movement where objects are portrayed in blocky, abstract ways that shows multiple viewpoints and lacks movement.
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Late Modernist Poetics and George Schneeman's Collaborations with the New York School Poets
Timothy Keane Studies in Visual Arts and Communication: an international journal Vol 1, No 2 (2014) on-line ISSN 2393 - 1221 No Real Assurances: Late Modernist Poetics and George Schneeman’s Collaborations with the New York School Poets Timothy Keane City University of New York Abstract: Painter George Schneeman’s collaborations with the New York School poets represent an under-examined, vast body of visual-textual hybrids that resolve challenges to mid-and-late century American art through an indirect alliance with late modernist literary practices. Schneeman worked with New York poets intermittently from 1966 into the early 2000s. This article examines these collagist works from a formalist perspective, uncovering how they incorporate gestural techniques of abstract art and the poetic use of juxtaposition, vortices, analogies, and pictorial and lexical imagism to generate non-representational, enigmatic assemblages. I argue that these late modernist works represent an authentically experimental form, violating boundaries between art and writing, disrupting the venerated concept of single authorship, and resisting the demands of the marketplace by affirming for their creators a unity between art-making and daily life—ambitions that have underpinned every twentieth century avant-garde movement. On first seeing George Schneeman’s painting in the 1960s, poet Alice Notley asked herself, “Is this [art] new? Or old fashioned?”1 Notley was probably reacting to Schneeman’s unassuming, intimate representations of Tuscan landscape and what she called their “privacy of relationship.” The potential newness Notley detected in Schneeman’s “old-fashioned” art might be explained by how his small-scale and quiet paintings share none of the self-conscious flamboyance in much American painting of the 1960s and 1970s.
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The Cracked Mirror and the Brazen Bull
New Mexico Quarterly Volume 20 | Issue 2 Article 17 1950 The rC acked Mirror and the Brazen Bull Deane Mowrer Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation Mowrer, Deane. "The rC acked Mirror and the Brazen Bull." New Mexico Quarterly 20, 2 (1950). https://digitalrepository.unm.edu/ nmq/vol20/iss2/17 This Contents is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. 'w, Mowrer: The Cracked Mirror and the Brazen Bull BOOKS and COMMENT - , '" Deane Mow1i~~' .. _._- THE CRACKED MIRROR AND THE BRAiEN BULL 1 ,HE.D F,,F, 1C ~ LT1£S inherellt, ,1,·,n, th,',e 0,mni"b\lH,e,v,i,e,W a"~,e" so . 'obVlom that 1t may seem a waste of good typography to men.. T,tion them.. Nevertheless. since l$utmisemore than ordinary significance carelessly suspended between the date ,of this -review "and the tas~ assigned, I should like to pte{a,ce my pre(al'ious, jUrlgmenJS ' with a more careful probing of problems andaims. lvlodern poetry, like modern man. has (;ome midwa,y in thiscen· tury. Banal as this statement may ~und andbored as thereader may be with half-eentury annals and appraisals, neither· the reviewer nor the reader, I think. can afford to Gverlook the. relevance of certain outstanding poetic events which have decided andguided ·thecourse of twentieth century poetry.
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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.
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Ezra Pound's Imagist Theory and T .S . Eliot's Objective Correlative
Ezra Pound’s Imagist theory and T .S . Eliot’s objective correlative JESSICA MASTERS Abstract Ezra Pound and T.S. Eliot were friends and collaborators. The effect of this on their work shows similar ideas and methodological beliefs regarding theory and formal technique usage, though analyses of both theories in tandem are few and far between. This essay explores the parallels between Pound’s Imagist theory and ideogrammic methods and Eliot’s objective correlative as outlined in his 1921 essay, ‘Hamlet and His Problems’, and their similar intellectual debt to Walter Pater and his ‘cult of the moment’. Eliot’s epic poem, ‘The Waste Land’ (1922) does not at first appear to have any relationship with Pound’s Imagist theory, though Pound edited it extensively. Further investigation, however, finds the same kind of ideogrammic methods in ‘The Waste Land’ as used extensively in Pound’s Imagist poetry, showing that Eliot has intellectual Imagist heritage, which in turn encouraged his development of the objective correlative. The ultimate conclusion from this essay is that Pound and Eliot’s friendship and close proximity encouraged a similarity in their theories that has not been fully explored in the current literature. Introduction Eliot’s Waste Land is I think the justification of the ‘movement,’ of our modern experiment, since 1900 —Ezra Pound, 1971 Ezra Pound (1885–1972) and Thomas Stearns Eliot (1888–1965) were not only poetic contemporaries but also friends and collaborators. Pound was the instigator of modernism’s first literary movement, Imagism, which centred on the idea of the one-image poem. A benefit of Pound’s theoretically divisive Imagist movement was that it prepared literary society to welcome the work of later modernist poets such as Eliot, who regularly used Imagist techniques such as concise composition, parataxis and musical rhythms to make his poetry, specifically ‘The Waste Land’ (1922), decidedly ‘modern’.
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JAN MATULKA the Unknown Modernist
JAN MATULKA the unknown modernist Rachael Holstege University of michigan-flint graduate stUdent This online catalogue is published in conjunction with exhibition Jan Matulka: The Unknown Modernist presented at the Flint Institute of Arts, Flint, Michigan. Jan Matulka loans courtesy of McCormick Gallery, Chicago. Copyright © 2020 Rachael Holstege. All right reserved. No part of this publication may be reproduced, transmitted, or utilized in any form or in any means, electronic or mechanical, including photocopying, recording, or information storage or retrieval systems, without the prior written consent of the author. Rights and reproductions: © 2020 Estate of Pablo Picasso / Artists Rights Society (ARS), New York (page 10) © Georgia O’Keeffe Museum / Artists Rights Society (ARS), New York (page 12) © Estate of Stuart Davis / Licensed by VAGA at Artists Rights Society (ARS), New York (page 17) Cover: Double-exposed portrait of Jan Matulka, c. 1920. Jan Matulka papers, 1923-1960. Archives of American Art, Smithsonian Institution. contents PREFACE ix INTRODUCTION 5 THE YOUNG ARTIST 6 LE TYPE TRANSATLANTIQUE 8 THE NEW SPIRIT 11 LASTING LEGACY 13 ABSTRACTED CONCLUSION 16 CATALOGUE 20 BIBLIOGRAPHY 22 III PREFACE I first read the name Jan Matulka while nature of art history, Matulka is continually looking through the Flint Institute of Arts forgotten. This exhibition looks to reinforce database of the nearly 9,000 artworks in his role in the pivotal decades of the their collection. Eager to find a compelling development of modern art and reinforce artist or subject to base my research on, his importance in the oeuvre of art history. I was continually drawn to two works in the collection by Czech-American artist This catalogue and accompanying exhibition Jan Matulka.
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DOCTORAL THESIS Stack Minimalist Poetics Davies, James
DOCTORAL THESIS stack Minimalist Poetics Davies, James Award date: 2018 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 DAVIES 1 stack: Minimalist Poetics By James Davies BA (hons), MA. A thesis submitted in partial fulfilment of the requirements for the degree of PhD Department of English and Creative Writing Roehampton University 2018 DAVIES 2 Abstract stack: Minimalist Poetics consists of a portfolio of practice-led research — a volume-length minimalist poem entitled stack — and a critical essay. The poem applies and adapts several minimalist writing strategies, which are evaluated in the critical essay to create a text that is rich in imagery yet indeterminate in meaning. In addition, stack is innovative in its structural approach — through original use of enjambment, footnoting and repetition, lines may be treated as discrete entities and, also, as combinations. A key research question that the practice- led component and the critical essay interrogate is the applicability and development of the poetics of the “New Sentence”, and other formally innovative approaches in the field of minimalist writing The first part of the critical essay contextualises the creative portfolio in relation to the field of minimalist poetics as a whole.
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