J S) Originated by Monet, Renoir, Pissarro, Sisley Around 1874, a Method of Painting with Small, Vibrant Dabs of Pure Color

Impressionis!!! ( 1855-1886) First Impressionist exhibition - 1874

Artists : 1. Edouard Manet (1837-1887) 2. Auguste Renoir (1841-1919) 3. Edgar Degas ( 1834-1917) 4. Claude Monet ( 1840-1926) 5. Sisley (1840-1916) f0 (J s) Originated by Monet, Renoir, Pissarro, Sisley around 1874, a method of painting with small, vibrant dabs of pure color. By this technique the Impressionists thus showed the movement and scintillation of light in nature, and the spontaneity of their own feelings.

Impressionism was a step away from the realism of courbet. A lighter tonality and a tendency towards the flat surface. The near view that emphasised form was replaced by the distant view of objects seen out of doors under the fnfluence of light and atmosphere. Inflyenced from Japanese wood cuts. Outlines WE}re replaced by opposing patches of light and dark ana rewer objects were represented in a iarge scale./ It meant selection from nature and a sketch( improvisation rather than imit'3tion. The trend towards time-saving simp ~icity has continued to the pres~ nt day. ••

Neo Impressionism (c. 1885)

Artists :

1. Paul Sicr:tac O &f-3-1935) 2. Georges Seurat ( 1859-1891)

A movement founded by Seurat and Signac about 1885 in an effort to systematize and "scientize" Impressionism. vThese artists employed the primary and intermediate colors in contrasting dots, giving their surfaces a confetti-like appearance; they based their color researches on the optical theories and demonstrations of Chevreul, O.N. Rood, and other scientists.

This was a short lived experiment based on the science of optics.

Small spots of pure colours were placed mosaic like on the canvas on • the theory that complementary colours at a proper distance fuse in the retina of the eye. Its purpose was increased luminosity .

• Post-Impressionism (c.1886-1906)

Artists :

1. Paul Cezanne ( 1839-1906) 2. Vincent Vangogh (1853-1890) 3. Paul Gauguin ( 1848-1903) 4. Toulouse-Lautrec (1864-1901)

The reaction to the emphasis of the Impressionists on the literal truth of their vi sua I sensations and--te- t-flg,w f-€> -l"m-1- e-ss-eer!'Rf}GS -i-t~,~ o~ z a-Rne-,-£gur at-,- Ga-Y-guin,- V-3£ Ge-g:A-we-Fe- i-n- t-h-ei-F-¥a-H9-H-&-&t--y-l-es-all • R.o_st~Im-pr:®-ssioni- st -painters. - Paul Cezanne Exhibited with the impressionists and was considered one of the members of the group. Started a new trend which aimed at form. Forms in nature could be seen as cylinders, spheres and cones.

Vincent Vangogh :His style was affected by the artist's personality. Emotionally, Vangogh never grew up, remained a child tied to his brother, Theo. There is something child-like about his paintings in its simplicity and lack of interior details. What made Vangogh significant was his intense emotionalism. It determined his subjects and his brilliant colour and made his technique forceful and direct.

Paul Gauguin Best known for his subjects painted in Tahiti. Used the Island's Landscape and brown skinned polynesian people as subjects injecting native sentiments. • Toulouse Loutrec·. A great illustrator and creator of the modern poster- Cafe, bars, dance halls, night life of Paris in his paintings and pastel executed with breadth and vigour. The Nabis (c. 1890-1900)

Artists :

1. Paul Serusier ( 1863-1927) 2. Maurice Denis ( 1870-1943) 3. Felix Valloton (1865-1925) 4. Pierre Bonnard (1867-1947) 5. Edouard Vuillard ( 1868-1940)

Serusier, Denis, Valloton, Bonnard, Vuillard were some of the members • of this group inspired by Gauguin's Pont-Aven painting; they look their name from the Hebrew word: "prophet". Active between 1890 and 1900, the Nabis adhered to Gauguin's practice of using "symbolic" color and strongly outlined surface patterns but varied widely both in style and in their choice of subject matter. Bonnard and Vuillard applied the new theories of decoration to subjects of everyday life; esthetically, they were the most significant of ' the group .

• Symbolism ( 1891)

Artist : ~: I 1. Odilon Redon ( 1840-1916) ) I. )

"The word . Symbolism is generally interpreted as freedom" according to Remy de Gourmont.

In 1891, the year Gauguin's followers, the Nabis first exhibited together as "Symbolistes et Impressionistes", The critic Georges-Albert Aurier first published the first considerable appraisal of Gauguin under the title "Le Symbolisme en peinture - Paul Gauguin".

Balzac's statement : "the mission of art is not to copy nature but to express it" convinced Gauguin and his disciples that an object is only • a sign of something else, and its meaning, its symbolic value, lay not in how it was seen but in what it was felt to be. \--~ ~~ ~:;o ~ ~~~t>fl.l...-

The work of art was considered the equivalent of the emotion provoked by an experience, the visual elements of which had been transformed rather than merely represented. Symbolists believed that art is ultimately based on emotional experience rather than upon visual analysis.

Maurice Denis wrote to Edouard Villard in 1898 : "Any emotion can become a subject for a painting" .

•

/ Fauvism (1905)

Artists :

1. Henri Matisse ( 1869-1954) 2. Andre Derain ( 1880-1954) 3. Maurice de Vlaminck ( 1876-1958) 4. Georges Rouault (1871-1958) 5. Raoul Dufy (1877-1953)

Led by Henri Matisse in 1905, the Fauves painters freely distorted form and used vivid, spontaneous color effects in an effort to liberate the painter's instincts. For all their violence, they were also inspired by a traditionally French decorative hedonism. Matisse, Derain, Braque, • Vlaminck, Rouault, Dufy and others exhibited together as Fauves. The movement las'ted only three years, but its influence has been international and of lasting significance .

• Cubism ( 1907)

Emerged in Paris during the decline of Fauvism.

Artists : ·

1. Pablo Picasso ( 1881-1973) 2. Georges Braque (1881-1963) 3. juan Gris (1887-1927) 4. Fernand Leger (1881-1955) 5. Marcel Duchamp (1887-1968) 6. Henri Laurens ( 1885-1954) 7. jean Metzinger (1883-1956) 8. Robert Delaunay ( 1885-1941)

A movement in painting originated in 1907 by Picasso and Braque which transposed natural forms into abstract arrangements of overlapping or transparent planes. It was based on Cezanne's late work and came as a more formal, architectonic reaction to the spontaneous effects of the preceding Fauvist painters. It has probably been the most important and generative single movement in twentieth century art.

Analytical Cubism An intellectual or methodical approach to painting ( 1908-11) done by Picasso and Braque. (Breaking down forms into their component parts and rearranging them according to geometrical pattern.

Synthetic Cubism The titles of pictures no longer provide clues to a content (1912-14) and they were trying to put into paint what they had seen • within themselves . Dadaism {Zurich) 1916

The word Dada was accidentally discovered by Madam Le Roy. 1916

Artists :

1. Tristan Tzar a {1886-1963) 2. Marcel Janko {Rumanian) {1895- 3. Hans Arp {French) {1887-1966) 4. Hugo Ball ) {1886-1927) 5. Hanch Richter ) {1888- ) Germany 6. Richard Huelsenbeck ) {1892- • 7 . Man Ray {Abstract Photography) {1890-1976) An experimental movement in painting and literature originated in Zurich by Tristan Tzara, Hugo Ball, and others in 1916. It grew out of war and post war disillusionment; its fantasy, "shock" tactics and use of normally unartistic material anticipated Surrealism. Dada was a modern form of protest against the sacred cows of art tradition. Out of Dada's exasperation, disparagements, and perversity flowed many entertaining and in some cases permanently significant works of art.

In March, 1917 the 'Galerie Dada' was opened. In july the first number of a periodical entitled Dada appeared, edited by Tzara.

Aims : Art must be neither realistic nor idealistic. It must be true and by this above all any imitation of nature, however concealed, is a lie. Dada was consciously international. They regarded Futurism as too realistic and too programmatic. Actually the artists of the Cabaret Voltaire had no idea what they wanted.

..,( l~ Its fantasy "shock" tactics and use of normally unartistic material • antici.pated Surrealism. _"::' Surrealism (Paris) 1924

(Andre Breton guided the modern movement from the Dada phase to Surrealist phase)

Artists :

1. Andre Breton 2. Max Ernst ( 1891-1976) 3. Hans Arp (1887-1966) 4. joan Miro (1894- ) 5. Salvador Dali ( 1904- 6. Andre Messon ( 1896- 7. Yves Tanguy (1900-1955) 8. Giorgis de Chirics(l888-1978) 9. Marc Chagall

A movement in literature and art founded officially by the poet-painter Andre Breton in Paris in 1924. The Surrealist painters emphasized "the omnipotence of the dream" and the chance associations of the subconscious mind. They were indebted to Dada and to the "metaphysical" paintings of de Chirico. Breton, Masson, Mira adopted manners in which nervous sensibility and automatism were most important; Dali, Tanguy, and others painted fantastic and hallucinatory works in a harder, more illustrative convention. ...

Selected Bibliography

MOVEMENTS

1. Nineteenth-and Twentieth-Century Painting and Sculpture:

ARNASON, H.H.: Modern Sculpture from the Joseph H. Hirshhorn Collection, New York, SRGM, 1962.

BARR, A.H., JR.,:(ed.) Masters of Modern Art, New York, 1954, Survey of the collections in The Museum of Modern Art, New York.

BELL, C.: Since Cezanne, New York, 1922

CANADAY, ].: Mainstreams of Modern Art, London, 1959.

DENIS, M.: Theories, 1890-1910, (4th ed.),Paris, 1920. I

DO RIVAL, B.: Twentieth Century Painters, ( 2 Vols.) New York, 1958.

DREIER, K. and others: Collection of the Societe Anonyme, Yale University Art Gallery, New Haven, Conn., 1950.

GIEDION-WELCKER, C.: Contemporary Sculpture An Evolution in Volume and . Space, London, 1961.

HAFTMANN, W.: Painting in the Twentieth Century, ( 2 vols.),London, 1965

HAMIL TON, G. H.: Painting and Sculpture in Europe, 1880 to i940, Harmondsworth, 1967.

HOFMANN, W.: Die Plastik des 20, ] ahrhunderts, Frankfurt-am-Main, 1958 .

. The Earthly Paradise : Art in the Nineteenth Century, London, 1961.

McCurdy, C.: Modern Art, a Pictorial Anthology, New York, 1958 .

NOVOTNY, F.: Painting and Sculpture in Europe : 1780-1880, Harmondsworth, 1960.

OZENFANT, A.:Foundations of Modern Art,(New ed.) New York, 1952.

RA YNAL, M. and others: History of Modern Paintings, ( 3 vols.),Geneva, 1949-50.

___: Modern Painting, (New rev. ed.) New York, 1960

READ, H.·. The Art of Sculpture, New York-London, 1956.

__: A concise History of Modern Painting, London, 1959.

-,------: A concise History of Modern Sculpture, London, 1964 . . ·

RITCHIE, A. C.: Sculpture of the Twentieth Century, New York , MOMA, 1952.

SELZ, J.: Modern Sculpture, Origins and Evolution, New York, 1963. 1-, 2

SEUPHOR, M.: The Sculpture of This Century, New York, 1960.

TRIER, E.: Form and Space (Sculpture of the Twentieth Century), London, 1967.

VALERY, P.:Degas, Manet, Morisot,(Vol. 12 of Collected Works.) New York, 1964.

VENTURI, L.: Modern Painters, (2 vols.),London, 1947-50.

___: Four Steps Toward Modern Art, New York, 1956.

WRIGHT, W.H.: Modern Painting; Its Tendency and Meaning, New York-London, 1915.

2. Impressionism, Post-Impressionism, and Nee-Impressionism:

DURET, T.: Histoire des peintres impressionnistes, Paris, 1906.

HERBERT, R.L..: Nee-Impressionism, New York, SRGM, 1968.

POOL, P.: Impressionism, London, 1967.

REWALD, J.: The History of Impressionism, New York, 1961.

__: Post-Impressionism from Van Gogh to Gauguin, (2nd ed.), New York, 1962.

SIGNAC, P.: D;Eugene Deiacroix au neo-impressionnisme, Paris, i899.

VENTURI, L.: Les Archives de I'impressionnisme (Lettres de Renoir, Monet, Pissarro, Sisley et autres. Memoires de Paul Durand-Rue!. Documents), l2 vols. ),Paris-New York, 1939.

Impressionists and Symbolists, London, 1950 .

• 3. Art Nouveau and The Nab is: AMAYA, M.: Art Nouveau, London, 1966.

CASSOU, ]., LANGUI, E., and PEVSNER, N.: Sources of Modern Art, London, 1962.

CHAS_SE, C.: Les Nab is et leurs tern ps. Lausanne-Paris, 1960.

HUMBERT, A.: Les Nabis et leur epoque, 1888-1900, Geneva, 1954.

MADSEN, S.T.: Sources of Art Nouveau, New York, 1956.

PEVSNer, N.: Art Nouveau in Britain, London, The Arts Council, 1965.

__: Sources of Modern Architecture and Design, London, 1968.

RHEMIMS, M.: Art Nouveal!t. London, 1967.

SCHMUTZLER, R.: Art Nouveau, London, 1964.

SELZ, P. and CONSTANTINE, M.; ( eds.) Art Nouveau. Art and Design at the Turn , of the Century. New York, MOMA, 1959. 3

Bonnard, Vuillard, et les nabis, 1888-1903, Paris, Musee National d' Art Moderne, 1955. -

The Nabis and Their Circle, Minneapolis Institute of Arts, 1962.

4. Fauvism:

APOLLONIO, U.: Fauves and Cubists, London, 1960.

CRESPELLE, J.P.: The Fauves, Greenwich, Conn., 1962.

DUTHUIT,G.: The Fauvist Painters, New York, d.m.a., 1950.

LEYMARIE, J.: Fauvism, Biographical and Critical Study, Paris, 1959.

MULLER, J.E.: Fauvism, London, 1967.

REWALD, J.: Les Fauves, New York, MOMA, 1952

Le Fauvisme francais et les debuts de 1'expressionnisme allemand, Paris, Musee National d1 Art Moderne, 1966.

5. Cubism:

APOLLINAIRE, G.: Les Peintres cubistes; meditations esthetiques, Paris, 1913.

The Cubist Painters. (Eng. ed.), New York, 1949.

BARR, A.H., Jr.: Cubism and Abstract Art, New York, MOMA, 1936.

EDDY, A.J.: Cubists and Post-Impressionists, London, 1915 . • FRY, E.: Cubism. London, 1966. GLEIZES, A. and METZINGER, J.: Du Cubisme, Paris, 1912. I : Cubism, (Eng. ed.) London, 1913. --- I GOLDING, J.: Cubism : A History and an Analysis, 1907-1914, London, 1959.

GRAY, C. :cubist Aesthetic Theories, Baltimore, 1953.

HABASQUE, G.: Cubism, Biographical and Critical Study, Paris-New York, 1959.

JANIS, H. and BLESH, R.: Collage, Philadelphia-New York, 1962.

KAHNWEILER, D.LH.: The Rise of Cubism, New York,d.m.a., 1949.

ROSENBLUM, R.: Cubism and Twentieth-Century Art, London, 1968. . 1

- 4 -

6 . Dada and Surrealism :

BARR, A. H., (Jr.) :(ed.) Fantastic Art, Dada, ?urrealism, (2nd rev. edJ,New York, MOMA, 1937. -

BRETON, A. '.Le Surrealisme et la peinture, Yew York, 1945.

Updated by his Le Surrealisme en 19471 Paris, Galerie Maeght, 1947 ..

Les Manifestes du surrealisme, (.Rev. ed.), Paris, 1955.

FOWLIE, W.: Age of Surrealism, Bloomington, Ind., 1960.

GASCOYNE, D.: A Short History of Surrealism, London, 1935

JEAN, M.: The History of Surrealist Painting, London, 1960.

LEVY, j.: Surrealism, New York, 1936.

MOTHERWELL, R.: The Dada Painters and Poets An Anthology, New York, d.m.a., 1951.

NADEAU, M.: The History of Surrealism, New York, 1965.

RAYMOND, M.: From Baudelaire to Surrealism, New York, d.m.a. 1950.

READ, H.: Surrealism, London, 1936.

RICHTER, H.: Dada, Art, and Anti-Art, London, 1965.

RUBIN, w.s.: Dada, Surrealism, and Their Heritage, New York, MOMA, 1968.

WALDBERG, P.: Surrealism, London, 1966

Dada 1966-67. Zurich, Kunsthaus, and Paris, Musee National d' Art Moderne, 1966-67.

12. Art in Mid-Century :

ALLOWAY, L.: Guggenheim International Awards, 1964. New York, SRGM, 1963.

___: Systemic Painting. New York, SRGM, 1966.

ALVARO, J. and GINDERTAEL, R.V.: Temoignages pour I'art abstrait, Paris, Art d' Aujourd'hui, 1952. Supplemented by Temoignages pour la sculpture abstraite by P. Gueguea, 1956.

AMAYA, M.: Pop Art ... and After, New York, 1965. I • 5

ARNASON, H.H.: Abstract Expressionists and Imagists, New York, SRGM, 1961.

BA TTCOCK, G.; (ed.) The New Art, New York, 1966

___:(ed.) Minimal Art: A Critical Anthology, New York, 1968.

BAUR, j.I.H.: The New Decade : 35 American Painters and Sculptors, New York WMAA, 1956,

BRION, M. and others: Art Since 1945, London, 1958.

FRIEDMAN, M. and VAN DER MARCK, J.: Eight Sculptors: The Ambiguous Image, Minneapolis, Walker Art Center, 1966. ~~a:. FRY, E.F.: Sculpture from Twenty Nations, New York, SRGM, 1967 . • GILSON, E.: Painting and Reality, London, 1957. GREENBERG, C.: Post-Painterly Abstraction, Los Angeles County Museum of Art, 1964.

HESS, T.: Abstract Painting, Background and American Phase, New York, 1951.

HUNTER, S. and others: New Art Around the World (Painting and Sculpture) New Y ark, 1966.

KAPROW, A.: Assemblage, Environments, & Happe_nings, New York, 1966.

KULTERMANN, U.: The New Sculpture, London, 1968.

LIPPARD, L.R.: Pop Art, London, 1966.

MELLOW, j.R.:(ed.) New York: The Art World, New York, 1964 (Art Year book ~ 7)

MULAS, U. and SOLOMON, A.R.: New York: The New Art Scene, New York, 1967

PELLEGRINI, A.: New Tendencies in Art, New York, 1966.

PONENTE, N.: Modern Painting : Contemporary Trends, New York-Lausanne, 1960.

RITCHIE, A.C.: The New Decade : 22 European Painters and Sculptors, New York, MOMA, 1955.

SEITZ, W.c.: The Art of Assemblage, New York, MOMA, 1961.

__: (ed.) Contemporary Sculpture, New York, 1965. (Arts Year book 8).

___: The Responsive Eye, New York, MOMA, 1965.

SELZ, P.: New Images of Man, New York, MOMA, 1959.

SWEENEY, ].].:Younger American Painters : A Selection, New York SRGM, 1954

___: Younger European Painters : A Selection, New York, SRGM, 1954.

TUCHMAN, M.; (ed.) New York School, The First Generation; Paintings of the 1940s and 1950s, Los Angeles County Museum of Art, 1965. With statements by the artists and critics.