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PART IV EXAM REVIEW – Chapters 13 - 17 CHAPTER 13 – the Influence of Modern Art CUBISM 5 ORIGINS:FRANCE POLITICS:ANTI-WAR, MODERNISTIC

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PART IV EXAM REVIEW – Chapters 13 - 17 CHAPTER 13 – the Influence of Modern Art CUBISM 5 ORIGINS:FRANCE POLITICS:ANTI-WAR, MODERNISTIC GD 135 HISTORY OF GRAPHIC DESIGN PART IV EXAM REVIEW – Chapters 13 - 17 CHAPTER 13 – The Influence of Modern Art CUBISM 5 ORIGINS:FRANCE POLITICS:ANTI-WAR, MODERNISTIC FERNAND LÉGER The City, 1919 GEORGES BRAQUE PABLO PICASSO Houses at l’Estaque, 1908 Girl With a Mandolin, 1910 Colors, shapes, and geometric letters His earliest paintings were rejected at a are assembled into bright and colorful Analytic Cubism showed Picasso’s planes. Paris exhibit of traditional art and derided fragmentation of form: only the mandolin by art critics for “reducing everything, is easily identified as the outlines of Léger depicts the chaos of the city with places and figures and houses, to the figure have been broken down into colors and flat shapes that appear to geometric schemas, to cubes.” multiple planes of geometric elements. both recede and move forward in space, seeming to overlap like pieces of a Braque’s work gradually gained in Picasso’s early experiments challenged popularity, though. The term “cubism” collage, giving the viewer the impression traditional pictorial art and led the way to of standing on a busy street corner. stuck, however, and was proudly used to the development of abstract art. describe this modern style of art. FUTURISM 9 ORIGINS:ITALY POLITICS:PRO-WAR, MODERNISTIC GIACOMO BALLA FILIPPO MARINETTI UMBERTO BOCCIONI Dynamism of a Dog on a Leash, 1912 Mountains+Valleys+Streets x Joffre, 1915 The City Rises, 1924 Balla’s painting technique shows motion, Marinetti called his visual poetry Parole Boccioni’s painting portrays the such as blurring, multiplication, and in Libertá (Words in Freedom). A collage construction of a new city—amid the superimposition of body parts captured in of non-traditional typography, it was a bustle of the workers and horses in a single moment. graphic language liberated from the rules the streets. The scene is charged with Futurists experimented in conveying the of grammar, punctuation, or sentences. dynamic movement, light and electricity. sensations of movement through space to Marinetti depicts his travels from the Futurists eagerly promoted the represent modern technologies and the war (by car with French General Joffre) modern city and rapid developments in faster pace of everyday life. to his friend Fernand Léger in France. technology. CHAPTER 13 – TheDADADADA Influence Origins:Origins: of Modern Switzerland;Switzerland; Art Politics:Politics: AntiAnti--war,war, antianti--art,art, shock,shock, protestprotest andand nonsensenonsense DADA ! ORIGINS:SWITZERLAND POLITICS:ANTI-WAR, ANTI-ART, SHOCK, PROTEST, AND NONSENSE MARCEL DUCHAMP HANNAH HOCH JOHN HEARTFIELD The Fountain, 1917 Cut With the Kitchen Knife Through the Adolf, the Superman: Swallows Gold and Beer Belly of the Weimar Republic, 1919 Talks Tin, 1932 Objects are taken out of their usual context and newly exhibited as art. Art is made with manipulated images Carefully constructed photomontages and random chance juxtapositions of are used to create powerful political MarcelMarcel DuchampDuchampDuchamp used found objects he called HannahHannahphotos HochHoch and collage. statements.JohnJohnHeartfieldHeartfield “readymades” (in this case an overturned TheTheFountain,Fountain,urinal) in 19171917 his attack on traditional art, CutCut withwithThe the theDadaists KitchenKitchen claim KnifeKnifeto have through throughinvented thethe StruckAdolf,Adolf, by The Thethe visual Superman:Superman: impact of stateSwallowsSwallows thus promoting Dadaist ideals. photomontage by gluing bits and pieces propaganda, Heartfield turned the tables BeerBeer--BellyofBelly type of ofand thethe photos WeimarWeimar from newspapers RepublicRepublic and,, onGoldGold the German andand TalksTalks nationalists Tin,Tin, 19351935 by creating ObjectsObjects takentaken outoutOrigins: ofof contextcontext France; areare Politics:19191919 magazines Apolitical, into new truth arrangements. seekers political activism with his art. SURREALISMseenseen withwith aa newnew appreciationappreciation AntiAnti--NaziNazi propagandapropaganda postersposters SURREALISM f ORIGINS:FRANCE POLITICS:APOLITICAL, TRUTH SEEKERS ManipulationManipulation andand randomrandom chancechance FoundFound objectsobjects exhibitedexhibited asas art;art; juxtapositionsjuxtapositionsMan ofof photographsphotographs Ray andand stuffstuff PoliticalPolitical activismactivism inin artart ordinaryordinary thingsthings areare seenseen inin aa newnew Sleeping Woman, 1929 wayway DadaistsDadaists claimclaim toto inventinvent photomontagephotomontage Photographic experiments with light and tone, multiple exposures and distortion First to apply solarization and other photo techniques MAN RAY SALVADOR DALÍ Sleeping Woman, 1929 RENÉ MAGRITTE The Persistence of Memory, 1931 Photography as fine art: experiments The Human Condition, 1930 Dreams reveal subconscious thought. with light and tone, multiple exposures Art provokes thought with images that Startling contrasts in imagery combine and distortion. challenge what we know of the “real” realism with illusion. In this painting, Man Ray was the first to apply world. distorted clocks symbolize the erratic solarization and other photo techniquesJoan MiroMagritte’s work frequently displays passage of time experienced when to printmaking used to dramatically ordinary objects in an unusual context, dreaming. Dalí was influenced by evoke the union of dream and reality.The Calculation,giving new 1925meanings to familiar things. modern trends in Freudian psychology. Salvador Dali The Persistence of Memory, 1931 Painted intuitively without conscious direction, used cryptic organic shapes Dreams reveal subconscious thought Spontaneous expressions of the Startling contrasts in imagery subconscious mind combine realism with illusion, such as what one experiences in a dream than in real life. CHAPTER 13 – The Influence of Modern Art EXPRESSIONISM d ORIGINS:GERMANY POLITICS:ANTI-WAR, SOCIAL ACTIVISM WASSILY KANDINSKY ERNST KIRCHNER Composition VII, 1923 Self Portrait as a Soldier, 1915 KÄTHE SCHMIDT KOLLWITZ Explorations of form and color express Expressionism distorts the world radically The Mothers, 1919 spirituality, music, and nature. Colors, for emotional effect using bold bright symbols, and emotions originate from colors to evoke moods or ideas. Expressionism revealed deep concern of the artist’s own imagination. the human condition. Depicting a range Kirchner suffered a nervous breakdown of compelling emotions, Expressionists Kandinsky first painted boldly colored in the military and was dismissed. The were anti-war and social activists. landscapes, then purely abstract works fictive amputation stump on his right arm of art. A musician himself, many of his represents the trauma he experienced. Kollwitz’ art focused on the sorrows of works were inspired by the themes and Kirchner committed suicide in 1938, after those left behind—mothers, widows, titles from music. the Nazis branded his work “degenerate.” and children. CHAPTER 14 – Pictorial Modernism LUCIAN BERNHARD Priester Match poster, 1905 Using bold colors and flat reductivist artwork, Lucian’s winning contest A.M. CASSANDRE entry projects a powerful message L’Atlantique travel poster,1931 with minimal information. It takes its conceptual visual approach from Cassandre created stylizations of post- AUSTIN COOPER synthetic cubism. cubist pictorialism: flat geometric planes Poster for the Southern Railway, undated of color with simplied images, frequently Cooper directly applied elements of depicting modern machinery and cubism when he stylized snippets architecture. His later work developed of Paris landmarks for the Southern into the popular Art Deco style: a Railway. His design shows lively pictorial modern transition away from movement through shifting planes, art nouveau that was more geometric sharp angles, and the superimposition of and simpler in design. lettering and images. CHAPTER 15 – A New Language of Form KASIMIR MALEVICH EL LISSITZKY ALEXANDER RODCHENKO Black Square, 1915 Beat the Whites with the Red Wedge, 1919 Propaganda poster There are no better Malevich was a Russian avant-garde El Lizzitzky studied under Suprematist dummies than old suckers, 1923. artist with his own unique philosophy painter Kasimir Malevich and later This constructivist poster depicts a baby of art, which he termed Suprematism. applied modern painting concepts of sucking on bullets and grenade pins for He believed art should transcend subject space and form for this political poster pacifiers. Dada and futurism influenced matter -- geometric shape and color symbolizing the triumph of the Red the typographic designs of the Russian should reign ‘supreme’ over the image or Army over the “white” army during the avant-garde. They were a reaction against narrative. His work influenced the works Russian Revolution. the old values of the czarist regime and of other non-objective abstract artists. gave artists an important role in society. THEO VAN DOESBURG Counter Composition V, 1924 Van Doesburg founded the De Stijl EL LISSITZKY, LÁZLÓ MOHOLY- movement inspired by Piet Mondrian’s NAGY painting style, suprematism and The Isms of Art, 1925 constructivism. De Stijl was based on This book examines the avant-garde flat rectilinear planes (angles were styles of art from 1914 to 1924. GUSTAV KLUTSIS accepted later), without decor, and only Designed with constructivist elements Postcard for the Moscow Games, 1928 in primary hues. using rectilinear spacial divisions and Klutsis was a master of propaganda used mostly sans serif type, it was
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