DOCSLIB.ORG

ART NOUVEAU / Overview I / Lii

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ART NOUVEAU / Overview I / Lii GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / OvervIEW I / lII Art Nouveau 1 Japonisme 1 2 The Art Nouveau Style 10 3 Aubrey Beardsley 23 4 Toulouse-Lautrec 30 5 Alphonse Mucha 37 6 Conclusion 52 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / OvervIEW II / lII © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 1 / 52 Japonisme 1872 Japonism (from the French Japonisme) is the influence of Japanese art, fashion and aesthetics on Western culture. The term is used particularly to refer to Japanese influence on European art. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 2 / 52 1603–1867 Tokugawa period This epoch was the final phase of traditional Japanese history. • Shogunate rule • Feudal system • National isolation • Few external influences • No Western influence • Singular national style © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 3 / 52 1603–1867 Tokugawa period Ukiyo-e means “pictures of the floating world” and defines an art movement of Japan’s Tokugawa period. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 4 / 52 1800’S Ukiyo-e • Calligraphic linework • Abstraction • Simplification • Flat color • Silhouettes • Bold black shapes • Decorative patterns © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 5 / 52 1800’S Ukiyo-e Landscape and interior environments were frequently presented as suggestive impressions rather than detailed depictions. © KEVIN WOODLAND, 2015 UTAGAWA HIROSHIGE, HORSE-MACKEREL AND PRAWNS, EDO PERIOD, ABOUT 1832 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 6 / 52 1800’S Subjects often became emblematic symbols, reduced to graphic interpretations conveying their essence. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 7 / 52 1868–1912 Meiji Restoration Restored Imperial rule in Japan under emperor Meiji Opened communication with Western societies and cultures • New government • Increased trade and communication • Economic expansion • Internal stability • End of the samurai • End of feudal society • Government military © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 8 / 52 © KEVIN WOODLAND, 2015 THE GREAT WAVE OFF KANAGAWA, KATSUSHIKA HOKUSAI, EDO PERIOD, 1830 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 9 / 52 1868–1912 Meiji Restoration Western influence flooded and mixed with Japanese traditionalism. • Flourishing cultural arts • East & West cultural collision • Reciprocal influences HIROSHIGE AND VAN GOGH © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 10 / 52 The Art Nouveau Style 1890–1910 Borrowing graphic characteristics from Ukiyo-e, Art Nouveau was an international decorative style that saw its greatest achievements around the turn of the century. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 11 / 52 1890–1910 The term Art Nouveau arose in a Paris gallery which opened in 1895 as the Salon de l’Art Nouveau. In addition to Japanese art, “new art” by European and American artists was displayed and sold there. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 12 / 52 1890–1910 Motifs • Vine tendrils • Flowers (rose) • Flowers (lily) • Birds (peacocks) • Female form Art Nouveau’s identifying visual quality is an organic, plantlike line. –MEGGS © KEVIN WOODLAND, 2015 HENRI MEUNIER, POSTER FOR CAFE RAJAH, 1897 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 13 / 52 Art Nouveau encompassed all the design arts • architecture • dishes • furniture • spoons • product design • chairs • fashion • door frames • poster design • staircases • packaging • factories • advertising • subway entrances • teapots • houses © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 14 / 52 Early Modernism • Victorians sought solutions through established historical approaches • “Modernists” adopted a new international ornamental style • Elegant motifs aligned with nature and often distinguished by free and graceful lines. © KEVIN WOODLAND, 2015 HÔTEL TASSEL, VICTOR HORTA, BRUSSELS, BELGIUM, 1894 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 15 / 52 © KEVIN WOODLAND, 2015 HECTOR GUIMARD, PARIS MÉTRO ENTRANCE (REPLICA), DESIGNED 1901, NOW IN CHICAGO GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 16 / 52 © KEVIN WOODLAND, 2015 HECTOR GUIMARD, PARIS MÉTRO ENTRANCE, 1901, NOW AT TOLEDO MUSEUM OF ART GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 17 / 52 1868–1940 Peter Behrens The German artist, architect, and designer Peter Behrens played a major role in charting a course for design in the first decade of the new century. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 18 / 52 1908 Behren’s Apprentices • Mies van der Rohe • Hannes Meyer • Walter Gropius © KEVIN WOODLAND, 2015 (LEFT) PETER BEHRENS, ARCHITECT, AEG BUILDING; (RIGHT) BEHRENS’ WORKSHOP, 1908 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 19 / 52 1910–1914 Henry van de Velde • Belgian • Practiced in the Art Nouveau style • Architect, industrial designer, and graphic designer • Director, Weimar Arts and Crafts School © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, GRAND DUCAL ART SCHOOL, STAIRCASE, BUILT 1904 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 20 / 52 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, (LEFT) TROPON POSTER, 1898, (RIGHT) RUTH BOOK COVER, 1899 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 21 / 52 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, CIRCA 1900 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 22 / 52 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, CIRCA 1900 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 23 / 52 1872–1898 Aubrey Beardsley A strange cult figure, he was intensely prolific for five years before dying of tuberculosis at age twenty-six. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 24 / 52 1892-1896 Aubrey Beardsley was the enfant terrible of art nouveau, with his striking pen line, vibrant black-and- white work, and shockingly exotic imagery. – MEGGS © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 25 / 52 © KEVIN WOODLAND, 2015 WILLIAM MORRIS, 1892 (LEFT), AUBREY BEARDSLEY, 1893 (RIGHT) GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 26 / 52 1892-1896 “The black spot” was the name given to compositions based on a dominant black form. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 27 / 52 1892-1896 “The black spot” was the name given to compositions based on a dominant black form. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 28 / 52 1892-1896 “The black spot” was the name given to compositions based on a dominant black form. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 29 / 52 1898 Aubrey Beardsley Tragically, during the last two years of his life, Beardsley was an invalid. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 30 / 52 Toulouse-Lautrec 1864–1901 Henri De Toulouse-Lautrec had turned obsessively to drawing and painting after breaking both hips in an accident at age thirteen. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 31 / 52 Further growth of his legs was stunted, leaving him crippled. He became a master draftsman in the academic tradition after moving to Paris two years later. © KEVIN WOODLAND, 2015 HENRI DE TOULOUSE-LAUTREC GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 32 / 52 Japanese art, impressionism, and Degas’s design and contour were big influences on him. © KEVIN WOODLAND, 2015 HENRI DE TOULOUSE-LAUTREC IN THE STUDIO (LEFT), EDGAR DEGAS, L’ETOILE (RIGHT) GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 33 / 52 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 34 / 52 He haunted Paris cabarets and bordellos, watching, drawing, and developing a journalistic, illustrative style that captured the night life of la belle époque (the beautiful era), a term used to describe glittering late- nineteenth-century Paris. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 35 / 52 Primarily a printmaker, draftsman, and painter, he produced only thirty-one posters, the commissions for which were negotiated in the cabarets in the evenings. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 36 / 52 Drawing directly on the lithographic stone, he often worked from memory with no sketches and used an old toothbrush that he always carried to achieve tonal effects through a splatter technique. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 37 / 52 Alphonse Mucha 1860–1939 Mucha’s distint illustrative approach involving beautiful young women surrounded by lush flowers set him apart as the preeminent practitioner of the Art Nouveau style. © KEVIN WOODLAND,
Load more

Recommended publications
  • Summer 2019 Director’S Letter
    Summer 2019 Director’s Letter Dear Members, Summer in the Northwest is a glorious time of year. It is also notoriously busy. If you are like most people, you are eager fill your weekends with fun and adventure. Whether you are re-visiting some of your favorite places or discovering new ones, I hope Maryhill is on your summer short list. We certainly have plenty to tempt you. On July 13 we open the special exhibition West Coast Woodcut: Contemporary Relief Prints by Regional Artists, which showcases some of the best printmakers of the region. The 60 prints on view feature masterfully rendered landscapes, flora and fauna of the West coast, along with explorations of social and environmental issues. Plein air artists will be back in action this summer when the 2019 Pacific Northwest Plein Air in the Columbia River Gorge kicks off in late July; throughout August we will exhibit their paintings in the museum’s M.J. Murdock Charitable Trust Education Center. The show is always a delight and I look forward to seeing the Gorge through the eyes of these talented artists. Speaking of the Gorge — we are in the thick of it with the Exquisite Gorge Project, a collaborative printmaking effort that has brought together 11 artists to create large-scale woodblock prints reflective of a 220-mile stretch of the Columbia River. On August 24 we invite you to participate in the culmination of the project as the print blocks are inked, laid end-to-end and printed using a steamroller on the grounds at Maryhill.
    [Show full text]
  • FROM JAPONISME to ART NOUVEAU Matthew Martin Japanese Art Is Important As a Teacher
    FROM JAPONISME TO ART NOUVEAU Matthew Martin Japanese art is important as a teacher. From it, we once again learn to feel clearly how far we have strayed from nature's true designs through the persistent imitation of fixed models; we learn how necessary it is to draw from the source; how the human spirit is able to absorb a wealth of magnificent, naive beauty from the organic forms of nature in place of pedantic, decrepit rigidity of form. Julius Lessing, Report from the Paris Exposition Universelle, 1878 In the nineteenth century, an age where art from many different cultures was available for consumption, no other art had such a deep, transformational and permanent impact on the West as that of Japan. A five decade-long fascination began in exoticism, with widespread, literal copying of Japanese motifs and techniques, and ended in the absorption of Japanese aesthetic principles to the point that we no longer see anything overtly Japanese in European art and design of the turn of the twentieth century—the brief, brilliant moment of Art Nouveau, now widely recognised as the beginning of modern design. As the term `Japonisme' suggests, Japanese art had an enormous impact on the arts in France from the 1860s onwards.' The second half of the nineteenth century was a period of soul searching for intellectuals and artists across Europe. Many believed that the rise of industrial production in the nineteenth century had destroyed taste. Concomitant with this was the belief that quality of taste reflected the health — or lack thereof— of a society.
    [Show full text]
  • Master Artist of Art Nouveau
    Mucha MASTER ARTIST OF ART NOUVEAU October 14 - Novemeber 20, 2016 The Florida State University Museum of Fine Arts Design: Stephanie Antonijuan For tour information, contact Viki D. Thompson Wylder at (850) 645-4681 and [email protected]. All images and articles in this Teachers' Packet are for one-time educational use only. Table of Contents Letter to the Educator ................................................................................ 4 Common Core Standards .......................................................................... 5 Alphonse Mucha Biography ...................................................................... 6 Artsits and Movements that Inspired Alphonse Mucha ............................. 8 What is Art Nouveau? ................................................................................ 10 The Work of Alphonse Mucha ................................................................... 12 Works and Movements Inspired by Alphonse Mucha ...............................14 Lesson Plans .......................................................................................... Draw Your Own Art Nouveau Tattoo Design .................................... 16 No-Fire Art Nouveau Tiles ............................................................... 17 Art Nouveau and Advertising ........................................................... 18 Glossary .................................................................................................... 19 Bibliography .............................................................................................
    [Show full text]
  • The Development of New Artistic Paradigms: the Case of Cubism
    The Development of New Artistic Paradigms: The Case of Cubism Claude Rubinson [email protected] CHSS Junior Faculty Symposium University of Houston—Downtown November 24, 2014 Dimensions of Artistic Style 1st dimension – The aesthetic elements common to a group of artistic works 2nd dimension – A spatio-temporal boundary delineating works made at the same time/place by the same person or group 3rd dimension – A set of related solutions to a particular problem of representation Conventional Sociological Models of Art Exogenous Model: – Artistic creation is shaped by external forces; primary finding: stronger political- economies produce geometric art; weaker ones, organic art Ecological Model: – Artistic creation is defined by the constant search for novelty/innovation; produces a cycle of continuous, incremental change Paradigmatic Model of Art 3 components: ● Charge – The problem(s) that the artists confront ● Brief – The cultural repertoire from which the artists and audiences draw ● Art-World – The relationships among the individuals, groups, and institutions involved in bringing forth the style Relationships among Charge, Brief, and Art-World Paradigmatic Analysis: Cubism’s Art-World ● Avant-garde Paris, 1907–1914 ● Picasso, Braque, & Kahnweiler ● Matisse ● Art dealers and collectors ● Salons and exhibitions ● “Gallery” vs. “Salon” Cubists, and the tension between them ● Art critics and historians Paradigmatic Analysis: Cubism’s Brief ● Primitivism ● Impressionism/Post-Impressionism ● Fauvism ● Art Nouveau ● Tension between traditionalism and modernism ● Tension between nationalism and cosmopolitanism Paradigmatic Analysis: Cubism’s Charge ● Visual interest ● Non-classical appreciation of human figure ● Realism ● Modern representation of perspective and space Conclusions Paradigmatic analysis of art: – is historical, not predictive – is interpretive – may draw upon exogenous and ecological models – focuses on the development of and relations among the charge, brief, and art-world .
    [Show full text]
  • Japonisme and Japanese Works on Paper: Cross-Cultural Influences and Hybrid Materials
    Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 https://icon.org.uk/node/4998 Japonisme and Japanese works on paper: Cross-cultural influences and hybrid materials Rebecca Capua Copyright information: This article is published by Icon on an Open Access basis under a Creative Commons Attribution-NonCommercial-NoDerivatives License (CC BY-NC-ND) https://creativecommons.org/licenses/by-nc-nd/4.0/. You are free to copy and redistribute this material in any medium or format under the following terms: You must give appropriate credit and provide a link to the license (you may do so in any reasonable manner, but not in any way which suggests that Icon endorses you or your use); you may not use the material for commercial purposes; and if you remix, transform, or build upon the material you may not distribute the modified material without prior consent of the copyright holder. You must not detach this page. To cite this article: Rebecca Capua, ‘Japonisme and Japanese works on paper: Cross- cultural influences and hybrid materials’ in Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8–10 April 2015 (London, The Institute of Conservation: 2017), 28–42. Adapt & Evolve 2015: East Asian Materials and Techniques in Western Conservation. Proceedings from the International Conference of the Icon Book & Paper Group, London 8-10 April 2015 28 Rebecca Capua Japonisme and Japanese works on paper: Cross- cultural and hybrid materials The rise of Japonisme as an artistic movement came at a time when Western artists’ materials and practices were experiencing the impact of industrialization; as artists’ supplies were becoming more commodified and mass-produced, art was disseminated through commercial reproductions and schools were emphasizing the potential for art’s use in the service of industry.
    [Show full text]
  • Japonisme in Britain - a Source of Inspiration: J
    Japonisme in Britain - A Source of Inspiration: J. McN. Whistler, Mortimer Menpes, George Henry, E.A. Hornel and nineteenth century Japan. Thesis Submitted for the Degree of Doctor of Philosophy in the Department of History of Art, University of Glasgow. By Ayako Ono vol. 1. © Ayako Ono 2001 ProQuest Number: 13818783 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818783 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 4 8 1 0 6 - 1346 GLASGOW UNIVERSITY LIBRARY 122%'Cop7 I Abstract Japan held a profound fascination for Western artists in the latter half of the nineteenth century. The influence of Japanese art is a phenomenon that is now called Japonisme , and it spread widely throughout Western art. It is quite hard to make a clear definition of Japonisme because of the breadth of the phenomenon, but it could be generally agreed that it is an attempt to understand and adapt the essential qualities of Japanese art. This thesis explores Japanese influences on British Art and will focus on four artists working in Britain: the American James McNeill Whistler (1834-1903), the Australian Mortimer Menpes (1855-1938), and two artists from the group known as the Glasgow Boys, George Henry (1858-1934) and Edward Atkinson Hornel (1864-1933).
    [Show full text]
  • Artist's Proposal
    Gabbert Artist’s Proposal 14th Street Roundabout Page 434 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor Ladies and Gentlemen, Thank you for this opportunity. For your consideration I propose a work tentatively titled “Flame”. I believe it to be simple-yet- compelling, symbolic, and appropriate to this setting. Dimensions will be 20 feet high by 14.5 feet wide by 14.5 feet deep. It sits on a 3.5 feet high by 9 feet in diameter base. (not accurately dimensioned in the 3D graphics) The composition. The design has substance, and yet, there is practically no impediment to drivers’ visibility. After review of the design by a structural engineer the flame flicks may need to be pierced with openings to meet the 150 mph wind velocity requirement. I see no problem in adjusting the design to accommodate any change like this. Fire can represent our passions, zeal, creativity, and motivation. The “flame” can suggest the light held by the Statue of Liberty, the fire from Prometheus, the spirit of the city, and the hearth-fire of 612.207.8895 | jgsculpture.webs.com | [email protected] 14th Street Roundabout Page 435 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor home. It would be lit at night with a soft glow from within. A flame creates a sense of place because everyone is drawn to a fire. A flame sheds light and warmth. Reference my “Hopes and Dreams” in my work example to get a sense of what this would look like. The four circles suggest unity and wholeness, or, the circle of life, or, the earth/universe.
    [Show full text]
  • SELLER MANAGED Reseller Online Auction - Railside Road
    09/24/21 10:27:37 North York (Ontario, Canada) SELLER MANAGED Reseller Online Auction - Railside Road Auction Opens: Wed, Sep 4 5:00pm ET Auction Closes: Tue, Sep 10 7:45pm ET Lot Title Lot Title 0001 Signed Latvian Abstract Modernist Oil 0020 C.1930 Cased Singer Sewing Machine Original Painting on Canvas Wood With Key + Lamp Working 0002 Lalique France Crystal Masted Mariner 0021 Decorative Cameo Art Glass Vase Nautical Ship Cabinet Plate 0022 Perfect Paymaster Ribbon Writer Cheque 0003 1985 Enzo Vincenzo Marino 'Eve' Acrylic Writing Machine Painting on Canvas 0023 Gothic Antique Wood Swing Mirror On Stand 0004 French Art Nouveau Newel Post Lady Lamp w 0024 Original Early Clarence Gagnon Laurentian 3 Lily Shades Signed Gomez C.1900 'March in the Birch Woods' Litho Print 0005 Signed Croatian Reverse Oil Painting on Glass 0025 Lot of 17 Modernist Yellow Art Glass/Black Framed Stem Glasses 0006 Antique Walnut 2 Tier Occasional Table 0026 Boxed Wind-Up Mechanical Planet 'Lost In 0007 NXT PPS-1 Hanging Flat Panel Loudspeakers Space' Tin Robot w Subwoofer 0027 Burgundy Fringed Pagoda Shade Lamp Pair 0008 Huge Unframed Abstract Oil Painting on 0028 Sardonic Looking Butler With Tray Burlap 0029 Retired 1988 Trimlite Crystal Gold Rearing 0009 Solid Wood Carved Crowned African Tribal Unicorn Figure 2 Feet Tall 0030 Mid-Century Modern Mazzega Murano Italy 0010 Framed Early A. J. Casson Print 'Housetops in Glass Eyeball Ceiling Lamp the Ward' 0031 Twist Leg Occasional Table with Lower Shelf 0011 Stylish Designer Mod Lamp w Textured Turquoise Leatherette Shade 0032 Whimsical Victorian Terrier Dog Oil Painting Signed 'M.
    [Show full text]
  • 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.
    [Show full text]
  • Russian Constructivism
    De Stijl in the Netherlands Russian Constructivism 26 Constructivism was an artistic and architectural movement that originated in Russia from 1919 onward which rejected the idea of "art for art's sake" in favour of art as a practice directed towards social purposes and uses. Constructivism as an active force lasted until around 1934, having a great deal of effect on developments in the art of the Weimar Republic (post world war one Germany) and elsewhere, before being replaced by Socialist Realism. Its motifs have sporadically recurred in other art movements since. It had a lasting impact on modern design through some of its members becoming involved with the Bauhaus group. Constructivism had a particularly lasting effect on typography and graphic design. Constructivism art refers to the optimistic, non-representational relief construction, sculpture, kinetics and painting. The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around "fine art", but rather emphasized that the most priceless artwork can often be discovered in the nuances of "practical art" and through portraying man and mechanization into one aesthetic program. Constructivism was first created in Russia in 1913 when the Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptured out of assemblages, but he abandoned any reference to precise subjects or themes.
    [Show full text]
  • Looking East: How Japan Inspired Monet, Van Gogh
    PRESS CONTACTS: Tim Hallman Annie Tsang 415.581.3711 415.581.3560 [email protected] [email protected] LOOKING EAST: HOW JAPAN INSPIRED MONET, VAN GOGH, AND OTHER WESTERN ARTISTS Asian Art Museum presents European, American and Japanese masterpieces in exhibition exploring the impact of Japan on Western artists SAN FRANCISCO, Oct. 20, 2015—Japan’s opening to international trade in the 1850s after two centuries of self-imposed isolation set off a craze for all things Japanese among European and North American collectors, artists and designers. The phenomenon, dubbed japonisme by French writers, radically altered the course of Western art in the modern era. San Francisco’s Asian Art Museum surveys this sweeping development in the traveling exhibition Looking East: How Japan Inspired Monet, Van Gogh, and Other Western Artists. The exhibition traces the West’s growing fascination with Japan, the collecting of Japanese objects, and the exploration of Japanese subject matter and styles. Looking East will be on view from Oct. 30, 2015–Feb. 7, 2016 with the exhibition's final weeks marking the start of the museum's 50th anniversary year in 2016. Looking East features more than 170 artworks drawn from the acclaimed collection of the Museum of Fine Arts, Boston, with masterpieces by the great Impressionist and post-Impressionist painters Vincent van Gogh, Claude Monet, Mary Cassatt, Edgar Degas and Paul Gauguin, among others. The art and culture of Japan inspired leading artists throughout Europe and the United States to create works of renewed vision and singular beauty. The exhibition is organized into four thematic areas, tracing the impact of Japanese approaches to women, city life, nature and landscape.
    [Show full text]
  • Looking East: Vincent Van Gogh and Japan
    Looking east: Vincent van Gogh and Japan CLIVE YOU Abstract During the formative years of his life in Arles, Vincent van Gogh became deeply enamoured with the art of Japan. This vision, while short-lived, was crucial for the eventual flowering of his unique painting style. Therefore, it is vital for us to understand the Japanese aesthetics and philosophy hidden in his paintings. This article commences with a discussion on the origins of van Gogh’s Japonism interests, and then proceeds with an analysis of how this manifested itself in three periods of his ‘Japanese Era’, including where it drew on Japanese study, philosophy and utopia as well as paintings and prints. The visual analysis technique is widely utilised in this article to consider van Gogh’s paintings and the Japanese influences on their colour, line, texture and size. The research shows that van Gogh established a rich connection to Japanese aesthetics and created the largest numbers of masterpieces of his career in his ‘Japanese Era’. Origin Vincent van Gogh first expressed an interest in Japonaiserie in 1885 while he stayed in Antwerp. At that time, he already owned some Japanese prints; their exotic nature was the primary reason for his fondness of them. In one of his letters, he wrote that he was very much delighted by the Japanese prints he pinned on his walls. Later, when he moved to Paris, he read far more about Japan, and studied a substantial number of Japanese prints. The countryside played a more important role in his career and in his existence as an artist because of the inspiration of peace and beauty that nature provided to his work.1 Eventually, while he lived in Arles, Japanese art and philosophy became major inspirations for van Gogh, affecting his paintings, behaviours and values.
    [Show full text]