DOCSLIB.ORG

The Dada and the Bauhaus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dada and the Bauhaus Chapter 3.9 Late Modern and Early Contemporary Art in the Twentieth Century PART 3 HISTORY AND CONTEXT The Dada and The Bauhaus ▪ Radically changed world after World War I ▪ The brutality of mechanized war sent shock waves around the world – disillusionment, prosperity, the Jazz Age, more freedom socially ▪ Global expansion in commerce, politics, cultural traditions, communications, and travel ▪ Two different art movements that supported radically opposing reactions and ideas about modern society Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Chapter 3.9 Late Modern and Early Contemporary Art in the Twentieth Century PART 3 HISTORY AND CONTEXT Dada ▪ Anti-art art ▪ Reaction against “rational” and the material -thought that led to devastation of WWI ▪ Name “Dada” is a nonsense word ▪ Focused on individuality, irrationality, chance, and imagination, nonsense and not making “things” Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Marcel Duchamp 1917 Fountain Dada Art Founder Readymade & Conceptual Art Dada – The anti-art artists! stressed nonsensical. Born from the destruction of the war machines and technology of World War I, the idea of not “making” anything. Saw meaninglessness in the modern world and celebrated meaninglessness. Conceptual art- Duchamp thought of this as art, and the Unapologetically rebellious viewer’s reactions and thought about the work were the art. So, against all societal constraints his thoughts and ours are the art, not the actual object. Chapter 2.7 Alternative Media and Processes PART 2 MEDIA AND PROCESSES Conceptual Art ▪ Promotes ideas as artworks in and of themselves ◆ Downplays artworks as products ▪ Influenced by the Dada movement, which began in 1916 ◆ Marcel Duchamp’s readymades ◆ Opened up possibilities for artmaking Including everyday objects popular imagery, even just ideas Duchamp Readymades Bottle Rack 1914 & In Advance of the Broken Arm 1915 Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Max Ernst Switzerland. Birthplace of Dada 1920 Hans Arp According to the Laws of Chance 1933 He threw these shapes and where they landed is where they “stayed”. Part of his exploration of randomnesss and chance in art. Pablo Picasso, Bull’s Head, 1942. Assemblage of bicycle seat and handlebars, 13¼ x 17⅛ x 7½”. Musée Picasso, Paris, France Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES Pablo Picasso, Bull’s Head ▪ Picasso once took the handlebars and the seat of a bicycle and combined them ▪ The artist’s intent was both a serious and a humorous attempt to redefine art ▪ A readymade- Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Louis Sullivan, Wainwright Building, 1890–91, St. Louis, Missouri Sullivan obeys his famous phrase “form follows function” by providing versatile interior space Because the steel frame supports the building, and because it is mostly located at its outer edges, the space of the interior can easily be reconfigured to meet the specific needs of the user The Wainwright Building reflects the elements of a column (base, shaft, capital) in the organization of the exterior Walter Gropius 1925 Black Shop, the Bauhaus The Bauhaus “Manifesto” Strong design, simple color use, craftsmanship, modern materials and modern technology to create the work. Art and craft boundaries were blended, one not more important than the other. A marriage of art and industry. The machine aesthetic, or “beauty of the machine” was celebrated, therefore geometric shapes and forms, simple color use and clean, simple design are the visual links to the mathematical geometry of machines. The “less is more” of Mies van der Rhoe. New modern materials and artforms were explored as well Mies van der Rohe, Neue Nationalgalerie, 1968, Berlin, Germany Chapter 2.10 Architecture PART 2 MEDIA AND PROCESSES Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields https://www.youtube.com/watch?v=CFSe2WBtcyE Villa Savoye Tour Frank Lloyd Wright, Falling Water, 1939 Bear Run, Pa. http://www.youtube.com/watch?v=HuZ0x5Qkgzg Falling water video Chapter 2.10 Architecture PART 2 MEDIA AND PROCESSES Contrasting Ideas in Modern Architecture: Le Corbusier’s Villa Savoye and Frank Lloyd Wright’s Fallingwater ▪ Two buildings constructed about the same time, yet are based on radically different ideas about architecture ▪ Le Corbusier’s architectural designs were part of the International Style that was promoted as a universal aesthetic form that could be built in any geographical or cultural environment relatively inexpensively ◆ Saw architecture as a “machine for living” ▪ Wright did not think that a house should be a machine ◆ He believed the design of a house should respond organically to its location Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Chapter 2.9 Sculpture PART 2 MEDIA AND PROCESSES Light and Kinetic Sculpture ▪ Sculptors who work with movement and light express their ideas in ways that would not have been possible just a century or two before ▪ These moving and lighted sculptural works, like those of the Constructivists, rely on mechanical engineering as well as the creative input of the artist Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields The Bauhaus, a group of artists and designers who celebrated the MACHINE AESTHETIC (beauty of the machine and technology), where Moholy had worked until 1928, was a hotbed of innovation in stage design, advertising, furniture design and costume design. There was a lot of interest in abstract plays, in electrical lighting devices, in rotating stages. It’s a very rich history of experimentation, and Moholy is at the center of it, and the Light Prop is a key example of that commitment. The piece was meant to produce an “architecture of light” and was part of the experimental theater experience. It was not meant to be viewed this way, it literally was meant used as a character in a movie. https://www.youtube.com/watch?v=nVnF9A3azSA The light prop if seen today… https://www.youtube.com/watch?v=e0x730uP2yI The actual movie, and how it was meant to be viewed… László Moholy-Nagy, Light Prop for an Electric Stage, 1929–30. Exhibition replica, constructed 2006, through the courtesy of Hattula Moholy-Nagy. Metal, plastics, glass, paint, and wood, with electric motor, 59½ x 27⅝ x 27⅝”. Harvard Art Museums, Busch-Reisinger Museum, Cambridge, Massachusetts Chapter 2.9 Sculpture PART 2 ▪MEDIACreated AND PROCESSES as a stage lighting device, Light Prop eventually became the main character in a film by Moholy-Nagy ▪ The work hasLászló a motorMoholy that moves-Nagy, a series of perforated discs so that they crossLight in front Prop of forthe anlighting Electric unit Stage ▪ This creates a constantly changing sculptural object, and the changes in lighting influences the environment ▪ Is it art, toy, device-what are your thoughts? ▪ The Bauhaus, where Moholy had worked until 1928, was a hotbed of innovation in stage design and costume design. There was a lot of interest in abstract plays, in electrical lighting devices, in rotating stages. It’s a very rich history of experimentation, and Moholy is at the center of it, and the Light Prop is a key example of that commitment. ▪ https://www.youtube.com/watch?v=nVnF9A3azSA ▪ https://www.youtube.com/watch?v=e0x730uP2yI Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields.
Load more

Recommended publications
  • Bauhaus 1 Bauhaus
    Bauhaus 1 Bauhaus Staatliches Bauhaus, commonly known simply as Bauhaus, was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" stood for "School of Building". The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a The Bauhaus Dessau 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. The school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, 1921/2, Walter Gropius's Expressionist Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe Monument to the March Dead from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, and politics. For instance: the pottery shop was discontinued when the school moved from Weimar to Dessau, even though it had been an important revenue source; when Mies van der Rohe took over the school in 1930, he transformed it into a private school, and would not allow any supporters of Hannes Meyer to attend it.
    [Show full text]
  • Sculptural Cubism in Product Design: Using Design History As a Creative Tool
    INTERNATIONAL CONFERENCE ON ENGINEERING AND PRODUCT DESIGN EDUCATION 3 & 4 SEPTEMBER 2015, LOUGHBOROUGH UNIVERSITY, DESIGN SCHOOL, LOUGHBOROUGH, UK SCULPTURAL CUBISM IN PRODUCT DESIGN: USING DESIGN HISTORY AS A CREATIVE TOOL Augustine FRIMPONG ACHEAMPONG and Arild BERG Oslo and Akershus University College of Applied Sciences ABSTRACT In Jan Michl's "Taking down the Bauhaus Wall: Towards living design history as a tool for better design", he explains how the history of design can become a tool for future design practices. He emphasizes how the aesthetics of the past still exist in the present. Although there have been a great deal of studies on the history of design, not much emphasis has been placed on Cubism, which is a very important part of design history. Many designs of the past, such as in the field of architecture and jewellery design, took their inspiration from sculptural cubism. The research question is therefore "How has sculptural Cubism influenced contemporary student product-design practices?" One research method used was the literature review, which was chosen to investigate what has been done in the past. Other methods used were interviews and focus groups, which were chosen to investigate what some contemporary design students knew about cubism. The researcher will also look to solicit knowledge from people outside the design community regarding designers and the work they do, as well as the general impression they have concerning design history and cubism. The concept of Cubism has been used in branding and as a marketing tool and in communication. Keywords: Design history, contemporary design practice, sculptural cubism, aesthetics.
    [Show full text]
  • David Quigley Learning to Live: Preliminary Notes for a Program Of
    David Quigley In an essay published in 2009, Boris could play in a broader social context influenced the founding director John Groys makes the claim that “today art beyond the narrow realm of the art Andrew Rice, as well as the professors Learning to Live: education has no definite goal, no world. Josef Albers, Merce Cunningham, Robert Preliminary Notes method, no particular content that can Motherwell, John Cage, and the poets be taught, no tradition that can be Performing Pragmatism: Robert Creeley and Charles Olson. for a Program of Art transmitted to a new generation—which Art as Experience Unlike other trajectories of the critique Education for the is to say, it has too many.”69 While one On the first pages of Dewey’s Art as of the art object, the Deweyian tradition might agree with this diagnosis, one Experience from 1934, we read: did not deny the special status of art in 21st Century. immediately wonders how we should itself but rather resituated it within a Après John Dewey assess it. Are we to merely tacitly “By one of the ironic perversities that continuum of human experience. Dewey, acknowledge this situation or does this often attend the course of affairs, the as a thinker of egalitarianism and critique imply a call for change? Is this existence of the works of art upon which democracy, created a theory of art lack (or paradoxical overabundance) of the formation of an aesthetic theory based on the fundamental continuity goals, methods or content inherent to depends has become an obstruction of experience and practice, making the very essence of art education, or is to theory about them.
    [Show full text]
  • The Bauhaus 1 / 70
    GRAPHIC DESIGN HISTORY / THE BAUHAUS 1 / 70 The Bauhaus 1 Art and Technology, A New Unity 3 2 The Bauhaus Workshops 13 3 Origins 26 4 Weimar 45 5 Dessau 57 6 Berlin 68 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS 2 / 70 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 70 1919–1933 Art and Technology, A New Unity A German design school where ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. © Kevin Woodland, 2020 Joost Schmidt, Exhibition Poster, 1923 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 4 / 70 1919–1933 The Bauhaus Twentieth-century furniture, architecture, product design, and graphics were shaped by the work of its faculty and students, and a modern design aesthetic emerged. MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 5 / 70 1919–1933 The Bauhaus Ideas from all advanced art and design movements were explored, combined, and applied to the problems of functional design and machine production. MEGGS • The Arts & Crafts: Applied arts, craftsmanship, workshops, apprenticeship • Art Nouveau: Removal of ornament, application of form • Futurism: Typographic freedom • Dadaism: Wit, spontaneity, theoretical exploration • Constructivism: Design for the greater good • De Stijl: Reduction, simplification, refinement © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE BAUHAUS / Art and TechnoLogy, A New Unity 6 / 70 1919–1933
    [Show full text]
  • The Analysis of the Influence and Inspiration of the Bauhaus on Contemporary Design and Education
    Engineering, 2013, 5, 323-328 http://dx.doi.org/10.4236/eng.2013.54044 Published Online April 2013 (http://www.scirp.org/journal/eng) The Analysis of the Influence and Inspiration of the Bauhaus on Contemporary Design and Education Wenwen Chen1*, Zhuozuo He2 1Shanghai University of Engineering Science, Shanghai, China 2Zhongyuan University of Technology, Zhengzhou, China Email: *[email protected] Received October 11, 2012; revised February 24, 2013; accepted March 2, 2013 Copyright © 2013 Wenwen Chen, Zhuozuo He. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. ABSTRACT The Bauhaus, one of the most prestigious colleges of fine arts, was founded in 1919 by the architect Walter Gropius. Although it is closed in the last century, its influence is still manifested in design industries now and will continue to spread its principles to designers and artists. Even, it has a profound influence upon subsequent developments in art, architecture, graphic design, interior design, fashion design and design education. Up until now, Bauhaus ideal has al- ways been a controversial focus that plays a crucial role in the field of design. Not only emphasizing function but also reflecting the human-oriented idea could be the greatest progress on modern design and manufacturing. Even more, harmonizing the relationship between nature and human is the ultimate goal for all the designers to create their artworks. This essay will analyze Bauhaus’s influence on modern design and manufacturing in terms of technology, architecture and design education.
    [Show full text]
  • Pablo Picasso (Spanish, 1881 - 1973)
    Pablo Picasso (Spanish, 1881 - 1973) Pablo Picasso is considered to be the greatest artist of the 20th century, the Grand Master primo assoluto of Modernism, and a singular force whose work and discoveries in the realm of the visual have informed and influenced nearly every artist of the 20th century. It has often been said that an artist of Picasso’s genius only comes along every 500 years, and that he is the only artist of our time who stands up to comparison with da Vinci, Michelangelo, and Raphael – the grand triumvirate of the Italian Renaissance. Given Picasso’s forays into Symbolism, Primitivism, neo-Classicism, Surrealism, sculpture, collage, found-object art, printmaking, and post-WWII contemporary art, art history generally regards his pioneering of Cubism to have been his landmark achievement in visual phenomenology. With Cubism, we have, for the first time, pictorial art on a two-dimensional surface (paper or canvas) which obtains to the fourth dimension – namely the passage of Time emanating from a pictorial art. If Picasso is the ‘big man on campus’ of 20th century Modernism, it’s because his analysis of subjects like figures and portraits could be ‘shattered’ cubistically and re-arranged into ‘facets’ that visually revolved around themselves, giving the viewer the experience of seeing a painting in the round – all 360º – as if a flat work of art were a sculpture, around which one walks to see its every side. Inherent in sculpture, it was miraculous at the time that Picasso could create this same in-the-round effect in painting and drawing, a revolution in visual arts and optics.
    [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]
  • Bauhaus 1919 - 1933: Workshops for Modernity the Museum of Modern Art, New York November 08, 2009-January 25, 2010
    Bauhaus 1919 - 1933: Workshops for Modernity The Museum of Modern Art, New York November 08, 2009-January 25, 2010 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Upholstery, drapery, and wall-covering samples 1923-29 Wool, rayon, cotton, linen, raffia, cellophane, and chenille Between 8 1/8 x 3 1/2" (20.6 x 8.9 cm) and 4 3/8 x 16" (11.1 x 40.6 cm) The Museum of Modern Art, New York. Gift of the designer or Gift of Josef Albers ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Silk, cotton, and acetate 57 1/8 x 36 1/4" (145 x 92 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1925 Wool and silk 7' 8 7.8" x 37 3.4" (236 x 96 cm) Die Neue Sammlung - The International Design Museum Munich ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Wall hanging 1926 Silk (three-ply weave) 70 3/8 x 46 3/8" (178.8 x 117.8 cm) Harvard Art Museum, Busch-Reisinger Museum. Association Fund Bauhaus 1919 - 1933: Workshops for Modernity - Exhibition Checklist 10/27/2009 Page 1 of 80 ANNI ALBERS German, 1899-1994; at Bauhaus 1922–31 Tablecloth Fabric Sample 1930 Mercerized cotton 23 3/8 x 28 1/2" (59.3 x 72.4 cm) Manufacturer: Deutsche Werkstaetten GmbH, Hellerau, Germany The Museum of Modern Art, New York. Purchase Fund JOSEF ALBERS German, 1888-1976; at Bauhaus 1920–33 Gitterbild I (Grid Picture I; also known as Scherbe ins Gitterbild [Glass fragments in grid picture]) c.
    [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]
  • UNSEEN WORKS of the EUROPEAN AVANT-GARDE An
    Press Release July 2020 Mitzi Mina | [email protected] | Melica Khansari | [email protected] | Matthew Floris | [email protected] | +44 (0) 207 293 6000 UNSEEN WORKS OF THE EUROPEAN AVANT-GARDE An Outstanding Family Collection Assembled with Dedication Over Four Decades To Be Offered at Sotheby’s London this July Over 40 Paintings, Sculpture & Works on Paper Led by a Rare Cubist Work by Léger & an Intimate Picasso Portrait of his Secret Lover Marie-Thérèse Pablo Picasso | Fernand Léger | Alberto Giacometti | Wassily Kandinsky | Lyonel Feininger | August Macke | Alexej von Jawlensky | Jacques Lipchitz | Marc Chagall | Henry Moore | Henri Laurens | Jean Arp | Albert Gleizes Helena Newman, Worldwide Head of Sotheby’s Impressionist & Modern Art Department, said: “Put together with passion and enjoyed over many years, this private collection encapsulates exactly what collectors long for – quality and rarity in works that can be, and have been, lived with and loved. Unified by the breadth and depth of art from across Europe, it offers seldom seen works from the pinnacle of the Avant-Garde, from the figurative to the abstract. At its core is an exceptionally beautiful 1931 portrait of Picasso’s lover, Marie-Thérèse, an intimate glimpse into their early days together when the love between the artist and his most important muse was still a secret from the world.” The first decades of the twentieth century would change the course of art history for ever. This treasure-trove from a private collection – little known and rarely seen – spans the remarkable period, telling its story through the leading protagonists, from Fernand Léger, Pablo Picasso and Alberto Giacometti to Wassily Kandinsky, Lyonel Feininger and Alexej von Jawlensky.
    [Show full text]
  • The Bauhaus and the Modern Movement.Compressed
    The Bauhaus and the Modern Movement The Modern Movement 1850s-1970s Background of the Modern Movement Classical Era → Industrial Revolution → Modern Movement ? Timeline https://vimeo.com/67015825 Breaking away Impressionism - Real places - Loose brushwork - Lightened palettes to include pure intense colour. - To capture what the eyes see instead what the brain perceive. Breaking away Post- Impressionism Two kinds of styles 1. Symbolic and highly personal, based on memory and emotion 2. Geometric, orderly, relies on colour as an optical illusion, based on what they see, reality Abstraction Cubism and futurism Fragmenting the object, based on various perspectives Recap Abstraction Constructivism, Suprematism & De Stijl Use of pure geometric forms to express a spiritual truth or represent an ideal. Recap Abstraction Abstract Expressionism Use of various lines and brushstrokes to express emotion New Mediums Dada and Cubism Recap New Mediums Pop Art - Silk screen made popular by Andy Warhol New Mediums Minimalism - Simple/Pure form of Aesthetic - Art that can be commissioned/made by others The Bauhaus German, equivalent to Bau- build, building + Haus house A school of design established in Weimar in 1919 by Walter Gropius, moved to Dessau in 1926, and closed in 1933 An German Architect, Walter Gropius was the director of the school. Gropius built an impressive faculty drawn from international avant-garde circles. Johannes Itten, Swiss expressionist painter, designer, teacher, writer and theorist Paul Klee Swiss German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism, and Surrealism. Wassily Wassilyevich Kandinsky Russian painter and art theorist Marcel Lajos Breuer, was a Hungarian-born modernist, architect, and furniture designer Ludwig Mies van der Rohe German-American architect Oskar Schlemmer German painter, sculptor, designer & choreographer László Moholy-Nagy Hungarian painter and photographer From the range of Bauhaus work presented, what are some of the key characteristics of bauhaus art? Eg.
    [Show full text]
  • Art from Europe and America, 1850-1950
    Art from Europe and America, 1850-1950 Gallery 14 QUESTIONS? Contact us at [email protected] ACKLAND ART MUSEUM The University of North Carolina at Chapel Hill 101 S. Columbia Street Chapel Hill, NC 27514 Phone: 919-966-5736 MUSEUM HOURS Wed - Sat 10 AM - 5 PM Sun 1 PM - 5 PM 2nd Fridays 10 AM – 9 PM Closed Mondays & Tuesdays. Closed July 4th, Thanksgiving, Christmas Eve Christmas Day, & New Year’s Day. 1 Auguste Rodin French, 1840 – 1917 Head of Balzac, 1897 bronze Ackland Fund, 63.27.1 About the Art • Nothing is subtle about this small head of the French author Honoré de Balzac. The profile view shows a protruding brow, nose, and mouth, and the hair falls in heavy masses. • Auguste Rodin made this sculpture as part of a major commission for a monument to Balzac. He began working on the commission in 1891 and spent seven more years on it. Neither the head nor the body of Rodin’s sculpture conformed to critical or public expectations for a commemorative monument, including a realistic portrait likeness. Consequently, another artist ultimately got the commission. About the Artist 1840: Born November 12 in Paris 1854: Began training as an artist 1871-76: Worked in Belgium 1876: Traveled to Italy 1880: Worked for the Sèvres Porcelain Manufactory; received the commission for one of his most famous works, monumental bronze doors called The Gates of Hell 1896: His nude sculpture of the French author Victor Hugo created a scandal 1897: Made the Ackland’s Head of Balzac 1898: Exhibited his monument to Balzac and created another scandal 1917: Died November 17 in Meudon 2 Edgar Degas French, 1834 – 1917 Spanish Dance, c.
    [Show full text]