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Home , Gino Severini, Mikhail Matyushin, Olga Rozanova

What the Victorian Age knew Art Piero Scaruffi 2004

1 What the Victorian Age knew

• The Arts – Continued from victophi.ppt

2 What the Victorian Age knew • – See also artbysubject.ppt

3 What the Victorian Age knew • Painting/ From Realism to – Eduard Manet (1832, France): • “Le Dernier Dejouner” (1863) - four disconnected characters, violation of the law of perspective, shadows oriented in opposite directions

4 What the Victorian Age knew • Painting/ From Realism to Impressionism – Eduard Manet (1832, France): • “Music in the Tuileries” (1862) - chaotic scene without a focus, no hierarchy, curved trees

5 What the Victorian Age knew • Painting/ From Realism to Impressionism – Eduard Manet (1832, France): • “Boats” (1873) - curved horizon • “Boating” (1874) - no horizon

6 What the Victorian Age knew • Painting/ From Realism to Impressionism – (1834, France): Movement

“La Classe de Danse” (1876) “La La At the Cirque Fernando” (1879)

7 What the Victorian Age knew • Painting/ Social realism – Gustave Doré (1832, France): “London: A Pilgrimage” (1872 with 180 engravings

8 What the Victorian Age knew • Painting/ Social realism – Hubert von Herkomer (1849, Britain) – Luke Fildes (1844, Britain)

“Applicants for Admission to a Casual Ward” (1874) “On Strike” (1891) 9 What the Victorian Age knew • Painting/ Social realism – Adolph Menzel (1815, Germany) – Stanhope Forbes (1857, Britain)

10 “Fish Sale on a Cornish Beach” (1885) “The Iron-rolling Mill” (1875) What the Victorian Age knew • Painting/ From Realism to Impressionism – First impressionist exhibition in Paris (1874) – Ordinary life in motion – Light effects – The real subject is the brush stroke itself – The expression of a national loss of confidence (France, a former superpower defeated by a small country, Prussia, in 1870)

11 What the Victorian Age knew • Painting/ From Realism to Impressionism – Pierre Renoir (1841, France)

“Ball at the Moulin de la Galette” (1876)

12 What the Victorian Age knew

• Painting/ Impressionism – (1840, France) • Series painting: the same subject from the same point at different times of the day and of the year (“Haystacks”) • Time and change, not only space • Blurred images (“Water Lilies”) remove boundaries • Colors with no boundaries instead of shapes with boundaries • The ultimate subject of painting is light

13 What the Victorian Age knew

• Painting – Claude Monet (1840, France)

Orangerie (1920) “Haystacks” (1891) “Cathedrale de Rouen” (1894) What the Victorian Age knew • Impressionism – Claude Monet

“Bridge Over a Pond of Water Lilies” (1899) “The Artist's Garden at Giverny” (1900) What the Victorian Age knew • Painting – Claude Monet

“Nimphee” (1926) What the Victorian Age knew • – Georges-Pierre Seurat (1859, France) • Sense of tranquillity and civility • Idealized civilized life

“La Parade du Cirque” (1888) “La Grande Jatte” (1884) What the Victorian Age knew • Naïve/Primitive style – Henry Rousseau (1844, France) • Beauty and terror “Carnival Evening” (1886)

18 “Sleeping Gypsy” (1897) What the Victorian Age knew • Naïve/Primitive style – Henry Rousseau (1844, France)

“The Dream” (1910) 19 What the Victorian Age knew

• Pre-Raphaelites – Dante Gabriel Rossetti: “Astarte Syriaca” (1877) – Edward Burne-Jones: “King Cophetua and the beggar maid” (1884)

20 What the Victorian Age knew

• Naturalism and Realism in the USA – Winslow Homer (1836): “Snap the Whip” (1872) – Thomas Eakins (1844): “The Gross Clinic” (1875)

21 What the Victorian Age knew

• Photography in the USA – William Talbot publishes the first book eentirely illustrated by photography: “Pencil of Nature” (1844)

22 What the Victorian Age knew • Photography – Mathew Brady: “Dunker Church and the Dead” (1862) – Tim O’Sullivan (1840, New York): “A Harvest of Death” (1863) – Julia-Margaret Cameron (1815, India): “The Echo” (1868)

23 What the Victorian Age knew • Photography – Eadweard Muybridge (1830, San Francisco): “Galloping Horse” (1878)

24 What the Victorian Age knew • Photography in the USA – Jacob Riis (1849): “Bandits Roost” (1888)

25 What the Victorian Age knew • Photography in the USA – (1864)

“The Terminal” (1892) “The Steerage” (1907)

26 What the Victorian Age knew • Photography in Europe – Antongiulio Bragaglia (1890, Italy) “Macchina da Scrivere” (1911) “Salutando” (1911)

27 What the Victorian Age knew

• Painting – Emancipation of color: color becomes “the” painting • Monet • Cezanne • Van Gogh • Guaguin • Matisse

28 What the Victorian Age knew

• Paul Cezanne (1839, France) – Still life and landscape: absence of change, movement, time – Timelessness – Multiple perspectives in the same painting (“Still Life With Fruit Basket” in which each object is painted from a different perspective) – Color instead of line, shading, perspective – Color to create a sense of depth – Cezanne abstracts form the way Van Gogh abstracts color – Reducing objects to the fundamental forms (cones, cylinders, spheres) 29 What the Victorian Age knew • Paul Cezanne (1839, France)

“Still Life With Fruit Basket” “Large Bathers” (1905) “Montagne Sainte-Victoire” (1906)

“Bay from L’Estaque” (1886)

30 What the Victorian Age knew • Van Gogh (1853, Holland) – Emotional use of color Wheatfield with Crows (1890)

Night Café (1888)

“Starry Night” (1889)

31 What the Victorian Age knew

• Painting – Paul Guaguin (1848, France) • Color to cause emotion • “Color expresses something by itself” • The grass is red in “Vision After the Sermon” • Non-Western traditions • Allegorical quality • Musical quality

“Vision After the Sermon” (1888) 32 What the Victorian Age knew • Painting – Paul Guaguin

33 “La Orana Maria” (1891) What the Victorian Age knew

• Painting – Paul Guaguin (1848, France)

“Where Have We Come From” (1897)

34 What the Victorian Age knew • Painting/ – (1863, Norway) • Human suffering • The age of anxiety

35 “ of Life” (1900) “The Scream” (1893) What the Victorian Age knew • Painting/ Symbolism – Fernand Khnopff (1858, Belgium)

36 “The Caress” (1896) What the Victorian Age knew

• English Arts & Crafts Movement (1880s) – John Ruskin: industrialization has caused tasteless mass-produced goods, decline in creativity, prominence of engineering over art – William Morris: return to handmade crafts and communal life; art is not separate from craft; any object can become an artwork – First magazine devoted to the visual arts: “The Century Guild Hobby Horse” (1884) – Revival of fine book printing (Kelmscott Press, Essex House, Doves Press) – 1902: The village of Chipping Campden becomes a commune of the arts & crafts guild

37 What the Victorian Age knew

• English Arts & Crafts Movement

38 William Morris’ fantasy novel “The Story of the Glittering Plain” (1891) What the Victorian Age knew

• European Arts & Crafts Movement () – Henri van de Welde/Velde (1863, Belgium): “The Renaissance in Modern Applied Art” (1901) • Machine-made objects can be art too • Weimar’s “Academy of Fine Arts” (1902), predecessor of the • Architecture can help create a utopian society

39 What the Victorian Age knew

• German Arts & Crafts Movement (1900s) – 1907: Werkbund (Craftsmen Association) in Munich – Design for the age of the machine (vs William Morris’ contempt for machine-made goods) – The “Gesamkultur”: culture for a world in which humans and machines coexist – Peter Behrens (1868, Germany) designs furniture, appliances and industrial components

40 What the Victorian Age knew

• Ukiyo-e influence (1880s) – Japanese painting style that becomes famous in Europe after Japan is forced to open up by the USA

41 What the Victorian Age knew • Painting – : “Entry of Christ into Brussels” (1888) – Ferdinand Hodler: “Night” (1890)

42 What the Victorian Age knew • – Precursors • James Whistler (1834, USA): “Peacock Room” Jules Cheret (1836, France): lithographic posters • Klimt, William Blake, Japanese art, Celtic art • English arts and crafts movement

43 “Peacock Room” (1877) What the Victorian Age knew • Art Nouveau – Jules Cheret’s posters “liberate” women: neither a whore nor a saint but an independent woman who has fun in sexy dresses

44 What the Victorian Age knew • Art Nouveau – Posters/ graphic design

45 Paul Berthon's Ermitage card (1897) What the Victorian Age knew

• Art Nouveau – Primacy of ornament, not only as decoration – Unity of the art and its environment – Encompassing more than the traditional arts (eg posters, fashion, furniture) – Florid, organic forms – Influenced by symbolist poetry (spiritual, metaphysical) reacting to materialism of industrial society – Towards – Not imitation of the past but a truly innovative style

46 What the Victorian Age knew • Art Nouveau/ architecture – (1861)’s house for Tassel in Brussels (1893) – (1867) near Paris (1904)

47 Horta What the Victorian Age knew • Art Nouveau – Posters and magazine illustrations • Eugene Grasset (1841, Switzerland)

Grasset’s poster (1894)

48 What the Victorian Age knew • Art Nouveau – Posters and magazine illustrations • Jan Toorop (1858, Holland)

poster (1894) 49 magazine illustration (1893) What the Victorian Age knew • Art Nouveau – Posters and magazine illustrations • Jan Toorop (1858, Holland)

50 Jan Toorop’s ‘O Grave, where is thy Victory’ (1894) What the Victorian Age knew • Art Nouveau – Aubrey Beardsley (1872, Britain)

Aubrey Beardsley’s illustration for Aubrey Beardsley’s illustration for Wilde’s “Salome” (1894) 51 “Mort d’Arthur”(1893) What the Victorian Age knew • Art Nouveau – Charles Ricketts (1866, Britain)

52 Illustrations for Wilde’s “The Sphinx” (1894) What the Victorian Age knew • Art Nouveau – Alphonse Mucha (1860, Czech)

Mucha: poster for Sarah Bernhardt (1894)

53 Mucha: “Gismunda” (1894) What the Victorian Age knew • Art Nouveau – Henri de Toulouse-Lautrec (1864, France)

54 What the Victorian Age knew • Art Nouveau (1898) – Will Bradley (1868, USA) – Maxfield Parrish (1870, USA)

55 Parrish (1897) What the Victorian Age knew • Art Nouveau/Jugendstil – Magazine “Jugend” (1896, Munich) – Peter Behrens (1868, Germany)

56 (1898) What the Victorian Age knew • Art Nouveau/ Glasgow School – Spiritual symbolist overtones – Margaret Macdonald (1865) – Charles Rennie Mackintosh (1868)

(1896) 57 (1896) What the Victorian Age knew • Art Nouveau/ Sezessionstil – 1897: Young artists “secede” from the Kunstlerhaus of Wien/Vienna – 1898: Art magazine Ver Sacrum – Koloman Moser (1868)

58 Moser’s poster (1902) What the Victorian Age knew

• Art Nouveau/ Sezessionstil – Gustav Klimt (1862, Austria) • ante-litteram • The female body and experience

59 “Beethovenfries” (1902) What the Victorian Age knew

• Gustav Klimt “The Kiss” (1908) “Adele Bloch-Bauer” (1907)

60 What the Victorian Age knew

• Gustav Klimt

“Death and Life” (1910) “The Virgin” (1913)

61 What the Victorian Age knew • Art Nouveau/ Comics – Winsor McCay (1869): “Little Nemo” (1905-14)

62 What the Victorian Age knew

• – Separation of life and art – No representational meaning – Emphasis on originality – Complete autonomy of the work of art

63 What the Victorian Age knew

• Modernism – Inherently transgressive – Liberation from the oppression of dogmas – Challenging established art canons – Blurring the border between high and low art – Invention of the "avantgarde" – Style encapsulated in programmatic "movements" – Growing role of art theory

64 What the Victorian Age knew

• Painting – • Art expresses the anxiety of the age • Inspired by Dostoevsky, Strindberg, Nietzsche, Munch • “Die Brucke” (Dresden) still representational + “” (Munich) mostly abstract • Dresden: , • Munich: Vasilij Kandinsky, ,

65 What the Victorian Age knew

• Expressionism – Oskar Kokoschka (1886, Germany): • “Die Windsbraut/ Bride of the Wind” (1914) • “The Prometheus Triptych” (1950)

66 What the Victorian Age knew

• Expressionism – (1890, Austria)

“Embrace” (1917)

“The Self Seer II” (1913)

67 What the Victorian Age knew

• Expressionism – Vasilij Kandinskij (1866, Russia): • First abstract watercolor (1910) • Art with no subject

“Study for Composition 7” (1913) “Gelb-Rot-Blau” (1925)

68 What the • Vasilij Kandinskij Victorian Age knew

“Composition IX” (1936)

“Composition X” (1939)

69 What the Victorian Age knew

• Expressionism (quasi) – Franz Marc (1880, Germany) – Max Beckmann (1884, Germany)

“Night” (1919)

Marc: “The Large Blue Horses” (1911)

70 What the Victorian Age knew

• Painting – Fauve/ Wild Beast (1905) • Exaggerated colors and shapes • (1869, France)

“Le chambre rouge” (1908) 71 “” (1905) What the Victorian Age knew

• Painting/ Fauve – Matisse

72 “The Dance” (1909) What the Victorian Age knew

• Painting/ Before – Frantisek Kupka (1871, Czech) • Geometric abstraction

“Disks of Newton” (1912) 73 “First Step” (1909) What the Victorian Age knew

• Painting/ Before cubism – (1881): “Les Demoiselles d'Avignon” (1907) • Influenced by Gauguin and Cezanne • Influenced by African sculpture

Not yet cubist (too Optical erotic and too synthesis of colorful) perspectives. Simultaneous vision. 74 What the Victorian Age knew

• Painting – Cubism • For the first time since the Renaissance the goal is not an accurate representation of reality • Disposal of perspective ( with no depth) • Simultaneous views of an object (different perspectives can coexist) • New conception of space • New process of visual composition • Formalistic (about the pictorial technique itself) • Mostly monochrome, mostly linear (not curve) • Very few external influences (Cezanne) 75 What the Victorian Age knew

• Painting – Cubism • Reaction against symbolism • Focus on objects of ordinary life • A dialogue between representation and abstraction: analytic (the subject is abstracted according to the principle of simultaneous vision, but the painting contains clues to reconstruct it) or synthetic (abstractions are used to create the subject, from abstraction to representation)

76 What the Victorian Age knew

• Painting – Cubism • For the first time in history, novelty (for the sake of novelty) prevails over skills • Even of ordinary materials incorporated into the paintings (1912) • 1925: End of Cubism (Picasso’s surrealist “Les Trois Danseuses”) • Art has become fashion: the art world is in perennial need of a novelty • Art becomes big business • The artist becomes a star and a rich person

77 What the Victorian Age knew

• Painting – Cubism • A return to non-representational art: reconnects with ancient art (and, in spirit, with Islamic and Eastern art)

78 What the Victorian Age knew • Cubism – (1882, France) • Cezanne’s strategy of turning 3D into 2D via form disassembly and multiple perspectives

“Violin and Candlestick” (1910)

“Violin and Palette” (1910) What the Victorian Age knew • Cubism – Georges Braque (1882, France)

“The Portuguese” (1911) What the Victorian Age knew • Cubism – Pablo Picasso (1881, Spain)

81 “Female Nude” (1910) “Ma Jolie” (1911) “L'Accordeoniste” (1911) What the Victorian Age knew • Cubism – Pablo Picasso • “” (1921) • “Ambroise Vollard” (1910)

82 What the Victorian Age knew • Cubism – (1887)

“Nu descendant un escalier n° 1” (1911)

“Nu descendant un escalier n° 2” (1912) 83 What the Victorian Age knew

• Cubism “The Bride” (1912) – Marcel Duchamp (1887)

“Passage of the Virgin to 84 the Bride” (1912) What the Victorian Age knew • Cubism – Ferdinand Leger (1881) • Chaotic industrial world • Machine

“” (1919) “The City” (1919) 85 “Nudes in the Forest” (1910) What the Victorian Age knew • Cubism – Ferdinand Leger (1881)

“Le Grand Dejeuner” (1921) “The City” (1919) 86 What the Victorian Age knew • Cubism – (1879, France) • Occult cubism/ based on kabbala, alchemy and extra dimensions

87 “Dances at the Spring” (1912) “Catch as Catch Can” (1913) What the Victorian Age knew

• Cubism – (1885, France) • Late and proto-expressionism

88 “St-Severin” (1909) “Eiffel Tower in Trees” (1909) What the Victorian Age knew

• Cubism – Robert Delaunay (1885, France) • Geometric abstraction

89 “City of Paris” (1912) What the Victorian Age knew

• Cubism – (1887, France) • Synthetic cubism • Rediscovery of light and color

90 “Portrait of Picasso” (1912) “Man in the Cafe” (1912) What the Victorian Age knew

• Cubism – (1881) – (1883)

91 “Bathers” (1913) “Bathers” (1913) What the Victorian Age knew

• Cubism – (1871, USA)

92 “Harbor Mole” (1913) What the Victorian Age knew

• Orphism – Cubism with strong colors – (1885, France)

“Le Bal Bullier” (1913) 93 What the Victorian Age knew

• – Futurist manifesto (1910) – Glorifying the future, not the past – Industrial and urban romanticism – Worship of machines – Representation of motion (multiple overlapped images of the same object as it moves) – Concerned with the time dimension (whereas cubism was concerned with space and impressionism with light)

94 What the Victorian Age knew • Futurism – Filippo Marinetti (1876) • Writing is a visual art • Inspired by Mallarme’s “Un coup de des jamais n'abolira le hasard/ A throw of the dice will never abolish chance” (1897) and Apollinaire’s “Calligrammes”1918)

“Les mots en liberté futuristes/ The Futurist words-in- freedom” (1919)

95 What the Victorian Age knew

• Futurism – Carlo Carra (1881) “Dynamic Hieroglyphic of the – (1883) Bal Tabarin” (1912)

“Funeral of the Anarchist Galli” (1911)

96 “Riot in the Galleria” (1909)

• Futurism – (1882) What the Victorian “Stati d’Animo” (1911) Age knew

“Stati d’Animo” (1911) “City Rises” (1912)

97 What the Victorian Age knew

• Futurism – : “Dynamismo of a Dog on Leash” (1912) – Umberto Boccioni: “Unique Forms of Continuity in Space” (1913)

98 What the Victorian Age knew

• Futurism – (1877, USA)

“Brooklyn Bridge” (1918)

99 “Battle of Lights, Coney Island” (1914) What the Victorian Age knew

• Futurism – Antonio Sant’Elia (1888, Italy)

“La Citta` Nuova” (1914)

100 What the Victorian Age knew

• Cubism and Futurism – (1879, Ukraine): “Scissor Grinder” (1912)

101 What the Victorian Age knew

• Cubism and Futurism – (1881, Russia): “Airplane over Train” (1913)

102 What the Victorian Age knew

• – 1916: Cabaret Voltaire in Zurich – International: German (Jean/Hans Arp, Hugo Ball, ), Romanians (), French (Andre Breton, Marcel Duchamp, Francis Picabia), US (/ Emmanuel Radnitzky) but mostly expatriates – Nihilistic – Sardonic – Provocative

103 What the Victorian Age knew

• Dada – An attack on traditional forms of art – Transient and irrelevant objects – Enemy: the bourgeoisie – Dada negates everything, including itself – 1922: End of Dada (Andre Breton promotes it to an art movement and therefore kills it)

104 What the Victorian Age knew

• Dadaism – Marcel Duchamp (1887, France) • “Tu m” (1918) with safety pins and nut and bolt • “LHOOQ” (1919) a readymade Mona Lisa with moustaches

105 What the Victorian Age knew

• Dadaism – Marcel Duchamp: La mariée mis à nu par ses célibataires même/ The Bride Stripped Bare by Her Bachelors Even (1923) - painting on clear glass – A “machine drawing”

106 What the Victorian Age knew

• Painting – • 1924: Breton’s manifesto • Mainly literature • Spontaneous creativity • Automatism • 1939: World War II ends Surrealism and some migrate to the USA

107 What the Victorian Age knew

• Painting – Surrealism • Freudian influence: dreams, subconscious • Distortion of space and time • Metaphors of time (shadow, clocks) • Not only depth, but exaggerated depth

108 What the Victorian Age knew

• Painting/ Surrealism – Giorgio DeChirico (1888, Italy) “Melancholy and Mystery • The hidden reality of a Street” (1914) • Barren silent cityscapes • Metaphysical

109 “Enigma dell'Ora” (1912) What the Victorian Age knew •

“Hector and Andromache” (1917)

110

“Nostalgia dell’Infinito” (1917)

“Il grande metafisico” (1917) What the Victorian Age knew • Painting – (1887, Russia) • Russian and Jewish folklore • Childish cartoonish fantastic imagery • Cubism and surrealism “I and the Village” (1911) • Collapse of the laws of Physics

111 “Au Dessus de la Ville” (1924) What the Victorian Age knew

• Painting – Marc Chagall (1887, Russia)

“Promenade” (1918)

112 “Birthday” (1915) What the Victorian Age knew

• (1917-31) – Pure geometric abstraction is the ultimate consequence of cubism – Schoenmaekers’ book “Het nieuwe wereldbeeld/ The New Image of the World” (1915): cosmic importance of the orthogonal, cosmic importance of the three fundamental colors (red, yellow, blue) –

113 What the Victorian Age knew

• De Stijl – Piet Mondrian (1872, Holland)

“Composition II in Red, Blue, and Yellow” (1930)

114 “Composition No. VII” (1913) What the Victorian Age knew

• De Stijl – (1883, Holland)

“Card Players” (1917)

115 “Card Players” (1916) What the Victorian Age knew

• – Kazimir Malevich – The straight line represents human domination over chaotic nature – The supremacy of mind over matter – A painting exists regardless of the world – “It is not an empty square… it is full of the absence of any object” – Kupka’s abstract lesson

116 What the Victorian Age knew • Suprematism – Kazimir Malevich

“Black trapezium and red square” (1915) 117 “White on White” (1918) What the Victorian Age knew

• – Braque and Picasso (“papiers colles”) – Hanna Hoch (1889, Germany) – Kurt Schwitters (1887, Germany)

“Merz 94 Grunflec” (1920)

“Cut with the Kitchen Knife” (1919) 118 What the Victorian Age knew • Russia – • Merging art and engineering • Harmony between art and new technology • The materials themselves have an artistic propensity • Utilitarian art instead of art for art’s sake, art to serve society’s needs • Practical art prevails over fine art

119 What the Victorian Age knew • Russia – Constructivism • Downplaying painting and sculture • Against artistic genius (against inspiration, intuition, etc) • Towards the death of all isms • Communism is creating a new society, and art should give it a new shape

120 What the Victorian Age knew • Constructivism – (1895) “Painting Relief” (1914)

121 “Monument to the Third International” (1920) What the Victorian Age knew • Constructivism – Naum Gabo (1890)

"Constructed No.2” (1915)

"Kinetic Construction" (1920) 122 What the Victorian Age knew • Constructivism – Naum Gabo • But later: Transparent plastic material so that space becomes the ultimate sculptural medium

“Linear Construction No 1" (1946) “Linear Construction No 2" (1949) 123 What the Victorian Age knew • Constructivism – (1890): “Proun 99” (1925)

124 What the Victorian Age knew • Constructivism – (1891) • Kinetic sculpture • Graphic design and photomontage

“Hanging Sculpture” (1920)

Cover for “Miss Amend” (1924)

125 What the Victorian Age knew

• Sculpture – (1840, France) • Graeco-Roman and Renaissance art

The Burghers of Calais (1889) The Three Shades (1886)

126 The Thinker (1902) What the Victorian Age knew

• Sculpture – Auguste Rodin (1840, France)

127 The Gates of Hell (1917) What the Victorian Age knew • Sculpture – Constantin Brancusi (1876, Romania) • Simple elegant post-cubist geometry • Spiritual (quasi-Zen) quality “The Kiss” (1909) “Bird in Space” (1928) “Mademoiselle Pogany” (1912)

128 What the Victorian Age knew

• Sculpture – Alfred Gilbert (1854, Britain): metal, polychrome – (1884, Italy)

129 “Eros “, Piccadilly Circus (1893) "Head" (1912) What the Modern Age knew

• Sculpture – (1887, Ukraine) • Cubism

130 “Dancers” (1912) “Walking Woman” (1912) “Medrano” (1915) What the Modern Age knew

• Sculpture – (1891, Lithuania) • Cubism • “There is no difference between painting and sculpture” “Man with a Guitar” (1915) “Still Life with Musical Instruments” (1918)

131 “Sailor with Guitar” (1914) What the Modern Age knew

• Sculpture – Jacques Lipchitz (1891, Lithuania)

132 “Joie de Vivre” (1927) What the Modern Age knew

• Fashion – Charles Worth (opened 1858 in Paris) revolutionizes the fashion industry – Callot Seurs, the first fashion house run by women (1895) – Leon Bakst (costume designer of Diaghilev/Stravinsky ballets) – Paul Poiret allows women to display their body – Mariano Fortuny – Coco Chanel

133 What the Victorian Age knew

• Neogothic Architecture – Augustus Pugin: Houses of Parliament, London (1840) – Ralph Adams Cram: St John the Divine, New York (1892)

134 What the Victorian Age knew

• Neogothic Architecture – George Gilbert Scott: Midland Grand/ St Pancras Renaissance, London (1873) – Giles Scott: Anglican Cathedral, Liverpool (1910) London

Liverpool

135 What the Victorian Age knew

• Revivalist Architecture – Charles Garnier: Opera, Paris (1861) – Joseph Poalaert: Palais de Justice, Brussels (1866) – Henry Richardson: Trinity Church, Boston (1872) – Paul Abadie: Sacre Coeur, Paris (1874) – Giuseppe Sacconi: Monumento a Vittorio Emanuele (1885) – John-Francis Bentley: Westminster Cathedral, London (1895) – Richard Morris Hunt: Court of Honor at the Columbian Exposition, Chicago (1893) 136 Westminster What the Victorian Age knew Cathedral

Court of Honor at the Columbian Exposition

Sacre Coeur

Brussels Monumento a Vittorio Emanuele

137 What the Victorian Age knew

• Revivalist Architecture – Christian Jank: Neuschwanstein Castle (1869- 92) – George Hauberisser: Neues Rathaus, Munich (1909) – Alexander Gornostajev: Uspenski Cathedral, Helsinki (1868)

138 Uspenski, Helsinki Munich

Neuschwanstein

139 What the Victorian Age knew

• Art Noveau – Antoni Gaudi (1852) • Sagrada Familia, (1883-..) • Casa Batllo, Barcelona (1905) – Otto Wagner: Steinhof Asylum, Vienna (1905) – Joseph Maria Olbricht: Secession Gallery, Vienna (1899)

140 What the Victorian Age knew Casa Batllo • Art Noveau Sagrada Familia

Steinhof Secession Gallery Asylum

141 What the Victorian Age knew

• Art Nouveau/ USA – (1856) • Carson Pirie Scott, Chicago (1904) – Bernard Maybeck (1862) • Palace of Fine Arts, San Francisco (1915)

142 What the Victorian Age knew

• Architecture of the Victorian Age – Richard Turner: Palm House, Kew (1845) – Joseph Paxton: Crystal Palace, London (1851) – Gustave Eiffel: Tour Eiffel (1889) – Hendrik Berlage: Stock Exchange, Amsterdam (1898) – Daniel Burnham: Flatiron, New York (1902) – William Kendall: Municipal Building, New York (1906) – Eliel Saarinen: Railway Station, Helsinki (1910) – Cass Gilbert: Woolworth Building, New York (1913)

143 Crystal Palace Municipal What the Victorian Age knew

Flatiron

Woolworth

Helsinki What the Victorian Age knew

• Skyscrapers – Steel frame and electricity (elevators and lighting) make high-rise buildings feasible for rebuilding Chicago after the great fire (1871) – William LeBaron-Jenney’s “Home Insurance Company Building” (1885) – Paul Sullivan publishes the article “The Tall Office Building Artistically Considered” (1896)

145 What the Victorian Age knew

• Expressionism – Peter Behrens (1868): Turbine Hall, Berlin (1909) – Max Berg: Jahrhunderthalle, Breslau (1913) – Peter Jensen Klint (1853): Grundtvig Church, Copenhagen (1913) – Henry van de Velde (1863): Werkbund Theatre, Cologne (1914, destroyed) – Hans Poelzig (1869): Grosses Schauspielhaus, Berlin (1918, destroyed) – JM Van der Meij: Scheepvaarthuis, Amsterdam (1912)

146 What the Victorian Age knew

Werkbund Theatre

Grundtvig Church Turbine Hall

147 Jahrhunderthalle What the Victorian Age knew • Expressionism – Bruno Taut (1880): Glass House, Cologne (1914) – Hans Poelzig (1869): Grosses Schauspielhaus, Berlin (1919) – (1887): Einsteinturm, Potsdam (1921)

148 What the Victorian Age knew

• Expressionism – Kurt Schwitters (1887, Germany) • Merzbau (1923)

149 What the Victorian Age knew • Cinema – Auguste and Louis Lumière – Stellan Rye/ Paul Wegener – “The Student from Prague” (1913)

“J'accuse” (1918)

“The Arrival of a Train at La Ciotat 150 Station” (1896) What the Victorian Age knew

• Cinema – Georges Melies (1861, France)

“A Trip to the Moon” (1902)

“Tunneling the English Channel” (1907)

151 “The Kingdom of Fairies” (1903) What the Victorian Age knew

• Cinema – Louis Feuillade (1873, France)

“Fantomas” (1913) “The Vampyres” (1915)

152 “Judex” (1916) What the Victorian Age knew • Cinema – David Wark Griffith (1875)

“Intolerance” (1916) “The Birth of a Nation” (1915)

153 What the Victorian Age knew

• Fiction – Leo Tolstoj (1828, Russia): “War and Peace” (1869) – George Eliot (1819, Britain): “Middlemarch” (1872) – Emile Zola (1840, France): “L’Assommoir” (1877) – Fodor Dostoevsky (1821, Russia): “Brothers Karamazov” (1880) • Attack against Western values (materialism, logic, science) • Russian nationalism and Christian spirituality • Transforming theology into human tragedy – Joaquim-Maria Machado de Assis (1835, Brazil): “Memorias Postumas” (1881) – Joris Huysmans (1848): "A Rebours" (1884) 154 What the Victorian Age knew

• Fiction – Diffusion of the printed book makes rhymed poetry less essential – Boom of novels and free-verse poetry

155 What the Victorian Age knew

• Fiction – Perez Galdos (1843, Spain): "Tristana" (1892) – Jose-Maria Eca de Queiros (1845, Portugal): "Casa de Ramires" (1897) – (1875, Germany): "Buddenbrooks" (1901) – Henry James (1843, USA):"Golden Bowl (1904) – (1857, Britain): "Nostromo" (1904) – Maksim Gorkij (1868, Russia): "The Mother" (1907) – (1883, Germany): "Der Prozess" (1915) • The individual lives in a rational society driven by forces that he not understand and cannot control

156 What the Victorian Age knew

• Theatre – (1828, Norway): “Wild Duck” (1884) – (1873): "" (1894) – (1849, Sweden): "The Dream" (1902) – (1860, Russia): ”The Cherries Garden" (1904) – Gerhart Hauptmann (1862): "Die Weber" (1892) – Arthur Schnitzler (1862): "Reigen/ La Ronde" (1896) – (1864, Germany): "Die Buchse der Pandora" (1904) – Bernard Shaw (1856, Britain): "Pygmalion" (1914) 157 What the Victorian Age knew

• Poetry – (1821, France): “Les Fleurs du Mal” (1857) – Robert Browning (1812): “The Ring And The Book” (1869) – Isidore de Lautreamont (1846): "Les Chants de Maldoror" (1868) – (1854, France): "Une Saison En Enfer" (1873) – Stephane Mallarme` (1842, France): "L'Apres-Midi d'un Faune" (1876) – Gerald-Manley Hopkins (1844, Britain): "The Wreck Of The Deutschland” (1876) 158 What the Victorian Age knew

• Poetry – Ruben Dario (1867, Nicaragua): “Prosas Profanas” (1896) – Antonio Machado (1875, Spain): "Campos de Castilla" (1912) – Rabindranath Tagore (1861, India): "Gitanjali" (1913) – (1880): "Alcools" (1913) – Paul Valery (1871, France): "La Jeune Parque" (1917)

159 What the Victorian Age knew

• Music – Richard Wagner (Germany, 1813): • Der Ring des Nibelungen: 12 hours of opera • He writes the words for his own music • Gesamtkunstwerk (total art, inspired by pre- Christian myth), formulated in 1849 • “Tristan”: an opera made of discords • Influence of Schopenhauer – Modest Moussorgsky (Russia, 1839): Boris Godunov (1874) – Giuseppe Verdi (Italy, 1813): • La Traviata: real-life contemporary subject • Aida (1871): grand opera • Requiem (1874) 160 What the Victorian Age knew • Music – Johannes Brahms (Germany, 1833): Symphony 4 (1885) – Giuseppe Verdi (Italy, 1813): “Otello” (1887) – Antonin Dvorak (Czech, 1841): Symphony 9 (1893) – : • Also Sprach Zarathustra (1896) • Elektra: a dissonant expressionist opera – Fryderyk Chopin (Poland, 1810) – Ferencz Liszt (Hungary, 1811)

161 What the Victorian Age knew • Music – French grand opera from Rossini's William Tell (1829) to Verdi's Aida (1871)

162 What the Victorian Age knew • Music – Aleksandr Skrjabin (Russia, 1872): Divine Poem (1905) – Gustav Mahler (Austria, 1860): Symphony 9 (1910) – (Austria, 1874): • Second String Quartet (1908): atonal • Erwartung (1909): atonal opera • Lunaire (1912): decadence and “degeneration” (first sprechgesang) • “Piano Suite” (1923): serial music (no note prevails) – Claude Debussy (France, 1862): Jeux (1912)

163 What the Victorian Age knew • Music – Igor Stravinskij (Russia, 1882): Le Sacre du Printemps (1913) – (USA, 1874): Symphony 4 (1916) – Sergej Prokofev (Russia, 1891): Classic Symphony (1917) – (France, 1866): Socrates (1918)

164 What the Victorian Age knew • Ballet/ Italy – Luigi Manzotti • His extravagant ballets at Milano’s La Scala resurrect ballet in Italy: “Excelsior” (1881) with Indian, Arab, Chinese and Turkish dances for a cast of 500 dancers, 12 horses, two cows and an elephant • Italian ballet masters document Manzotti’s ballets and export them throughout Europe and the USA • Poor artistic value and virtually no virtuoso skills required from dancers

165 What the Victorian Age knew • Ballet/ Italy – Italian ballet masters write and stage their own ballets, unlike the French who use professional writers, and unlike Italian opera composers who used professional librettos – Italian ballet is rapidly obliterated by the competition

166 What the Victorian Age knew • Ballet/ Russia – Jules Perrot’s five-hour “Eoline” (1858) and Marius Petipa‘s five-hour“The Pharaoh’s daughter” (1862) at a time when ballet in Paris and Milan shares the program with opera – 1882: Aleksandr II abolishes the monopoly of the imperial theaters, thereby causing a boom of popular musical theaters and an “Italian invasion” of Manzotti’s dancers staging sensational extravaganzas (ballets- feeries) – The ballet of the imperial theaters continues but represents the ossified aristocratic world

167 What the Victorian Age knew • Ballet/ Russia – Marius Petipa + Pyotr Ilyich Tchaikovsky + Perrault (story) + Carlotta Brianza (dancer) + Enrico Cecchetti (dancer): “The Sleeping Beauty” (1890), basically an elegant high- brow feerie with virtuoso Italian-style dancers AND pop music – Tchaikovsky is the first composer to conceive of ballet as a major art with symphonic scores that stand on their own – Lev Ivanov (Russian choreographer) + Tchaikovsky + Hoffmann (story): “The Nutcracker” (1892) – Ivanov-Tchaikovsky’s “Swan Lake” (1895) – Petipa-Glazunov’s “Raymonda” (1898) 168 What the Victorian Age knew • Ballet/ France – (USA) promotes “free dance” based on physiology (the “solar plexus”) in Paris (1900) – The exotic Mata Hari (Holland) debuts in Paris (1905) – Oriental shows by Ruth St Denis (USA) in Paris (1906)

169 What the Victorian Age knew • Ballet/ Russia – : homosexual patron of the Russian arts founds the magazine “Mir Isskustva” (1898) – Influenced by Duncan, Mikhail Fokine choreographs “The Dying Swan” (1905), a solo improvisatory dance for Anna Pavlova in Russia – Savva Marmontov and Maria Tenisheva sponsor the Russian arts and crafts movement in their country estates that become artists’ colonies: original art inspired by Russian folk art

170 What the Victorian Age knew • Ballet/ Russia to France – Franco-Russian alliance (1894), Triple Entente (1907) – Tolstoy and Dostoevsky – Exhibition of Russian arts and crafts in Paris (1900) – Sergei Diaghilev’s exhibition of Russian art in Paris (1906) – The salons and rich patron sponsor Diaghilev’s company

171 What the Victorian Age knew • Ballet/ France – Sergei Diaghilev’s “Le ” open in Paris (1909): Mikhail Fokine (choreographer and dancer), Anna Pavlova, Tamara Karsavina and (dancers), Leon Bakst (Lev Rozenberg), Aleksandr Golovin and Aleksandr Benois (scenographers)

172 What the Victorian Age knew

• Ballet/ France – Mikhail Fokine choreographs • ’s exotic “Firebird” for Karsavina (1910) • Rimsky-Korsakov’s sensual and exotic “Scheherazade” (1910) for Karsavina and Nijinsky • The sensual “Le Spectre de la Rose” (1911) for Nijinsky • Igor Stravinsky’s Russian-folkish “Petrouchka” for Nijisky (1911)

173 What the Victorian Age knew • Ballet/ France – Sergei Diaghilev shocks Paris with an erotic production of Debussy’s “L’Apres-midi d’un Faune” (1912) choreographed by Nijisky (who dances a scene in which he masturbates on stage) and Stravinsky’s Russian-folkish and dissonant “Le Sacre du Printemps” (1913) choreographed by Nijisky – The scandal and World War I (1914) kill the Ballets Russes – The “Ballets Russes” never once perform in Russia

174 What the Victorian Age knew • Culture/ Russia – 1898: Konstantin Stanislavsky's Art Theater stages Anton Chekhov's "The Seagull" – 1901: The Russian Orthodox Church excommunicates Lev Tolstoy – 1903: Maksim Gorky's play "The Lower Depths" stages thieves, prostitutes and tramps – 1906: Vsevolod Meyerhold produces Aleksandr Blok's play "Balaganchik" – 1910: Lev Tolstoy dies, possibly the most famous writer in the world – 1911: Success of the "Amazons", female avantgarde painters (Alexandra Exter, Natalia Goncharova, Liubov Popova, , Varvara Stepanova, and Nadezhda Udaltsov)175

What the Victorian Age knew • Russia – 1913: Aleksei Kruchenykh writes a libretto in language and Malevich designes the stage for cubist-futurist opera "" – 1915: Vladimir Tatlin's art launches "Constructivism" in Russia – 1915: Kazimir Malevich's art launches "Suprematism" in Russia – 1917: Soviet conception of art: Art as a device to improve human nature

176 What the Victorian Age knew • Russia – 1918: The Svomas (Free State Art Studios) are inaugurated in Moscow – 1918: 's futurist play "Misteriya-Buff" is produced by Vsevolod Meyerhold with sets designed by Kazimir Malevich

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