Chapter 3.9 Late Modern and Early Contemporary Art in the Twentieth Century PART 3 HISTORY AND CONTEXTThe Revolution of Color and Form ▪ Pioneers of modern art:
◆ Matisse, Picasso, Braque ▪ Friendly rivalry ▪ Each contributed to the expansion of artistic possibilities
◆ Matisse: color, pattern and shape
◆ Picasso and Braque: form and shape and space
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 Henri Matisse ▪ Founded Fauvism (French for “wild beasts”)
◆ Expressive forms
◆ Decorative style
◆ Bold use of color
◆ Pattern
◆ His style changed over his lifetime many times
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Henri Matisse Woman with Hat 1905 Fauvism
The bold color is what inspired the term. Intense color combinations and relationships were meant to be expressive. Spontaneous, bold strokes made it look more energized. Not interested in copying nature. Henri Matisse, Joy of Life, 1905–6. Oil on canvas, 5’9⅛” × 7’10⅞”. Barnes Foundation, Merion, Pennsylvania Henri Matisse, The Red Studio, 1911. Oil on canvas, 5’11¼” × 7’2¼”. MoMA, New York Note the flattening. Chapter 3.9 Late Modern and Early Contemporary Art in the Twentieth Century PART 3 HISTORY▪ Matisse AND CONTEXT often started with complex sketches, later simplifying the image ▪ He used paper cutouts to help plan compositions ▪ Color could be used harmoniously or discordantly (clash, jarring, ugly) ▪ Color is all about expressing emotions and feelings
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Henri Matisse Woman in the Purple Robe 1937
Here the flattening and patterning is pronounced. The line is bold, loose and emphasizes pattern and movement. Henri Matisse Blue Nude 1952 His cut-out series Chapter 3.9 Late Modern and Early Contemporary Art in the Twentieth Century PART 3 HISTORYPicasso, AND CONTEXT Braque, and Cubism
▪ Picasso and Braque worked together to develop Cubism ▪ Concentrated on geometric form and the construction of pictorial space ▪ Depicted objects and figures from more than one side at the same time ▪ https://www.khanacademy.org/humaniti es/art-1010/early- abstraction/cubism/v/picasso-guitarist
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Pablo Picasso, Les Demoiselles d’Avignon, 1907. Oil on canvas, 8’ × 7’8”. MoMA, New York
Note the inspiration from African art Pablo Picasso Still Life with Compote and Glass 1915 Shape versus form. Varied textures and allusions to realistic objects. Pablo Picasso Guernica 1937 Chapter 4.1 Art and Community PART 4 THEMES Pablo Picasso, Guernica
◆ General Franco allowed Germans to test weapons on small town in northern Spain and 1000 civilians died in three hours ▪ Picasso’s painting:
◆ This is Pablo Picasso’s response to Spain’s military dictator, Franco, who allowed the two Germans to test their bombs on Franco’s own countrymen. Art and social protest. The only way Picasso found out about the event was through Parisian newspapers. This is because Franco controlled all the media. In this rather large-scale work we see only strong contrasting values. This is meant to be eye-catching. We see hallmark style of juxtaposing shape versus form which creates a shattered sense of space. That shattering is meant to visually echo with happening in the town - it is being bombed to smithereens.
◆ We see the symbol of Spain in the bull. The two light sources here are the light of knowledge. Picasso is actually shedding light and wound the world see what is happening in Spain. We see the people on fire or dead children chaos in the streets.
◆ Picasso will be banned from the country by Franco never to return again.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Georges Braque, Houses at L’Estaque, 1908. Oil on canvas, 28¾ × 23½”. Kunstmuseum Bern, Switzerland Georges Braque Violin and Candlestick 1910
An outcome of Georges' obsession for form and stability. He wants the viewer's mind to move around freely within the painting. To achieve this, the painter conglomerated the subjects at the in a grid like structure & covered the boundaries of the black-outlined objects using earth-toned colors. There are compound surfaces on a flat plane, enabling onlookers to appreciate more of forms at more angles. Marc Chagall I and the Village 1911 (left) Juan Gris, Bottle of Banyuls, 1914. collage (right) All these artists started exploring cubism, as a style, but changed it over time to suit their message and artistic voice Charles Demuth Machinery 1920 (above left) Piet Mondrian Gray Tree 1911 (above right) Fernand Leger Soldier with Pipe 1916 (right) (from left to right) Alexander Archipenko Walking Woman 1912 Gino Severini Blue Dancer 1912 Marcel Duchamp Nude Descending a Staircase 1912 Chapter 3.9 Late Modern and Early Contemporary Art in the Twentieth Century PART 3 HISTORY AND CONTEXT
MoMA Video: Pablo Picasso: Les Demoiselles d’Avignon
Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields