chapter 32 the modernist assault. ezra pound: “make it new.”
TRANSCRIPT
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Chapter 32
The Modernist Assault
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Ezra Pound:
“Make it new.”
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Modernist ArtCubism
Futurism
The fauvism
Abstract sculpture
Nonobjective art
Constructivism
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FeaturesRevolt against the tyranny of representation
Aimed to evoke rather than describe experience
Marked by primitivism, abstraction, and experimentation
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CubismPablo Picasso (1881-1973)
His credo: “Art must be subversive.”
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Les Demoiselles d’Avignon, Picasso, 1907
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Cubism(1) Analytical cubism: a multiplicity of viewpoints replaced one-point perspective
(2) Synthetic cubism: emerged around 1912. A combination of painting and sculpture by means of collage.
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Still Life with Chair-Caning, 1911-12, Picasso
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Guitar, 1912-13, Picasso
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FuturismFilippo Tommaso Marinetti (Italian)
Futurist Manifesto (1909): “We declare . . . that there can be no modern painting except from the starting point of an absolutely modern sensation . . . . A roaring motorcar is more beautiful than the winged Victory of Samothrace.” (Fiero 827)
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FuturismFuturist Manifesto (1909): “The gesture that we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself.” (Fiero 827)
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FuturismFuturist painters multiplied the image, attempting to communicate the dynamic energy and the power associated with machines, using these as metaphors for modern life. http://personal.cityu.edu.hk/~entim/Professional/Courses/EN3524/Modernism/Modernist_design.html
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Boccioni, Unique Forms of Continuity in Space, 1913
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Bella, Dynamism of a Dog on a Leash, 1912
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Giacomo Balla. Speeding Automobile. 1912
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Duchamp, Nude Descending a Staircase (No. 2), 1912.
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Duchamp Descendinga Staircase, Life Magazine 284,
1952.
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Russian ConstructivismRevealed the tendency towards abstraction and the quest for new methods of artistic representation characteristic of the early 20th century in Russia.
First introduced by Tatlin in 1915, it began with a focus on abstraction through "real materials" in "real space."
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The 3rd International Tower, 1919-1920, Vladimir Tatlin
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Spatial Force Construction (1920-21),Liubov Popova
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Aeroplane Flying, 1915, Kasimir Malevich
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Black Square and Red Square, 1915, Kasimir Malevich
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Red Square: Painterly Realism of a PeasantWoman in Two Dimensions, 1915, Malevich
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Suprematist Composition,1915, Malevich
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AbstractionNonobjective art
Wassily Kandinsky
SuprematismKasimir Malevich
De Stijl (The Style)Piet Mondrian
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Wassily KandinskyOne of the most original and influential artists of the twentieth-century.
His "inner necessity" to express his emotional perceptions led to the development of an abstract art.
Kandinsky's compositions were the culmination of his efforts to create a "pure painting" that would provide the same emotional power as a musical composition. http://www.glyphs.com/art/kandinsky/
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Beginnings: "Mother Moscow" 1866-1896
Metamorphosis: Munich 1896-1911.
Breakthrough to the Abstract: The Blue Rider, 1911-1914
Russian Intermezzo 1914-1921.
Point and Line to Plane: The Bauhaus 1922-1933
Biomorphic Abstraction: Paris 1934-1944.
Wassily Kandinsky
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Composition IV, 1911
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Composition V, 1911 (The Deluge)
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Composition VII, 1913 (The Resurrection, the Last Judgment, the Deluge, the Garden of Love)
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Composition VIII, 1923
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Composition X, 1939
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Panel for Edwin Campbell #1, 1914
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De stijl: Neo-plasticism
Dutch art movement begining c.1916-17
centered mainly around artist Piet Mondrian
often referred to as De Stijl after a magazine published by the group http://users.senet.com.au/~dsmith/constructivism.htm
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De stijl: Neo-plasticism
emphasized the geometrical, ordered, simplified and precise qualities of art and design as opposed to organic forms. Saw line and primary colors as important
began as a pictorial based style like Cubism but became increasingly non-objective http://users.senet.com.au/~dsmith/constructivism.htm
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Piet Mondrian at home
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Red Tree, 1908, Piet Mondrian
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Gray Tree, 1911, Piet Mondrian
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Trees, 1912, Piet Mondrian
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Composition II, Line and Color, 1911, Piet Mondrian
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Composition with Color Planes and Gray, Lines 1, 1918
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Composition A: Composition with Black, Red, Gray, Yellow, and Blue,1920, Piet Mondrian
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Composition with Red, Yellow, and Blue (1921)
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Red, Blue Chair, 1918, Gerrit Rietveld
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Red/blue Table, 1923, Gerrit Rietveld
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Schroder House, Gerrit Rietveld, at Utrecht, The Netherlands, 1924 to 1925.
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The End