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www.lenguajesartisticosupc.blogspot.com 1 Una mirada al Post Impresionismo desde el MoMA Nueva York, Diciembre 2012. Las vitrinas de las tiendas cercanas al Museo de Arte Moderno parecen parte de una obra de Gauguin: colores y más colores que reflejan que los días festivos aún no han terminado pese a que el 24 y 25 ya pasaron al olvido. Por mi parte, la excitación por estar en NY ha disminuido considerablemente si hago una comparación con mi primera vez: el Subway dejó de ser un laberinto plagado de culebras de colores; el frío dejó de ser un impedimento para ir de arriba a abajo (un coat de UNIQLO es una buena opción si se busca algo abrigador pero ligero, que no te haga parecer un hombre de nieve a punto de dar a luz y que no te cueste un ojo de la cara); y, por supuesto, el reconocer calles me ahorra bastante tiempo. Sin embargo, esta ciudad, cuyo nombre hace honor al duque de York y Albany, sabe entregarte, cual hechicera, aquello que te va a ser enamorarte de ella una vez más. En este viaje, ya no fue la visita al Empire State o el caminar por la 5ta Avenida lo que me cautivó. Más bien, el volver a caminar por los pasillos del MOMA luego de haber estudiado el curso de Lenguajes Artísticos me hizo sentir distinto, no exagero, como si visitara la casa de viejos amigos con los que no he hablado durante un tiempo pero de quienes sé muchos de sus secretos. En los siguientes párrafos, algunos consejos ha tomar en cuenta si se va a visitar el MOMA y una mirada rápida a las obras más importantes del Post- Impresionismo desde el punto de vista de uno de los museos más importantes del mundo. (la información brindada es transcrita tal cual es presentada en el Museo con la intención de que el lector pueda disfrutar, de cierta forma, lo que este lugar ofrece. Todos los derechos son propiedad del Museo de Arte Moderno de Nueva York).

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Una mirada al Post Impresionismo desde el MoMA Nueva York, Diciembre 2012. Las vitrinas de las tiendas cercanas al Museo de Arte Moderno parecen parte de una obra de Gauguin: colores y más colores que reflejan que los días festivos aún no han terminado pese a que el 24 y 25 ya pasaron al olvido. Por mi parte, la excitación por estar en NY ha disminuido considerablemente si hago una comparación con mi primera vez: el Subway dejó de ser un laberinto plagado de culebras de colores; el frío dejó de ser un impedimento para ir de arriba a abajo (un coat de UNIQLO es una buena opción si se busca algo abrigador pero ligero, que no te haga parecer un hombre de nieve a punto de dar a luz y que no te cueste un ojo de la cara); y, por supuesto, el reconocer calles me ahorra bastante tiempo. Sin embargo, esta ciudad, cuyo nombre hace honor al duque de York y Albany, sabe entregarte, cual hechicera, aquello que te va a ser enamorarte de ella una vez más. En este viaje, ya no fue la visita al Empire State o el caminar por la 5ta Avenida lo que me cautivó. Más bien, el volver a caminar por los pasillos del MOMA luego de haber estudiado el curso de Lenguajes Artísticos me hizo sentir distinto, no exagero, como si visitara la casa de viejos amigos con los que no he hablado durante un tiempo pero de quienes sé muchos de sus secretos. En los siguientes párrafos, algunos consejos ha tomar en cuenta si se va a visitar el MOMA y una mirada rápida a las obras más importantes del Post-Impresionismo desde el punto de vista de uno de los museos más importantes del mundo. (la información brindada es transcrita tal cual es presentada en el Museo con la intención de que el lector pueda disfrutar, de cierta forma, lo que este lugar ofrece. Todos los derechos son propiedad del Museo de Arte Moderno de Nueva York).

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INDICE INTRODUCTION 2

POST-IMPRESSIONISM 3

GUSTAV KLIMT 4

JAMES ENSOR 4

HENRI ROUSSEAU 5

VINCENT VAN GOGH 5

GEORGES-PIERRE SEURAT 6

JUAN GRIS 8

DIEGO RIVERA 9

PABLO PICASSO 10

THE CUBIST REVOLUTION 13

PICASSO 13

EDWARD MUNCH 14

HENRY MATISSE 17

PATRICK HNERY BRUCE 18

STUART DAVIS 18

PICASSO 19

CLAUDE MONET 20

FRIDA KAHLO 21

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POST-IMPRESSIONISM In November 1929, The Museum of Modern Art presented Cézanne, Gauguin, Van Gogh as its inaugural exhibition. These "pioneers" of modern art, as founding director Alfred H. Barr, Jr., described them, had turned away from the impressionist style of artists such as Claude Monet and Pierre-Auguste Renoir. Known as Post-Impressionist, they instead looked to painting itself, exploring the direct expressive potential of its fundamental elements: line, form, and color. These artists shared and ambition to express, rather than record, the natural world as they experienced it -to produce, as Cézanne explained, "an image of what we see while forgetting everything that has appeared before our day." They inspired a new generation of artists working in the early years of the twentieth century, including Pablo Picasso and Henri Matisse, who, in

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various ways, pursued elements of the formal experimentation of Post-Impressionism in the radically inventive work they produced in the following decades.   • GUSTAV KLIMT

Austrian, 1862-1918 Hope, II 1907-08 Oil, gold and platinum on canvas. • JAMES ENSOR

Belgian, 1860-1949 Tribulation of Saint Anthony 1887 Oil on canvas One of Ensor's earliest fantastical paintings, this work recreates the familiar story of Saint Anthony battling a world of temptations (embodied by the woman at the far left). Ensor described his version of the narrative as one in which "the bizarre prevails" as Hell expels menacing sea creatures and grotesque monsters haphazardly joined together

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within a colorful, loosely rendered landscape. Inspired by earlier renditions of the story by Flemish artists Hieronymus Bosh (1453-1516) and Pieter Brueghel (1525-1569), Ensor brought a fresh interpretation to a familiar subject by combining invented figures with wild brushstrokes and audacious color choices. On the basis of this painting, Alfred H. Barr, the founding director of The Museum of Modern Art, described Ensor as possibly "the boldest living painter" in 1887. • HENRI ROUSSEAU

French, 1844-1910 The Sleeping Gypsy 1897 Oil on canvas

Rousseau, a toll collector for the city of Paris, was largely a self-taught painter, although he had ambitions of entering the Academy. This was never realized, but the sharp colors, fantastic imagery, and precise outlines in his work –derived from the style and subject matter of popular print culture- struck a chord with a younger generation of avant-garde painters. Rousseau described the subject of The Sleeping Gypsy thus: “A wandering Negress, a mandolin player, lies with her jar beside her (a vase with drinking water), overcome by fatigue in a deep sleep. A lion chances to pass by, picks up her scent yet does not devour her. There is a moonlight effect very poetic”. • VINCENT VAN GOGH

Dutch, 1853-1890 The Starry Night 1889 Oil on canvas “This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big.” Van Gogh wrote to his brother Theo, from France. Rooted in imagination and memory, The Starry Night embodies an inner, subjective expression of van Gogh’s response to nature. In thick, sweeping brushstrokes, a flamelike cypress unites the churning sky and the quiet village below.

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The village was partly invented, and the church spire evokes van Gogh’s native land,

the Netherlands. • GEORGES-PIERRE SEURAT

French, 1859-1891 The Channel at Gravelines, Evening 1890 Oil on canvas

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Ampliación de parte de la obra de Georges-Pierre Seurat The Channel at Gravelines, Evening. Grandcamp. Evening 1885, painted border c. 1888-89 Oil on canvas This painting is one in a series of seascapes Seurat painted in the French coastal village of Grandcamp during summer of 1885. Short horizontal brushstrokes fill the sky and sea, and the land is composed of dots of color. “Some say they see poetry in my

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paintings.” Seurat wrote. “I see only science.” Dissatisfied with the technique of the impressionists, which he considered spontaneous and unmethodical, Seurat turned to color theory and optics to develop his own method of painting, which he called Divisionism. Instead of mixing colors together on his palette, he applied unmixed paints to the canvas, leaving it to the viewer’s eye to mix the colors optically. Seurat added the painted border later to complement the colors on the canvas and intensify its luminosity.

Ampliaición de una parte de la obra de Georges-Pierre Seurat Grandcamp, Evening • JUAN GRIS

Spanish, 1887-1927 Guitar and Glasses 1914 Pasted papers, gouache, and crayon on canvas

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• DIEGO RIVERA

Mexican, 1886-1957 Jaques Lipchitz (Portrait of a Young Man) 1914 Oil on canvas

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• PABLO PICASSO

Spanish, 1881-1973 Violin and Grapes 1912 Oil on canvas

Girl with a Mandolin (Fanny Tellier) 1910 Oil on canvas

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Head of a Sleeping Woman (Study for Nude with Drapery) 1907 Oil on canvas

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Les Demoiselles d’Avignon 1907 Oil on canvas

The result of months of preparation and revision, this painting revolutionized the art world when first seen in Picasso’s studio. Its monumental size underscored the shocking incoherence resulting from the outright sabotage of conventional representation. Picasso drew on sources as diverse as Iberian sculpture, African tribal masks, and El Greco’s painting to make this startling composition. In the preparatory studies, the figure at left was a medical student entering a brothel. Picasso, wanting no anecdotal detail to interfere with the sheer impact of the work, decided to eliminate it in the final painting. The only remaining allusion to the brothel lies in the title: Avignon was a street in Barcelona famed for its brothel.

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THE CUBIST REVOLUTION After meeting in Paris in 1907, artists Pablo Picasso and Georges Braque together developed a visual language whose geometric planes and compressed space challenged the conventions of representation in painting. Although they were derided for painting that one critic described as consisting of “little cubes”, the artists used this vocabulary to articulate what they considered to be a modern vision for a modern century. Traditional subjects-nudes, landscapes, and still lifes- were reinvented as increasingly fragmented compositions by Picasso, Braque, and other artists working in and around the French capital. While Cubists abstracted their motifs, most works contain clues that identify the subject, whether it is a woman or a violin. This pioneering chapter of Cubism ended when many of its leading practitioners, Braque among them, enlisted to fight in World War I. Its influence extended to and international network of artists working in Paris in those years and beyond. • PABLO PICASSO

Spanish, 1881-1973 Glass of Absinthe 1914 Picasso cast six bronze copies of Glass of Absinthe from a plaster original and decorated each of them uniquely. In this version he broke new ground by incorporating an existing object into his sculpture: a real absinthe spoon nestles between the modeled bronze sugar cube and glass. (Absinthe is prepared by pouring the brilliant green liquid through a sugar cube resting on a slotted spoon like the one seen here.) Picasso spoke of his desire to explore different modes of representation: “I was interested in the relation between the real spoon and the modeled glass. In the way they clashed with each other”.

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• EDWARD MUNCH

Norwegian, 1863-1944 The Scream 1895

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Madonna 1895 Lithograph with hand additions

This image, which Munch also called both “Loving Woman” and “Conception”, represents a woman at the moment in which her child is conceived. Munch placed the viewer in the role of the male lover looking down at the woman, and he connects the act of procreation with both life and death. The sperm that swim through the red borders of the composition suggest the possibility of new life. But the fetus or baby at lower left is morbidly gaunt and strangely reminiscent of the ghostlike presence in The Scream. Images of sexually powerful or destructive women -femmes fatales- were popular in art and literature at the turn of the century, reflecting anxieties about the changing status of women in society. In Munch’s work, they also refer to his own often unhappy relationships with women.

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Vampire II 1895-1902 Lithograph

The Scream 1895, signed 1896 Lithograph Publisher: the artist, Berlin. Printer: Liebmann, Berlin Edition: approx: 30 known impressions in several color and compositional variations.

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• HENRI MATISSE French, 1869-1954 Woman on a High Stool (Germaine Raynal) 1914 Oil on canvas Matisse took Woman on a High Stool (Germaine Raynal) through many changes as he worked, particularly the seated figure. Perhaps the greatest alteration was in color: vivid blue, green, and orange-red areas have been mostly covered with layers of gray. The painting shares its simplified geometric forms, heavy contouring, and austere palette with the work of Paul Cézanne and the Cubist painting Pablo Picasso and Georges Braque made a few years earlier.

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• PATRICK HENRY BRUCE American, 1881-1936 Painting c.1929-30 Oil on canvas

• STUART DAVIS

American, 1892-1964 Odol 1924 Oil on cardboard Known for his energetic compositions with bold colors and snappy rhythms, Davis painted quintessentially modern American subjects. Among his sources of inspiration he listed “skyscraper architecture; the brilliant color on gasoline stations; chain store fronts and taxicabs” and “jazz music”. Long before Andy Warhol and other Pop artists mined the world of trademarks brands, Davis incorporated imagery from logos, commercial signage, and modern packaging into his paintings. The artist created this work in the 1920s –the “golden age” of advertising- as a sleek, streamlines ode to a bottle of mouthwash.

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• PABLO PICASSO Spanish, 1881-1973 Three Women at the Spring 1921 Oil on canvas

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• CLAUDE MONET In 1915 Claude Monet (1940-1926) built a large studio near his house in Giverny, a town forty-five miles northwest of Paris, for the creation of what he call his grandes decorations. The subject of these works is the elaborate water lily pond and gardens that Monet had created on his property –already the primary focus of his painting for nearly twenty years. Monet created more than forty large-scale panels and scores of smaller related paintings between 1914 and 1926, the year of his death, at the age of eighty-six. Twenty-two of the panels hand permanently at the Musée de lÒrangerie in Paris, in ans installation designed by the artist. Around 19150 Monet’s son Michel began to display and sell some of the Water Lilies paintings that remained in his father’s estate, and in 1955 The Museum of Modern Art became the first museum in the United States to acquire one of the large-scale panels. MoMA curators`interest in Monet at that time had much to do with currents in contemporary art: the grand scale and allover compositions of Abstract Expressionist paintings by artists such as Jackson Pollock made Monet’s large paintings newly relevant. Since then the Water Lilies have held a cherished position in the Museum, affirming Monet’s conviction that art can provide a balm for the modern soul. The Japanese Footbridge c.1920-22 Oil on canvas

Agapanthus 1914-26 Oil on canvas

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• FRIDA KAHLO Mexican, 1907-1954 My Grandparents, My parents, and I (Family Tree) 1936 Oil on tempera on zinc

Kahlo collected eighteenth- and nineteenth- century Mexico retablos- small paintings on metal made to thank God or saints for curing illnesses and performing miracles –and adopted the medium as her own. In this fantastical family tree, Kahlo depicted herself as a fetus in utero and as a child in her childhood home. While Kahlo celebrated Mexican culture by invoking its traditions in her art and wearing elaborate traditional attire, this painting is as much a tribute to her European and Jewish heritage. On the right is her German-born Jewish father and his parents, symbolized by the se, and on the left, her Mexican mother and her parents, symbolized by the land and a faintly rendered map of Mexico that appears above her grandparents’ heads. Kahlo was fluent in German and closely monitored the rise of Nazism in Europe. She made this painting shortly after the Nazy Party passed the Nuremberg Laws in Germany, forbidding interracial marriage. While the painting mimics the format of the genealogical charts used by the Nazis to advocate racial purity, Kahlo used it subversively to affirm her mixed origins.

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