Early Modernism The Artist as Idea Maker

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´╗┐Early Modernism "The Artist as Idea Maker" Vol. 1 - 1904-1920s

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A progression of "isms" Local conventions in workmanship have offered approach to worldwide patterns Three "isms" are most vital and have expand all through the twentieth century-Expressionism, Abstraction, and Fantasy Expressionism-the human group Abstraction-the structure of reality Fantasy-the individual human personality Realism proceeds as a pattern alongside different developments all through the twentieth century Modernism permitted specialists to attest their opportunity to make in another style and give them a mission to characterize the significance of their times Influenced by-the start of the nuclear age - existentialism (Nietzsche)- "God is Dead" - the creation of analysis Freud-internal drives control human conduct Jung-aggregate oblivious - The Russian Revolution - The Great War (humankind's cruelty) - The Great Global Depression - the ascent of the "Cutting edge"

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Expressionsim- - arrival of the craftsman's inward vision - bring out sentiments from the viewer Fauvism fleeting loaded with savage shading and strong twisting, severe brushstrokes Shocking to the pundits and people in general Called "Fauves"- wild monsters Artists wore the mark with pride Sense of freedom and experimentation held the gathering together Color's auxiliary, expressive, and tasteful abilities

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Henri Matisse, The Joy of Life, 1905-06 Flat planes of shading, intense diagrams originate from Gauguin-likewise mankind in a condition of nature-agnostic scene like a bacchanal "virtuoso of oversight"- radical rearrangements The demonstration of painting was upbeat for him and his canvases demonstrate this

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Believed that shading was the formal component most in charge of pictorial lucidness Color was not intended to emulate nature, but rather to express inward feelings Matisse, The Red Studio, 1911

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Fauvism with political essences Reminiscent of recolored glass in light of the fact that Roualt was an understudy A figure of brutal power gripping blossoms Roualt, The Old King, 1916-37

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German Expressionism-"Pass on Brucke" (The Bridge) Color is vital, however equivalent to that of bending of pictures and fierce brushstrokes Movement focused in Dresden, Germany and drove by Ernst Kirschner Thought of themselves as spanning the seniority of workmanship with the new Influenced by medieval art organizations lived and cooperated similarly Focused on the inconvenient impacts of industrialization Kirschner, Self Portrait, 1915

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Most of Emile Nolde's artworks were religious like Roualt Slashing, vicious brushstrokes for non-furious topic Nolde, Wildly Dancing Children, 1912

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Austrian painter identified with the gathering Like Van Gogh-considered himself to be an inward visionary, an observer to internal truth Tortured mind affected by Freud's work Kokoschka, Self Portrait, 1913

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Kathe Kollwitz Worked solely in printmaking and drawing Themes of barbarism and unfairness The situation of laborers and war casualties Pacifist-child kicked the bucket in WWI Kollwitz, The Survivors, 1923

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Der Blaue Reiter (The Blue Rider)- another German Expressionist development Produced feeling is visual frame Kandinsky, Composition VII, 1913 Complete reflection non-target work-end of representation Knew about music, writing, science (the nuclear hypothesis)- material articles have no structure or reason Orchestration of shading, shape, line, and space-outlines for an illuminated and freed society, stressing otherworldly existence

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Armory Show of 1913 acquainted America with Fauvism and German Expressionism Started in NY and flew out to Chicago and Boston Armory indicate contained more than 1600 bits of workmanship uncovered American viewers and craftsmen to work going ahead in Europe Very dubious NY Times called it "Neurotic" Alfred Steiglitz, a picture taker, was vital in supporting American abstractionists Marsden Hartley was an American living in Munich and was straightforwardly impacted by these European developments Hartley, Portrait of a German Officer, 1914

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Followed Matisse's "virtuoso of exclusion" Disturbed the fundamental state of the material as meager as would be prudent Interested in primitive carvings and their formal effortlessness and intelligibility Brancusi, Golden Bird, 1919

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Moore, Reclining Figure, 1935-36 Henry Moore-straightforwardness of frame proceeded with Also affected by ancient Monoliths Classical theme that has been disintegrated

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ABSTRACTION The way toward examining and improving watched reality First "rediscovered" by Cezanne Picasso-amazing commitments to the historical backdrop of craftsmanship and the improvement of deliberation Traditional craftsman in that he made cautious investigations of his work Quest for advancement, emphasis on testing built up perspectives, consistent experimentation Found motivation from African model (because of extended imperialism) Fractured shapes, rough planes, indecipherable space-strain somewhere around 2d and 3d Inconsistency of treatment of the ladies Picasso, Les Demoiselles D'Avignon, 1907 "I paint shapes as I think them, not as I see them"

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Cubism a radical defining moment in the historical backdrop of workmanship Dismissal of pictorial illusionism Cezanne's concept of the chamber, circle, and cone New rationale of outline Painting moved a long ways past the delineation of reality-reflected society's apprehensions of the instability of a non-Newtonian world Received its name after Matisse portrayed a work by Braque as having been painted in "little 3D shapes"

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Analytical Cubism Little difference in shading Complex and orderly outline Faceted shapes, translucent divisions of space Differing perspectives of a similar subject in a similar work Invented by Picasso and George Braque in the meantime, yet not so much in joint effort Retains some kind of profundity Picasso, Portrait of Vollard, 1910

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Synthetic Cubism Invented by Braque and Picasso Puts frames back together in the wake of breaking them separated "Arrangement Cubism" after the French word for "glue ups" Foreign materials are glued onto the outline makes the montage resemble a genuine surface Scraps are changed and painted on, giving them a multifaceted nuance Both speak to and present (act naturally) Picture plane is before the surface Braque, Gillet, 1914 New Space Concept-first since Masaccio

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Started to add shading to Cubsim in the 1920s Renaissance viewpoint turned out badly Jumble of level shapes transform into a slight picture Dog beats to a mood Picasso, Three Musicians, 1921

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Cubism in figure Fragmented, broke down frame Split into numerous planes Parallels with Braque and Picasso Lipchitz, Bather, 1917

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Movement of Purism imagined by draftsman Le Corbusier, the planner Opposed Synthetic Cubism since it was withdrawn from the machine age Thought that plan ought to tell the truth practical lines of machines Ferdinand Leger-clean lines blended with Cubist sensibility Very exact and substantial!! (7'X9') Leger, The City, 1919

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FUTURISM Cubism was adjusted to remain for the dynamism of cutting edge life-continually moving and changing Futurists dismisses the past and lifted up the excellence of the machine Showed movement in a static picture 2oth century vitality Many of the craftsmen of the development were slaughtered in WWI-by the machines that they adored Boccioni, Dynamism of a Cyclist, 1913

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DADA Started as a response to the detestations of WWI and Nihilism Began autonomously in Zurich and NY French for "hobbyhorse" Believed that reason and rationale had been in charge of war Only trust was disorder, mindlessness, and instinct Pessimism and sicken of the specialists helped them dismiss convention Arp spearheaded the utilization of chance in work of art releassed him from the part of craftsman For Dadaists, chance originates from the obviousness affected by Freud Jean Arp, Collage Arranged According to the Laws of Chance, 1916-17

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Duchamp was the focal figure in NY Dada scene Exhibited his first "instant" models mass delivered regular items "chose" by the craftsman Free from the assessments of the populace neither great or terrible taste Forces viewers to see the "artness" of articles Duchamp, Fountain, 1913

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Surrealism-most Dada craftsmen joined the Surrealist development also Included numerous comparable thoughts - utilized Dada methods to "discharge the oblivious" Exploration of approaches to express in workmanship the universe of dreams and the oblivious Inspired by Freud and Jung-intrigued by the way of dreams In dreams, individuals moved past the requirements of society To bring inward and external reality together Two types of Surrealism; Biomorphic (keen on life shapes)- Miro Naturalistic (unmistakable scenes of bad dream or dream pictures)- Magritte, Dali

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Precursor to Surrealism Disquieting feeling of forboding and frighteningness As if a different universe exists underneath the one that is noticeable impacted by Nietzsche who said "premonition tha underneath this reality in which we live and have our being, another inside and out various reality lies covered" De Chirico, Melancholy and Mystery of a Street, 1914

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Interested in Collage and "decalcomania"- exchanging oil paint from another surface Used rubbings called "Frottage"- joined divided pictures from daily papers and magazines to make a disconnected picture Max Ernst, La Toilette de la Mariee, 1940

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Salvidore Dali, Illuminated Pleasures, 1929 The big name of the gathering Dreamlike, troubling blend of pictures sexual in nature, convincingly genuine

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Joan Miro-natural structures that grow and contract outwardly Used automatism-arranged mischances Element of mental trip Began artworks as compositions with the goal that he could move components around voluntarily Combination of oblivious and cognizant picture making Miro, Le Petit Rose, 1933 .:tslidesep