Cannon View of the grande galerie of the

Cannon

• View of the grande galerie of the Louvre | Patrick Allan. Fraser | 1841 • See Thomas E. Crow, from 'Introduction. The Salon Exhibition in the Eighteenth Century and the Problem of its Public' 1985) (Edwards. Art and its Histories: a reader, 1999: 85 -89. )

Students painting "from life" at the École. Photographed late 1800 s.

David's Oath of the Horatii (1784– 85) is not just neoclassical in subject.

La Grande Odalisque, 1814, oil on canvas, 91 x 162 cm, Louvre. The subject's elongated proportions, reminiscent of 16 th-century Mannerist painters, reflect Ingres's search for the pure form of his model

Titian, Venus of Urbino 1538 (age 472– 473) Oil on canvas 119 cm × 165 cm (47 in × 65 in)

• This Year Venuses Again… Always Venuses!. Honoré Daumier, No. 2 from series in Le Charivati, 1864. • See Marie-Camille de G. , “Salon of 1834” The Challenge of Avant_Garde” in (Edwards. Art and its Histories: a reader, 1999: 187 -224. )

Marie-Camille de G. , “Salon of 1834”, on Tribune des Femmes • “on coming out of the museum is struck by a sad thought. We see battles, shipwrecks, scaffolds, landscapes, portraits, thousands of pictures, but so few pictures with any vision […] Painters represent women in multitude of styles. They turn them into flowers with which they furnish exquisite boudoirs; they intoxicate them with perfumes and honeyed words; they show them in elegant balls where you could mistaken them for priestesses in their rich robes […] Surely Gentlemen, we have our fill of perfumes and beautiful clothes, passionate embraes and scaffolds; the time has come to grant women a place worthy of them, the due place they deserve! We have seen yet another Eve picking up forbidden fruit. [. . . ] • “

Marie-Camille de G. , “Salon of 1834”, on Tribune des Femmes • “Artists! If you love women, if some time their beauty has filled your soul with poetry, and lent delicacy and inspiration to your brush to fix your dreams and joys on canvas, show her growing in liberty. “ • The working classes only entered the pictures of the salon with weapons in their hands, stained with mud and blood, with hate in their hearts and cruelty in their eyes. Artists! If you really feel solidarity with the people, if you have felt the strength and grandeur beneath that surface of rude ignorance, show too their weeping wounds! If you love drama, paint those awful scens which are played out every day before your eyes, paint an unhappy father dying in a pauper's bed, filled with angony and misery. ”

Unmaking the cannon Édouard Manet's Olympia, 1863 , 130. 5 by 190 centimetres (51 x 74. 8 in) Musée d'Orsay, Paris.

Giorgione, The Sleeping Venus (Dresden Venus, Oil on canvas , 108. 5 cm × 175 cm (42. 7 in × 69 in) Gemäldegalerie, Dresden.

The Luncheon on the Grass (Le déjeuner sur l'herbe). The Paris Salon rejected it for exhibition in 1863 but he exhibited it at the Salon des Refusés (Salon of the Rejected) later in the year. Emperor Napoleon III had initiated The Salon des Refusés after the Paris Salon rejected more than 4, 000 paintings in 1863.

mpression, Sunrise (Impression, soleil levant) (1872).

Saint Lazare Train Station, Paris, 1877, The Art Institute of Chicago

Avant-garde • • • Artistic modernism- from mid 19 th century to mid 20 th century; centering around artistic autonomy, independence, abstraction, - thus ' art for art sake' Avant-Garde - advance guard on original sense - for social progression, emphasizes socially and politically engaged. Avant-Garde seems revolutionary, subversive is also because modern art is working against the separation of spheres of bourgeois societies, i. e. separation of political practices from economic, or ethical and of course artistic activity

Avant-garde

Anti-art : Futurism dada

dada • During WWI intellectuals, writers and artists from various corner of Europe fled to neutral Zurich, including Hugo Ball, hans Richter, Richard Huelsnbeck, Tristan Tzara, Marcel Janco, Jean Arp • Attacking cultural conventions and bourgeois standards of good tastes • Dada is a random word from dictionary- the first sound child makes • Dada is not a style, but a state of mind intent upon 'beginning at Zero' (see Wheeler, Art since 1945. 1991: 21 -24. Dawn Ades, Dada and Surrealism, in Stangos ed. , Concepts of Modern Art. 1994: 100 -137. )

Dada: Jean Arp • • • Randomness & automatic drawing Jean (Hans) Arp (French, born Germany (Alsace). 1886 -1966) Untitled (Collage with Squares Arranged according to the Laws of Chance) Arp cultivate the elementary elements and abstract art

Dada poetry

Dada poetry • Tzara: • ' The poem will resemble you. • cutting up of sentences from a newspaper, shaken up and drawn out at random • Kurt Schwitters: ‘SENSE AND NONSENSE HAVE EQUAL VALUE. ’ “The elements of poetry are letters, syllables, words, sentences. ” “Meaning is only essential if it is to be used as one such factor. I play off sense against nonsense. I prefer nonsense, because until now it has been so neglected in the making of art, and that’s why I love it. ” (listen: Kurt Schwitters' Ursonate (1922 -32, "Primal Sonata") http: //www. youtube. com/watch? v=m. Ow. SZ 4 Lco. WM&feature=list_related&pl aynext=1&list=MLGxd. Cw. VVULXf. Kjpa. BIjj. R 1 eiihhvq. WRBQ

phonetic poem

Kurt Schwitters: All materials have equal value. There is no difference between artistic and non-artistic materials.

• “The word Merz denotes the combination of all conceivable materials, and in principle the equal evaluation of all materials. Merz painting makes use not only of paint and canvas… but of all materials perceptible to the eye and of all available implements. It is unimportant if the material was already formed for some other purpose. ” • “The material is as unessential as myself. The only essential thing is giving form. I use any material the picture demands…. I call the worldview from which this mode of artistic creation arose ‘Merz’. ”

Dada: Duchamp • In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn within the arts community, the Fountain has since become almost canonized by some. The committee presiding over Britain's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern art. “ • Dadaists rejected cultural and intellectual conformity in art and more broadly in society. For everything that art stood for, Dada was to represent the opposite. • Where art was concerned with traditional aesthetics, Dada ignored aesthetics at all. If art was to appeal to sensibilities, Dada was intended to offend. Through their rejection of traditional culture and aesthetics the Dadaists hoped to destroy traditional culture and aesthetics.

Marcel Duchamp. Nude Descending a Staircase, No. 2 (1912). Oil on canvas. 57 7/8" x 35 1/8". Philadelphia Museum of Art.

Although Duchamp had collected manufactured objects in his studio in Paris, it was not until he came to New York that he identified them as a category of art, giving the English name "Readymade" to any object purchased "as a sculpture already made. " When he modified these objects, for example by mounting a bicycle wheel on a kitchen stool, he called them "Assisted Readymades. " Duchamp later recalled that the original Bicycle Wheel was created as a "distraction": "I enjoyed looking at it, just as I enjoy looking at the flames dancing in a fireplace. "

Anti-art L. H. O. O. Q. (1919). Marcel Duchamp.

Anti-art Marcel Duchamp, Fountain, 1917.

• The Bride Stripped Bare by Her Bachelors, Even (The Large Glass). (1915 -23). Oil, varnish, lead foil, lead wire, and dust on two glass panels. 109 1/4" x 69 1/4".

Anti-art becomes art

周俊輝：重組-《草地上的午餐》, 2009 Reproducing "the Luncheon on the Grass", 2009 攝影師: 曾肇輝 Photogapher: John TSANG

周俊輝：重組-《奧林匹亞》, 2009 Reproducing "Olympia", 2009

Anti-art and end-game aesthetics

Jake and Dinos Chapman Insult to Injury 2003 Francisco de Goya 'Disasters of War' Portfolio of 80 etchings reworked and improved Courtesy Jay Jopling/White Cube (London) Photocredit: Stephen White © the artists

Anti-art becomes art • Paradoxically, most forms of anti-art have gradually been completely accepted by the art establishment as normal and conventional forms of art. Even the movements which rejected art with the most virulence are now collected by the most prestigious cultural institutions.

Sunflowerseeds 2010

草泥馬護體騰飛 (interview by the Guardian 18 March 2010 http: //www. guardian. co. uk/artanddesign/video/2010/mar/18/ai-weiwei-turbine-

Samuel Swope Banana’s copter 2010

Does Avant-Garde failed? • Avant-Garde is the self-contradiction of the bourgeois society- in which autonomy is an illusion supported by the free market. • (see Peter Burger, Theory of Avant-Garde (1974)-in which he calls for the true Avant. Garde, to overcome the separation of art from life.