EARLY TWENTIETH CENTURY TIME PERIOD 1900 1945 KEY

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EARLY TWENTIETH CENTURY

EARLY TWENTIETH CENTURY

TIME PERIOD 1900 – 1945 KEY IDEAS § Early modern art flourished at a

TIME PERIOD 1900 – 1945 KEY IDEAS § Early modern art flourished at a time of immense political unrest and social upheaval. § Modern artists and architects were quick to embrace new technologies. § Avant-garde patrons cultivated cutting-edge artists. § The Armory Show introduced modern art to America and Gallery 291 exhibited photography. § Modern art becomes more international.

FAUVISM c. 1905 – 1908 So named because a critic thought the works looked

FAUVISM c. 1905 – 1908 So named because a critic thought the works looked like they were created by ‘Wild Beasts’. Fauves stressed a painterly surface with broad, flat areas of violently contrasting color. Expressive efforts maximized.

HENRI MATISSE, Woman with the Hat, 1905. Oil on canvas, 2’ 8” x 2’.

HENRI MATISSE, Woman with the Hat, 1905. Oil on canvas, 2’ 8” x 2’.

HENRI MATISSE, Red Room (Harmony in Red), 1908. Oil on canvas, 5’ 11” x

HENRI MATISSE, Red Room (Harmony in Red), 1908. Oil on canvas, 5’ 11” x 8’ 1”.

ANDRE DERAIN, London Bridge, 1906. Oil on canvas, 2’ 4” x 3’ 3”.

ANDRE DERAIN, London Bridge, 1906. Oil on canvas, 2’ 4” x 3’ 3”.

GERMAN EXPRESSIONISM 1905 – c. 1913 The German equivalent of Fauvism, Die Brüke (The

GERMAN EXPRESSIONISM 1905 – c. 1913 The German equivalent of Fauvism, Die Brüke (The Bridge) artists saw themselves as a bridge from traditional to modern painting. A second group, called Der Blue Reiter (The Blue Rider) began to forsake representational art and moved towards abstraction.

ERNST LUDWIG KIRCHNER, Street, Dresden, 1908. Oil on canvas, 4’ 11” x 6’ 7”.

ERNST LUDWIG KIRCHNER, Street, Dresden, 1908. Oil on canvas, 4’ 11” x 6’ 7”.

VASSILY KANDINSKY, Improvisation 28, 1912. Oil on canvas, 3’ 8” x 5’ 4”.

VASSILY KANDINSKY, Improvisation 28, 1912. Oil on canvas, 3’ 8” x 5’ 4”.

CUBISM c. 1907 – 1930 s Influenced by simple geometries of African masks, which

CUBISM c. 1907 – 1930 s Influenced by simple geometries of African masks, which were popular in Paris. Artists broke down human forms into angles and shapes, which showed the same object from many perspectives. Two Forms: Analytical and Synthetic. Analytical cubism was highly experimental with jagged edges and complex lines. Synthetic cubism was inspired by collages, found objects and featured flattened forms.

PABLO PICASSO, Les Demoiselles d’Avignon, 1907. Oil on canvas, 8’ x 7’ 8”.

PABLO PICASSO, Les Demoiselles d’Avignon, 1907. Oil on canvas, 8’ x 7’ 8”.

FUTURISM 1909 – 1914 Inspired by Cubism, futurism celebrated modern scientific and technological progress.

FUTURISM 1909 – 1914 Inspired by Cubism, futurism celebrated modern scientific and technological progress. Forms look shattered and prismatic as artists glorify the machine.

UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913. Bronze, 3’ 8” x 2’

UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913. Bronze, 3’ 8” x 2’ 11” x 1’ 4”.

DADA 1916 – 1925 Disillusioned by useless slaughter of World War I, Dadaists rejected

DADA 1916 – 1925 Disillusioned by useless slaughter of World War I, Dadaists rejected conventional methods of representation and exhibition. Oil and canvas are abandoned in favor of the absurd and nonsensical.

MARCEL DUCHAMP, Fountain, 1917. Ready-made glazed sanitary china with black paint, 1’ high.

MARCEL DUCHAMP, Fountain, 1917. Ready-made glazed sanitary china with black paint, 1’ high.

THE ARMORY SHOW 1913 Named after the building in New York where it was

THE ARMORY SHOW 1913 Named after the building in New York where it was held, The Armory Show introduced Americans to current trends in European painting and American artists.

MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, 4’ 10”

MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, 4’ 10” x 2’ 11”.

PHOTO-SECESSION 1902 – 1917 From 1902 -1917 Alfred Stieglitz’s gallery, called 291, was the

PHOTO-SECESSION 1902 – 1917 From 1902 -1917 Alfred Stieglitz’s gallery, called 291, was the most progressive gallery in the United States, showing photographs as works of art and other avant-garde paintings.

ALFRED STIEGLITZ, The Steerage, 1907. Photogravure, 1’ x 10”.

ALFRED STIEGLITZ, The Steerage, 1907. Photogravure, 1’ x 10”.

SURREALISM 1924 – 1930 s Inspired by psychological studies of Freud and Jung. Surrealists

SURREALISM 1924 – 1930 s Inspired by psychological studies of Freud and Jung. Surrealists sought to represent an unseen world of dreams, subconscious thoughts, and unspoken communication.

SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 10” x 1’ 1”.

SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 10” x 1’ 1”.

MERET OPPENHEIM, Object, 1936. Fur-covered cup, saucer. 4” in diameter and 9” in diameter.

MERET OPPENHEIM, Object, 1936. Fur-covered cup, saucer. 4” in diameter and 9” in diameter.

FRIDA KAHLO, The Two Fridas, 1939. Oil on canvas, 5’ 7” x 5’ 7”.

FRIDA KAHLO, The Two Fridas, 1939. Oil on canvas, 5’ 7” x 5’ 7”.

JOAN MIRÓ, Painting, 1933. Oil on canvas, 5’ 8” x 6’ 5”.

JOAN MIRÓ, Painting, 1933. Oil on canvas, 5’ 8” x 6’ 5”.

SUPREMATISM 1913 – 1920 s Suprematists thought that nonobjective reality was greater than anything

SUPREMATISM 1913 – 1920 s Suprematists thought that nonobjective reality was greater than anything that could be achieved by representation. Forms float on a white background, usually suspended in thoughtful arrangements.

KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915. Oil on canvas, 1’ 11” x 1’

KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915. Oil on canvas, 1’ 11” x 1’ 7”.

DESTIJL 1917 – 1930 s Literally ‘The Style, ’ De. Stijl was a Dutch

DESTIJL 1917 – 1930 s Literally ‘The Style, ’ De. Stijl was a Dutch movement that advocated pure abstraction by reducing images to the most basic forms and colors possible.

PIET MONDRIAN, Composition with Red, Blue, and Yellow, 1930. Oil on canvas, 1’ 6”

PIET MONDRIAN, Composition with Red, Blue, and Yellow, 1930. Oil on canvas, 1’ 6” x 1’ 6”.

GERRIT RIETVELD, Shröder House, 1924, Utrecht, The Netherlands.

GERRIT RIETVELD, Shröder House, 1924, Utrecht, The Netherlands.

ARCHITECTURE TITLE DATES LOCATION BAUHAUS 1919 -1933 Weimer and Dessau, Germany INTERNATIONAL STYLE 1920

ARCHITECTURE TITLE DATES LOCATION BAUHAUS 1919 -1933 Weimer and Dessau, Germany INTERNATIONAL STYLE 1920 s-1930 s International PRARIE STYLE 1900 -1917 Chicago ART DECO 1920 -1930 s International

WALTER GROPIUS, Shop Block, The Bauhaus, Dessau, Germany, 1925 -1926.

WALTER GROPIUS, Shop Block, The Bauhaus, Dessau, Germany, 1925 -1926.

LE COURBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929.

LE COURBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929.

FRANK LLOYD WRIGHT, Kaufmann House (Falling Water), Bear Run, Pennsylvania, 1936 -1939.

FRANK LLOYD WRIGHT, Kaufmann House (Falling Water), Bear Run, Pennsylvania, 1936 -1939.

WILLIAM VAN ALEN, The Chrysler Building, New York, 1928 -1930.

WILLIAM VAN ALEN, The Chrysler Building, New York, 1928 -1930.

ORGANIC ART Late 1920 s -1930 s More organic than descriptive, Organic artists believed

ORGANIC ART Late 1920 s -1930 s More organic than descriptive, Organic artists believed in the honesty of simple shapes and the sleekness and roundness of forms.

CONSTANTIN BRANCUSI, Bird in Space, 1928. Bronze, 4’ 6” x 8” x 6”.

CONSTANTIN BRANCUSI, Bird in Space, 1928. Bronze, 4’ 6” x 8” x 6”.

POLITICAL AND SOCIAL COMMENTARY 1930 s Depression art recognized the plight of the destitute

POLITICAL AND SOCIAL COMMENTARY 1930 s Depression art recognized the plight of the destitute and raised social issues and concerns.

PABLO PICASSO, Guernica, 1937. Oil on canvas, 11’ 5” x 25’ 6”.

PABLO PICASSO, Guernica, 1937. Oil on canvas, 11’ 5” x 25’ 6”.

DOROTHEA LANGE, Migrant Mother, Nipomo Valley, 1935. Silver gelatin print.

DOROTHEA LANGE, Migrant Mother, Nipomo Valley, 1935. Silver gelatin print.

EDWARD HOPPER, Nighthawks, 1942. Oil on canvas, 2’ 6” x 4’ 9”.

EDWARD HOPPER, Nighthawks, 1942. Oil on canvas, 2’ 6” x 4’ 9”.

JACOB LAWRENCE, Migration of the Negro #58, 1940 -1941. Tempera on masonite, 1’ x

JACOB LAWRENCE, Migration of the Negro #58, 1940 -1941. Tempera on masonite, 1’ x 1’ 6”.

GRANT WOOD, American Gothic, 1930. Oil on beaverbord, 2’ 6” x 2’ 1”.

GRANT WOOD, American Gothic, 1930. Oil on beaverbord, 2’ 6” x 2’ 1”.