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Art History 420 Twentieth Century Contemporary Posters

by: Sarah Joyce

Art History 420 Twentieth Century Contemporary Posters 20663

Marketplace > Radford University > Art > 20663 > Art History 420 Twentieth Century Contemporary Posters
Sarah Joyce
GPA 3.749

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About this Document

3rd week of notes (There is overlap from where Dr. Barris is writing her own book).
ART 420: Twentieth Century Art
Dr. Barris
Class Notes
Art History
25 ?




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This 4 page Class Notes was uploaded by Sarah Joyce on Monday February 8, 2016. The Class Notes belongs to 20663 at Radford University taught by Dr. Barris in Spring 2016. Since its upload, it has received 8 views. For similar materials see ART 420: Twentieth Century Art in Art at Radford University.


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Date Created: 02/08/16
2/2/16 Back to Russian Neo-Primitism - Larionov has variations of styles o From representational to abstract ( pieces have varying levels of abstraction) o Abstract avant garde > Lubki (Russian artists are against the people west of Russia because they are “stealing” their ideas and calling them their own, when its actually Russia who has created these new concepts) Larionov’s Spring and Summer - Standard format - Sectioned off into four parts o Figure (simplified and genderless) o Natural image relating to the season o Poem o Some other elements that pertain to the piece - In Larionov’s Summer the earth I scorched and has blue sky - Influence of the Lubki Autumn - Poem tell of how the people are harvesting grapes to make wine Winter - The section next to the poem exhibits peasant activity o Influence from the book of Hors - These series (Larionov’s Spring, Summer, Autumn, and Winter) on the top make reference to nature and Russian mythology Sunny Day (Pneumo- rayonist structure based on color) 1913-14 - Objects give off rays of energy - More colorful than his mono chromatic pieces Rayonism 1912-13 - Red and Blue - (Scientific rendering of how rays bounce off lights and color) - Communication of rays of light Harvest (Marta & Wanka) Kazimir Malevich 1928-29 Suprematism- Kazimir Malevich th - Abstract transcendental meaning (4 dimension) - Pure geometry - Influential to posters Poster 1-6. Moor: Help! (Pomogi), 1920 - Figure reminds you of the white lubki figure in Larionov’s four season - Next a lot of detail or words - Skinny, boney, white figure - Few grains > showing starvation and that that person needs help - Many poster artists do not sign their work for they are embarrassed, but Moor is proud of his work as an artist > signing your work benefits - Imperative word for help (commanding the person) (Lessening aggressive nature of the pointing hand and shifting the demand from one of placing guilt or blame on the viewer to one of soliciting help.) - The frontal figure becomes rather constant when this new development arises. 1-7. Maria Voron: The Shock Brigade, for a Bolshevik harvest, 1934 - Trying to get viewers to produce a great abundance of product in a short time. - Women figure is used to appeal to the female audience - Perfectly centered figure with bundles (exaggerated) - Figures behind the main woman are tiny - Big letters to attract attention - Getting people to join collective farms to create a big harvest - Attractive young woman than a traditional women worker of that region. (petite vs muscular and stout older woman) 1-8. Rodchenko & Maiakovskii: Read the “Young Guard” (Molodaia Gvardiia), 1924 - Figure dressed in all red> shows that he is a good communist citizen - Has no 3-dimensional features - Visually bold with the black mouth wide open and black background paired with the red - Title of the journal in 3 spaces - Placement of the red to make your eyes flow along the composition. 1-9. Ilia Pavlovich Makarichev: 1925, chromolith, Kazhdaia Kukharka nouchit’ sia upravliat’ goudastvom… (Lenin) Every cook learns how to direct a government… or more colloquially, even a cook can lead a government. - Red has symbolic meaning and calls attention o Lenin and the female cook are pointing to you - Overall the poster is trying to get viewers to vote Chapter 2: Industrial Origins of the Poster 2.1- Anton Ehrlanger, Gas & Silk Sieves Millstones, 1868 (unknown artist); fig. 13, p16 in Advertising Art in Russia - Promoting an industry/company - Showing awards received - Locations identified - Advertising the factory and then showing the products and information - Ornamental and decorative - Sense of space - Making a reference to religious aspects o Creating a new tradition since there was not one before - Becomes a new type of poster 2.2- Perfumery Goods, Bropcard & Co. Assoc. in Moscow, 1898, unknown artist, fig. 1, p8 in Advertising Art in Russia - Naturalistic rendering of the figures - Company is framed - Showing the product and the people using it - Conservative figures (wealthy) interacting with the perfume products (endorsement) 2.3- Tulle factory assoc. in St. Petersburg, founded in 1837, unknown artist, 1890. Fig 11, p14 in Advertising Art in Russia - Shows awards - Doesn’t show the products they make - Shows location - Naturalistic rendering with nice frame surrounding it - National creditation Chapter 3: Sources of Style With lubki *the piece about the mice burying the cat is only a piece of a whole story


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