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Week 7 Notes

by: Sarah Doberneck

Week 7 Notes Art His 23

Sarah Doberneck

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About this Document

Notes from lecture during week 7
Dr. George Baker
Class Notes
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Popular in Modernism

Popular in Art History

This 3 page Class Notes was uploaded by Sarah Doberneck on Monday February 22, 2016. The Class Notes belongs to Art His 23 at University of California - Los Angeles taught by Dr. George Baker in Winter 2016. Since its upload, it has received 41 views. For similar materials see Modernism in Art History at University of California - Los Angeles.

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Date Created: 02/22/16
Tuesday, February 16 th Cezanne, Bathers at Rest, 1875-77  Bodies in the world o Not part of the classical myth of river gods in pastoral spaces o Immersion of the body in the physical world  Proportion begins to shift and change  Phenemological themes o One of the great enigma paintings of the bathers series o There isn’t much of a narrative Cezanne, Bathers, 1883  Gaze at each other, model how we view the scene  Bodies seem incomprehensible Cezanne, Large Bathers, 1894-1905  The repetition of this painting as a statement piece  This is the first version o Bodies are spread vertically o Experiencing the world with eyes and flesh at the same time  1900-1905 o Second attempt o More confusing, less readable o More focused on a figure that is entering the scene o Desire and sexuality is embodied in the forms/shadows used in the work o Categories are being called into question  1898-1906 o Third attempt o Embraced the unfinished aspect of painting, or he was unable to finish it o Geometric shapes return, but are still imperfect o Fusion of bodies, loss of separation End of the 19 century  Vision of the crisis in modernism  Art is now all about connection and becomes a kind of bodily tactic Joseph Maria Olbrich, House of the Vienna Secession, 1898  Institution of artists who went away from the academic  Embraces a kind of return to classicism in the architecture of the building  Compared to a religious building or temple  Geometric shapes, nature themed décor Klimpt, Philosophy and Medicine, 1900-1907  Various stages of suffering and eroticism  Moves away from enlightenment  Irrationality, a release of desires opposed to containment Klimpt, Beethoven Frieze, 1902  Be one with the wall/architecture  Bodies seem to float  Death, sickness, insanity th  The depiction of an article about Beethoven’s 9 symphony  Not about sight for sight sake, the beginning of the idea that you can visualize sound  Consists of 3 panels that correspond with the 3 parts of the music  After darkness there is light as the music become more upbeat February 18, 2016 Henri Matisse and Pablo Picasso  Associate the figure of the artist with the bohemian, not a model of the bourgeoisie  Transformation of painting form as seen by the body o Not idealized or youthanized Matisse, Sideboard & Table, 1899 and Carmelina, 1903  Moves backwards in modernism  Still life composition, lightened by the sun, short brush strokes o Post-impressionism  Carmelina goes back to Manet o Realism/modernism Matisse, “Luxe, calm, et volupte”, 1904  Modernist pastoral, the body in a landscape  Accepts divisionism o Divided strokes, thick rather than small o Divided colors Henri Rousseau, The Hungry Lion Throws Itself on an Antelope, 1905  Self-taught painting  Returning to a vision of primordial nature in the jungle Andre Derain, The Dance, 1905-6  Vibrant colors and hues  New movement called “Fauves”  Named after the French word for beasts  Primitive and wild Matisse, The Woman with a Hat, 1905 & Open Window, 1905  Continued explosion in terms of color and hue  Woman with a Hat o Portrait of his wife o Genre about looking and the optical o Combination of the small brush strokes and also larger ones that swirl in the background  Open window o Still type of divided brushstrokes Matisse, Woman with a Green Stripe, 1905  He is letting color run wild  Shows us the change from divisionism brush strokes  Gives us a flattened background  There is no outside light or color  Lack of naturalistic motivation o The green down her face o Yellow on one side, rosy pink on the other Picasso, Portrait of Gertrude Stein, 1906  Nothing is about the space of color  All browns and tans Picasso, Self Portrait, 1901 & The Absinthe Drinker, 1902  Periods organized around color  Embraced tonalities of blue Picasso, The Boy with a Pipe, 1905 & The Family of Saltinbanques, 1905  Less about Chroma as Chroma  Thinking about bodies themselves  Opposed to color, he will push line Gertrude Stein  America writer  Dear friend of Picasso and Matisse o She starts to collect modernist painting, causing her to be in the center of the movement o Held salons in her house  Picasso tried over 50 times to paint her portrait but couldn’t o Eventually he leaves and goes to Spain and is able to finish it o Drew inspiration from Iberian sculpture o The solidarity of sculpture is important to him Matisse, Le Bonheur de vivre (The Joy of Life)  Pleasure and color  Returning to a golden age like is seen in past paintings  Explosion of movement in the theme of wild colors and bodies  It’s as if they are dancing  Seems to be going back to the caves origins of cave art


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