Contemporary Posters, Week 5 of Notes
Contemporary Posters, Week 5 of Notes 20663
Popular in ART 420: Twentieth Century Art
Popular in Art
verified elite notetaker
This 9 page Class Notes was uploaded by Sarah Joyce on Tuesday February 23, 2016. The Class Notes belongs to 20663 at Radford University taught by Dr. Barris in Spring 2016. Since its upload, it has received 161 views. For similar materials see ART 420: Twentieth Century Art in Art at Radford University.
Reviews for Contemporary Posters, Week 5 of Notes
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 02/23/16
2/16/16 Continue of the wall newspaper from the Rabinovisch collection - Red star is in the middle (not in all of these) - Pictoral and visual info 5-3. Cheremnykh: In the luxury wagon Glavpolitprovest window poster #316 (1921) - Fat men are capitalist - Story of the enemy trying to find the plot of the Bolsheviks - Good example of a ROSTA window but it is placed under the company’s name. (company would go and publish the posters) (Was one of the poster makers that made ROSTA windows because individuals liked his satirical cartoons. These windows were made using stencils - Numerous stencils were used for different colors - Number of individuals were used to help make a ROSTA window 5-4. Maiakovskii, ROSTA window #729: Remember the Red Barracks Dauy - Exaggerated and dramatic 5-5. Maliutin: “To the Polish Front,” 2 colored lithograph, 1920 - Decorative with lines and details 5-6. V.V Lebedev, Keep your rifle beside you while working, linocut, 1920 - One line that will carry you further - Strong diagonal giving you direction 5-7. ROSTA window #149 by Maiakovskii, 1920 - Urges Russians to finish off the Russian members of the White Guard, since they kept their ties to the Poles and some Poles may have joined them. - The fat figure in black and yellow appears to be a hybrid of all the enemies - Satirical cartoon - Good (Russians) always wear red 5-8. Kozlinskii: The dead of the Paris Commune have risen again under the banner of the Soviets! (transl. S.White, p87). 1921, colored linocut. - Dramatic - Sharp 5-9. Cheremnykh’s Bread Rings ( look at previous notes) Type of ROSTA windows: - Muti frame w/ two line caption - Poem poster w/ several drawings - Poem poster w/ a single large drawing 5-10. Maiakovskii: this appears to be a single image/poem ROSTA window but the #14 (in text box and on the man’s wrist) suggest that it is a single frame 5-11. Sergei Ivanov: Citizens, get an anti-Chlolrea vaccination! Death is powerless against it. Petersburg Gosizdat, 1920, colored lithograph - Poster change - Naturalistic Figures - Death is stereotype - Red suggest if you are a good Soviet you will take care of yourself 5-12. Dmitri Moor: United but 2-faced Mid 1920s offset lithograph - Complex, sophisticated - Not simple like the others - Merge of two figures o Fat capitalist and penta-cater Christ - Union of anti-religion and anti-capitalist - Red use in religious work as well 5-13. Pavel Sokolov- Skalia (image); text by Demian Bednyi, TASS window #939, “Secret-countersecret” stencil, 1944 [owned by the Art Institute of Chicago] (Tass possible revival of ROSTA window) - Some are made with stencils - Others are paintings with words with next to another o They are framed - Story that hitter says a secret but is actually a lie - Application of paint is different than the other ROSTA windows - ROSTA windows do not have this sophistication. You: Have you volunteered? (1920) You: Have you helped the front? (1941) - Use of the same images but with just subtle differences Kukryniksy (3 artists) The search for human resources in Germany 1944 TASS window #0903 - New topic in posters - How indept Germany is - How Germany is losing people are trying to flee Nikolai F. Denisovskii, Our One-thousandth Blow, June 1944 #1000 TASS window - Still propaganda but new issue - Stereotypical Nazi - Poking him with means of agitation (using art as means of agitation) can cause painful blows. 5-14. George Savitskii (image); Alexsandr Zharov - TASS window painted to make it look like a real painting - Each panel is different New Soviet Hero: The Worker - Distinctive - Not a soldier or priest - A person who is in industry and makes things with his/her hands (New subject matter and issues such as importance of education and defeating capitalism) N.Kogut: we defeated the enemy with our weapons, 1920 -being a worker will help us win the war by providing soldiers with the weapons we produce Aleksandr Deineka Donbass Mechanization Gustav Klutisis: USSIZ Strike Brigade Workers of the World - Master of photo montage - No frontal view of the face - Use of big figure that is not identified o With little figures - Photos give this realistic quality to the poster - Proletarians should unite! Workers, Everyone Must Vote in the Election of Soviets! Klutsis, Maquette, 1930 May Day by Senkin & Klutsis, 1931 - About 5yr plan in Bolshevik form Who was the Soviet woman: a militant? A mother? A poet? All of the above? - She is all of the above Portrait of Countess Zinaida Yusupova by Valentin Aleksandrovich Serov, 1902 Strakhov: Emancipated women build communism! 1926 & Kuzma Petrov- Vodkin: Anna Akhmatova, 1922 - Message and palette both different - Influence of cubism Malevich: Peasant woman catches an Austrian soldier, 1914 - Woman depicted as fat and not very attractive What the Oct. Revolution has given the worker and the Peasant women - Hammer and sickle symbol - Rising sun - Woman worker (Kogout, 1920) Stop by unknown artist, 1920 - Stopping the western influence of fashion coming in Help the School! 1923 - Mixture of theme - Flat rising quality Are you worried about your breasts? Bekhmetiev, 1930 - About neutralizing the body - Not seductive image - About the concern of health and taking care of themselves - Desensitizing of sexual 2/18/16 I.P. Makarichev: Every cook learns how to direct a govt. 1925 - Insulting to the cook or woman - Ambiguous Poster for Russian Exhibition in the Kunstgewerbe Museum, Zuirch Lissitzky, 1929 - Female and male face merged together - Saying the contributions form men and women are equal. Maria Voron: Shock-brigade reaping for a large harvest 1934 - Showing “hey women can do this too” - Trying to make you believe, leaving out facts - Addressed to female peasant farmer. - Attempt to get everyone to join the collective farming - Is NOT in secondary position - She can be a hero - A big change in the 1930s Mikhailov: We have no room for priest and kulaks 1930 - Anti-religion and capitalist allowed in collective farming - Power in poster vs power of women - Red female figure stopping the smaller people (priest and kulaks) in taking part of collective farming - Women in position of power>reoccurring image - Political power poster - New visual language by using women in the poster - Merging the present with the future o Future is now - Slogan is old but revamped Propaganda tries to manipulate your mind Terpskhorov: Religion is poison, 1930 Klinch and Kozlinskii; The working woman in the struggle for socialism, 1931 - Utopian view - Woman is building the new world, not selling herself - Red scarf> common working woman N.S. Pinus: Women in the collective farm are a great strength 1933 - Women working are becoming iconic as Stalin during a speech - Not a stencil piece Pinus: Wokring women fill a variety of roles… 1933 - Woman contribute in a generalized way (can’t get out of it) - Photo-montage - The “new” woman Kulagina: International Day of Women Workers 1930 Pinus: Delegate, Worker, Shock woker, 1933 - Sense of abstraction - Separation into segments - Women that work in a factory vs. a peasant worker (farmer) - Big central figure with smaller figures around her o Smaller figures could become bigger figure - The female agricultural farmer disappears with folk revival - Decrease of photo montage - Going backwards Losing progress and going backwards Worker and peasant reappears Women are not as important as men ( becoming secondary [once again]). Statue in Moscow V. Kortsky: Be prepard for medical defense of the Soviet Union (1938) - A photo poster o Photo with text - She looks engaged (not threatened) - This becomes his style unless he wants to include more than one figure. M. Toidze: the Motherland calls you! 1941 - Full frontal - The new pointing hand with woman - Woman are the motherland - Instead of pointing with her hand she is holding out a document instead The Emergence of a German Style 1. The Art Nouveau Influence - Complicated Paul Serusier: A Celtic Tale, 1894 symbolist oil painting - Looks like art nouveau but part of the symbolist movement - There’s tension Herman Obrist: Cyclamen Wall Hanging 1894 (wool and silk) - Wiplash curve - Decorative pleasure - How things handmade are more beautiful than things made by machines - Vertical emphasis ( emphasis in verticality) Art Noveau - French one dominates - Aesthetic of curves - Anti-historical except for Rococo Jules Cheret: Folies Bergere: Fleur de Lotus, 1893 -modernized Rococo style - a uniquely French style Folies-Bergere/ Loie Fuller 1893 Les Girard 1893 - Japanese influence of color - Pro-lithic - Contribute to poster craze Leonetto Cappiello: Corset le Furet, 1901 Cappiello: Bitter Campari 1921 - No background - Elimination of decorative flourishes - Single image poster with plain background and text at the bottom - No more narrative - New style ( Cappiello style) “ La Samaritaine” with actress Sarah Bernhardt 1894 Alponse Mucha: “Gismonda”, with actress Sarah Bernhardt 1894 - 2nd one was more popular - Long flowing tresses of hair Job 1898 - Elements become others - Hair becomes border Biscuits Lefevre-Utile 1896 “Kassama” Corn Flour Beggarstaffs 1894 - Japanese influence - Two people made this - Complete flatness to figure Jane Avril, Henri de Toulouse-Lautrec, 1899 - Great deal of flatness - Snake is part of the dress Beardsley: Salome with John the Baptist’s Head, Studio, No. 1, April 1898 - Merge of foreground and background - Merge of text an decorative elements James McNeill Whistler, Peacock Room: Harmony in Blue, 1876-77 - Strong Japanese influence - Architecture Ladderback Chair, Charles Rennie Mackintosh, 1902
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'