Visual Culture and Literacy I, Week 1
Visual Culture and Literacy I, Week 1 FACS 150
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This 8 page Class Notes was uploaded by Carole Boulware on Wednesday July 20, 2016. The Class Notes belongs to FACS 150 at University of Southern California taught by Erin Silver in Fall 2015. Since its upload, it has received 28 views. For similar materials see Visual Culture and Literacy I in Art History at University of Southern California.
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Date Created: 07/20/16
Expressionism and WWI George Grosz "Fit for Active Service" 1916-1917 Lack of attention to detail of individuals Effects of war felt mostly by European countries - artists drawn to it Neue Sachlichkeit - "New Objectivity" War experiences of German artists Not an organized movement - 1923 grouped artists together Clear honest image of war and its effects Both outer and inner conditions (Physical and Psychological) Realistic approach contrasts with Dada (more Journalistic) - Grosz associated with both Chaos of war might lead to a better society at first Max Beckmann "Night" 1918-1919 Group of people invading a domestic space Wife raped, husband in the process of hanging Brutality of society and war Autobiographical element - artists own family modeled Otto Dix Aerial observer - first supported the war Began to produce works that depict devastation of war Otto Dix "Der Krieg (The War)" 1929-1932 Soldiers going to war, mangled bodies, artist as the soldier saving his friend Bottom panel - unclear whether asleep or dead Constructivism - Russia 1919 Rejected idea of autonomist art - trying to find a way to embed art into social/political conditions Art with social purpose Influenced future design-based movements Vladimir Tatlin "A Sailor: A Self Portrait" 1911-1912 Worked as a ship carpenter until 1915 Keen sense of crafted materials Trip to Paris in 1914 influenced work - influenced by Picasso Cubism influence, Russian/Japanese woodprints, religious icons intro of industrial materials - painting no longer pure medium Vladimir Tatlin "The Bottle" 1913 Focus on the reality of the materials, engages the viewer First known relief work Cubist still life but using different materials and set within a frame Both canvas and sculpture Vladimir Tatlin "Selection of Materials: Iron, Stucco, Glass, Asphalt" 1914 Listing of materials as titles Properties of materials take on form within the canvas - "Materials dictate form" Truth to materials Literary arts also using same elements Tatlin created work that could be canvas or sculpture - last exhibit 1915 Called counter reliefs Difference between composition and construction - passive vs active engagement Kazimir Malevick "Suprematist Composition: Airplane Flying" 1915 Intended to convey belief of pure feeling as supreme reality Non objective forms in art - shapes not related to anything None of advant garde suited his expression - supremacism Squares, lines, rectangles Pure language of shape and color - not distract from feeling Belief of universality of his work Art has emancipated role in society Dutch Artists - De Stijl "The Style" - Neoplasticism Theo va Doesburg "Composition VII (The Three Graces)" 1917 Piet Mondrian Composition II in Red Blue and Yellow" 1930 Piet Mondrian Broadway Boogie Woogie 1942-1943 Netherlands did not participate in WWI - not allowed to leave country after 1914 Emotionally removed Reduction to the essentials of form and color Achieve balance through composition and contrast Ideal of geometric form Ended in 1941 1917 Russian revolution Soviet Russia - provisional government wanted communist government Civil war - Red (Communist) (Won) vs White USSR created 1922 Vladimir Mayakovsky - Agitprop Poster Use of the colors red and white El Lissitzky "Beat the Whites with the Red Wedge"1919 Graphic design with a political edge Combo of art schools and craft schools Bkhutemas - workshops established in Russia under the decree of Lenon "To prepare master artists for industry" Training and intellectual/political discussion
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