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ART 3683-Week 2 Notes

by: Nichole Pike

ART 3683-Week 2 Notes ART 3683

Marketplace > Oklahoma State University > Art > ART 3683 > ART 3683 Week 2 Notes
Nichole Pike
OK State
GPA 3.776

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About this Document

These notes cover the second week of class.
History of 20th Century Art
Dr. Siddons
Class Notes
history, Of, 20th, century, Art, 3683
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This 5 page Class Notes was uploaded by Nichole Pike on Saturday August 27, 2016. The Class Notes belongs to ART 3683 at Oklahoma State University taught by Dr. Siddons in Fall 2016. Since its upload, it has received 17 views. For similar materials see History of 20th Century Art in Art at Oklahoma State University.


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Date Created: 08/27/16
WEEK 2 ART 3683 DISCLAIMER: THESE NOTES WERE TAKEN FROM WHAT WAS RETAINED  FROM CLASS LECTURE AND TEXTBOOK READINGS. THESE ARE IN NO WAY  COMPREHENSIVE, BUT SHOULD BE USED IN CONJUNCTION WITH CLASS  MATERIALS PROVIDED BY THE PROFESSOR. 8/23/16 We can define Modernism is a series of conversations and debates. THE FAUVES ­not a movement but set of ideas ­fauve means “wild animal” ­those who said painting can be about a bunch of different things ­this debate mainly happened because of the invention of photography ­instantly popular because it could more accurately portray the world ­before photography, painters were asked to paint a record or portrait more realistic which was  still different than reality ­painting doesn’t have to portray things realistically, but can now show emotion, etc. ­we can explore the way the human eye sees things­like color in Impressionism ­painting didn’t have to be about a realistic event­not strictly for documentation ­interested in using color expressively rather than descriptively  ­painted very loosely and simplified forms ­not known as an official group (no meetings, but had shared goals) ­goal was to try and get rid of narrative from all paintings­though it was too literary ­interested in creating cheerful paintings­ “rejected morbidity” ­part of the expressive use of color is to make it more cheerful ­Matisse is most famous of fauves Andre Derain, The Port of Collioure, 1905 Center Pompidou, Paris ­doesn’t want us to think about the narrative but rather the design ­wants the spontaneity of painting outside ­from Impressionism, Fauves reinvigorate outside painting Maurice de Vlaminck, The Red Trees, 1906, Center Pompidou, Paris ­essentially something completely unrealistic with exaggerated color ­landscape view­breaking down boring landscape so we instead look at composition,   design and elements Raoul Dufy, Nice: Le Baie des Anges, 1927, Philbrook Museum of Art, Tulsa Fauves were primarily characterized individualism ­simplicity Matisse in His Time: Masterworks of Modernism­OKC Museum of Art until Sept 18 th ­buy tickets ahead of time Henri Matisse (French, 1869­1954) ­people who received it were shocked because of typical fauve qualities ­nothing particular shocking about painting but rather the expressive use of color and   loose brushwork ­contrast is what people questioned­found it an unflattering portrait Henri Matisse, The Dinner Table, early in his career ­did not want his paintings to look like those hyper­realistic paintings by Bouguereau – Birth of Venus ­Matisse didn’t bother with academy proper ­casual painter and enrolled at Academy Julien ­wanted to more avant­garde ­begins to use brushwork more expressively and active painting itself ­discovers Serat and his pointillism  Matisse, Luxe, calme et volupte, 1904­05 ­to evoke an experience through pointillism  ­was not trying to use color descriptively  ­gives us something between mythological and French middle class ­no descript narrative ­poem in textbook from which painting was inspired ­nude female figures except wife ­interested in nature; eternal nature; naked female body represents non­corrupt nature ­juxtaposition with nature and happy Matisse, Le Bonheur de vivre, 1905­6 ­not overly concerned with escaping from the history of art ­borrows groups of figures from other paintings ­ideas all drawn from history of art that are celebrating life ­engages in collage style­no direct relationship between figures in painting ­collection of cheerful moments, but purpose is “decorative”­ Matisse believed art should be “decorative” ­people saw decorative art as lazy; that if it was pretty, it couldn’t be good  ­emotional response by fauves is the realistic world Fete champetre means “rural festival”­Manet painting­naked lady at picnic from 1863 Matisse, Dance, 1909 ­dancing group from joy of life ­says he was inspired by peasant dances  ­direct reference to Greek ceramic color ­interested in contour lines (decorative style) ­linear composition with outlines, hard edges and often actual outlines ­simplified figures  ­not thinking about accurate descriptions, but the decorativeness ­showing familiarity with history of art ­quote by Matisse in 1908 ­“condensing meaning by seeking essential lines” ­argument (reason) for essential lines by showing its contour line ­can visually experience the painting and its movement­meaning that is more  human (share something with the rest of humanity can be seen in painting) Matisse, book spread ­done throughout second world war ­basically bed ridden after diagnosed with cancer and has surgery ­“finally reached the point where he can say what he wants to say” ­the universal­figures that emphasize movement, abstraction, and reference to jazz ­jazz­universal and individualistic 08/25/16 GERMAN EXPRESSIONISM th ­umbrella term­describes early 20  century German art ­really into Fauves but don’t have the relationship with academics ­thought color as a design element rather than descriptive ­nihilism­Fredrich Nietzsche big proponent nihilism­quote God is dead but meant that culture  had died and now there’s a sense of free will rather than being responsible to spiritual figure ­associated with nihilism­that there is no point or meaning to live­thought as a free for all ­it doesn’t have to be violence but rather leads extentialism that we can have our own purpose­ we can create our own moral system with logic and separate from outside responsibility ­science has displaced religion through discovery ­prompted by revolution against monarchies which are justified by religious beliefs­chosen by  God ­some reacted to science displacing religion by emerging themselves even more into science ­huge explosion of a variety of religions ­there is a rise in nationalism­interest in folk culture Ernest Ludwig Kirchner (German, 1880­1939) ­founded group (The Bridge) that was the precursor for expressionist painter group  ­interested in color theory­analytical approach to color ­became interested in responding to contemporary culture ­thinks about how it connects to African culture; one of the first examples of primitivism ­thought art had lost is emotional so he looked to a variety of different types of art  making ­primitive (unskilled) positive thing ­they seem more expressive than those of academic art type Kirchner, The Bridge, 1905 ­architects who wanted to be artists ­rejected mainstream art ­wanted to create a new mode of expressionism that bridges past and future ­presenting themselves as a group and movement Kirchner was interested in everyday life and subculture Kirchner, Street, Dresden, 1908 ­Presenting ordinary people as they are estranged from social constructs Kirchner, Seated Girl ­Focusing on her ambiguous feminine figure on the cusp of adulthood ­Creates a bridge in one way ­Becomes a metaphor of reclaiming emotions from child to adult Emile Nolde (German, 1867­1956) ­painter and print maker ­considered one of the greatest artist with watercolor in the 20  century ­trained in wood carving ­interested in ways art can express nationalism and German superiority ­The Last Supper 1909, was engaged with folk and craft movements ­part of historic Germany culture, religion played a big part ­aggressive brushwork to make it look like carving Nolde, Masks ­wants it to be frightening, and chaotic ­expressing contemporary culture ­Nolde, Female Dancer ­thinking about primitivism ­painting is slightly uncomfortable but expresses loose freedom ­metaphor for escaping social constraint ­Watercolor Flowers The Blue Rider, 1911­1914 (another group­in Munich) ­founded by Russians ­move to Munich and come across German artists Franz Marc (German, 1880­1916) ­obsessed with horses­Arcadian spiritual ­studied art ­was interested in Van Gogh and the interest in color comes from post­ impressionist ­thought animals were pure and more spiritual (many people thought this) Marc, The Large Blue Horses ­a bit literal ­of sculptural painting­traditional in German culture Marc, Stables ­absorbing influence of Cubism­interested in geometric form to think through time ­fragmenting and abstracting the composition to give it a sense of time passing Blue Rider group is more optimistic and popular than The Bridge August Macke (German, 1887­1914) ­interested in fold primitivism ­positive images from 1912 ­less extreme than Marc’s extreme ­decorative, idealic image of leisure time and  Gabriele Munter (German, 1877­1962) ­women were not encouraged to be artists ­pursues her studies and travels to US­very independent life ­studied at experimental school and Kandinsky is director and encourages her to pursue  and becomes romantically evolved ­her work becomes very influenced by Kandinsky and the Blue Rider


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