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ARHS 3620 Week One Notes

by: Catie Cullen

ARHS 3620 Week One Notes ARHS 3620

Marketplace > Tulane University > Art History > ARHS 3620 > ARHS 3620 Week One Notes
Catie Cullen
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These notes include both reading and lecture notes from week one of Prof. Michael Plante's Contemporary Art since 1950. Included is his opening lecture and background on how New York became the ce...
Contemporary Art 1950 -
Michael Plante
Class Notes
Art, history, Picasso, guernica, Contemporary, tulane, mondrian, Piet Mondrian, krasner




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This 4 page Class Notes was uploaded by Catie Cullen on Monday September 5, 2016. The Class Notes belongs to ARHS 3620 at Tulane University taught by Michael Plante in Fall 2016. Since its upload, it has received 52 views. For similar materials see Contemporary Art 1950 - in Art History at Tulane University.


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Date Created: 09/05/16
ARHS 3620 Contemporary Art since 1950 Week One Notes Reading 1. Negotiating Abstraction: Lee Krasner, Mercedes Carles Matter, and the Hofmann Years by Joan Marter a. Students of New York's Hofmann School of Fine Arts i. Lee Krasner (1937): "angular charcoal drawings" of nude, still lives; focused on movement of the nudes 1. Background: from Brooklyn, Russian immigrant family 2. Believed artists could make abstractions and that radicals should be more concerned with bettering the world than propaganda 3. Public Works of Art Project (PWAP), assistant of mural division of Federal Art Project (FAP) --> met Matter in jail ii. Mercedes Carles Matter: more solid, "bold", "static" nudes 1. Background: privileged child from Philadelphia, educated in private schools in the US and Europe 2. Met Hans Hofmann in classes at Art Students League; affair: mentor, father figure, lover b. Friendship i. Carles likely persuaded Krasner to join Hofmann's school in 1937 1. Influences on Krasner's art: introduced to European avant-garde, advanced modernism; Hofmann's emphasis on positive and negative space, interaction between color and form; dynamic nature of form 2. Hofmann had aggressive teaching methods, biased towards female students ii. Krasner's individualized approach to abstraction --> more geometric, bright colors, clarity 1. Began to struggle with her work in 1943 at a Pollock exhibition, wanted to lose Cubism and move into the next movement 2. Married Pollock in 1945 iii. Neither woman was truly recognized for their achievements, but Matter in particular was never recognized for her artistic prowess 2. Hans Hofmann's Good Example by Wolf Kahn a. Routines and structures of the school i. One room, sketching benches and easels ii. Hofmann came once or twice a week to make corrections for his students, would sit from the position they were drawing from and omment directly on the drawing 1. "Careful attention" 2. Disliked Whitney 3. Fostered a sense of community and pride among students of the school b. Matisse: "used color in a structural way" Class Notes  Background o Bombing of Guernica, 1937 – 30 days before the opening of the World's Fair  Spanish civil war, fascists have occupied most of the country  Guernica: believed by fascists to be a stronghold of military power, but actually was a small peasant village  Franco (Spanish fascist) called his friend Hitler and had the Nazis bomb Guernica  Picasso: Spanish, lived in France  1937: World's Fair in Paris, Picasso agreed to do a mural for Spanish pavilion at World's Fair – decided to paint mural based on bombing at Guernica, 20 days to make it  12 feet wide, 26 feet long  Became incredibly famous because it was done by Picasso and a political statement  Guernica, 1937: Picasso  Black and white: somber; newspaper ready, not losing anything when converted to black and white  Propagandistic  Gave it to people of Spain in the Prado, but could only go there when Franco and the fascists were no longer in power (finally lost power in the 1970s --> went to the US in the meantime) o Went on tour, admission was charged; money supported republican army in Spain o Lent to the Met, where it stayed for 40 years  Girl Before A Mirror, 1932: Picasso  Until around 1960, most expensive painting ever to sell from the modern period o Donated to MoMA o The Dance, 1909: Matisse o Everything shifts away from Paris to NYC, NYC was center of art world until almost the 1990s  By 1940, New York City had the greatest collection of modern art in the world, none of which was American art  Matisse, Picasso, Kandinsky, Mondrian  Each generation influences the following generations  New York's collection of modern art had a great impact on American artists  Art dealers were arriving in NYC as a result of the chaos of Europe  Devastation of Europe and European economy  Hitler and the Third Reich declared modern art to be "degenerate"  Modern art was dangerous, "Jewish" plot to undermine the history of the humanities  Stripped all museums of modern art and confiscated art from Jewish collectors, most burned but the valuable things he sold (which mostly went to America) o Piet Mondrian: arrived in NYC by 1941 or 1942  Dutch but lived in Paris for most of his life; left for fear of the Third Reich  Very respected amongst artists  Composition in Red, Yellow and Blue (1930): dynamic equilibrium  Whites are all different kinds of white (warm, cool)  Pure abstraction, non-objectivity  Place de la Concorde (1938-43)  Non objective, abstract  New York City I, 1942  Tests it out with colored tape, then removes the tape and paints the stripes  Impact of NYC makes his art "crazy," likes NYC because his paintings are in museums  Broadway Boogie-Woogie 1942-43  Jazz influence, went out every night  Excitement at being in NYC, in a new world  Overstimulates your retina, jumps around and pulses because of eye responses to color  Victory Boogie-Woogie, 1942-44 o Hans Hofmann  Went to art school in Paris, in the cohort that included Matisse, PIcasso, Mondrian  Opened an art school in Munich, "knew everybody" including German, French, Spanish painters  Hofmann School in NYC (1935-1960): European coming to America and training generations of American artists  "You could learn more about Picasso from Hofmann than you could from Picasso"  Great teacher, but not a great artists; eventually makes the switch to non- objectivity  Spring, 1940: precursor to Pollock, pouring and dripping paint but the only painting of its kind by Hofmann o Lee Krasner: one of Hofmann's best students; studied with him for 13 years  Composition, 1939: most knowledgeable, best educated, most capable painter in the US; ready to take on the future  Matisse color, Picasso Cubism --> doing what Hofmann tried to do by synthesizing Picasso and Matisse and doing it well  Nothing happened because she was a woman, no career was available to her despite her talent  Blue Square, 1939-43  Black outlines, in-filling, a lot of texture --> moving away from Picasso  Ambitiously trying to move forward  Image Surfacing, 1945  Expressionist: so vivid (color, brushstrokes, drawing); baring her soul, emotions  Painterly, non-objective  Blue, 1946  Trying to do something much deeper, time when painting wants to go deep  Noon, 1946-47  Marries Jackson Pollock, painting changes completely  Little image: dense, thick, small in size o Short, thick, gummy brushstrokes o Nightlife and Untitled: all-over paintings, each has different brushstrokes and colors  Compositionally, all-over image: every part of the painting is activated visually  No depth, no reading into it; reading across it or on it; no depth, side to side, up and down  Married Jackson Pollock, moved to Long Island; Jackson Pollock makes it clear that she is not to paint ("its either you or me"); she begins painting again the day he dies in a car crash  Hofmann: "she paints so well that you would never know that she's a woman"


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