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by: Nichole Pike

ART 3683-WEEK 4 NOTES ART 3683

Marketplace > Oklahoma State University > Art > ART 3683 > ART 3683 WEEK 4 NOTES
Nichole Pike
OK State
GPA 3.776

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About this Document

These notes cover week 4 of class.
History of 20th Century Art
Dr. Siddons
Class Notes
history, Of, 20th, century, Art, 3683
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This 3 page Class Notes was uploaded by Nichole Pike on Friday September 9, 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 10 views. For similar materials see History of 20th Century Art in Art at Oklahoma State University.

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Date Created: 09/09/16
WEEK 4 NOTES 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. 9/8/16 SYNTHETIC CUBISM­continued from info prior to quiz #1 ­“papier colle” means glued paper ­“the opposite of trompe l’oeil” idea of tricking the idea ­which one is more artistic; the drawing or the collage itself? COMPARISON ­relationship between canvas and image ­geometry vs organic forms in Mondrian’s 45 degrees painting ­the canvas edge is essentially cutting into the design ­Picasso’s canvas that looks like a table and creates the appearance of a table and everything is  contained in it ­Mondrian is only concerned with 2 dimensions and being flat ­Mondrian is non­objective and Picasso is abstract  ­using non­objectivity to further investigate color and form DE STIJL ­Theo van Doesburg (Dutch, 1883­1931) ­Piet Mondrian (Dutch, 1872­1944) ­founded the movement in 1917 ­bubble of peace in the country because they remained neutral during the war ­interested in Russian avant­garde and saw this work in reproductions such as newspapers ­being exposed to the Russian avant­garde ­they start to think about the ideas of non­objective art as a way to create social change ­were attracted in intellectual art (non­emotional) ­thought of geometric art as anti­painterly; eliminating texture of artists’ hand ­van Doesburg was the one who wrote the manifesto for the movement (essentially the leader) ­van Doesburg painting of playing cards ­pushing the geometric forms a little farther ­thinking about the decorative as a way to get to abstraction ­he is not interested in abstraction, but getting to the point of non­objectivity ­relationship between the forms and not what they mean is where the importance lies like  in Composition IX (9) ­de Stijl manifesto, 1918, says:  There is an old and a new consciousness of time. The old is connected with the  individual. The new is connected with the universal. The struggle of the individual  against the universal is revealing itself in the world war as well as in the art of the present day. ­it is saying what they care about and not how to make art ­in the middle of the war, the artists see the struggle between individual and universal ­ambition vs. governmental power ­the idea that the art of the present day is where the struggle is being revealed ­modern art itself is participating in the struggle (the conversations and debates) ­we get a strong sense that the individual is bad in the manifesto ­if we want an art that improves society, we need to be on the side of the universal ­for abstract art (Picasso table) we need to know a lot to fully get the impact of the  painting while non­objectivity (Mondrian) artists say that you don’t need to know  anything to look at the painting; it is super accessible ­the idea of de Stijl is that if you can create a piece without any cultural ideals, then you  have created a universal piece ­it’s about the viewer learning something from the viewing experience of the piece  ­Mondrian ­arguing that non­objectivity painting is more pure than abstract paintings ­by 1917 he is painting completely non­objectively ­as his work progresses, he offers more plastic images to viewers; simplifies colors and  form ­interested in visual simplicity with the rectilinear; but still exploring the special  relationships ­in order to explore plastic relationships, the painting must be completely flat and not  overlapping ­trying to get rid of the idea that painting is about putting objects into a space; an  experience without a foreground or background ­he wants all colors to be equally represented on surface to get rid of any illusions ­Neoplasticism­Mondrian starts using this term ­people are compelled because Mondrian argues that Neoplasticism can lead to a spiritual enlightenment ­pulling this from theosophy and Kandinsky and is very influenced by these ideals ­a lot of motivation of the followers come from the spiritual aspect ­de Stijl broke up because of a fight between van Doesburg and Mondrian about what de Stijl  architecture would look like ­van Doesburg wanted it be encompassing and Mondrian thought that painting was the most  important ­Mondrian begins doing the diagonal paintings in 1930s as he’s moving to US ­sense of how the diamond shape changes what is happening ­the frame generally seems as a boundary and the view just fits in it ­Mondrian makes the painting to seem like its flowing off the canvas ­this is saying that we have a limit to our senses by only seeing a portion of the view ­Mondrian in the US by the 1940s and things are done differently ­return to representation by critics rather than being considered non­objective ­Mondrian is thinking about the sense and visualizing jazz in this painting ­painstakingly painting over colored tape that looks like it was created in a software ­American culture is really glorified in the 1940s


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