Week 9 Notes
Week 9 Notes Art His 23
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Art His 23
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This 2 page Class Notes was uploaded by Sarah Doberneck on Monday March 14, 2016. The Class Notes belongs to Art His 23 at University of California - Los Angeles taught by Dr. George Baker in Winter 2016. Since its upload, it has received 22 views. For similar materials see Modernism in Art History at University of California - Los Angeles.
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Date Created: 03/14/16
Week 9 Picassos Demoiselles begins to make us thing and take formal explanations and themes outside of the canvas No more self-critical, now confronts the world Georges Braque, L’Estaque, 1906 & Viaduct at.., 1907 Gravitated toward Matisse Excessive hues and color Back to where Cézanne was before, thinking about “The father of us all” Cezanne’s legacy pushed artists Severed him of phobism Braque, Large Nude, 1908 Questions the mimetic relationship Turned head-like squatting figure Horizontal figure rotated into the vertical Crisis picture, kept private Braque, Houses at L’Estaque, 1908 & The New Castle at La Roche-Guyon, 1909 The geometry of squares of squares and cubes A critic named this as cubism This would mean the painter wanted to idealize form and shape and return to the geometry of classicism Very little color; attending to the way in which space can be utilized Color isn’t as important Light and shadow are used more Braque, Violin and Palette, 1909 & Violin and Pitcher, 1910 Cubism Our ability to see in these paintings is severely undermined We see paintings but can’t see figures or objects Ability to feel Braque, The Emigrant, 1911 & Picasso, Ma Jolie, 1911 Very similar paintings Proclaim to be pictorial spaces that are broken down Picasso is turning to mass culture, music, and language All things outside of painting Picasso, Birdman’s Meal, 1903 Tactile and optical are engaged within modernism Ruptured later Blue period works
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