Picasso, BULL'S HEAD, Late Cubism, bronze cast of an assemblage, 1943.

Shows influence of Surrealism. Picasso watched his son play a bull fight.One son was matador and the other was on a bicycle. Picasso took the idea of handle bars on bike and combined it w/ a bicycle seat to invent a subject.

Created during Nazi occupation of France. 

Transformation is extreme. Cubists were interested in possibilities in 3D.

Archipenko, WOMAN COMBING HER HAIR,
Russian artists in France, Cubism, bronze, 1924.

Prevalant directions take by artists. How negative space can be used.

Simplification of forms. Negative space between arm & hair. Space can be mass & mass can be space. Convex => concave; concave => convex.

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Moore, RECLINING FIGURE, English independent, influence of Cubism, painted plaster, 1951.

Shows influence of Cubism / Surrealism. 

Needs to be experienced directly. Some areas don't read as form.

clearly inventing form and allowing spaces to become part of form. More direct use of space.  Respond to form and dimensions. 

Balla, GIRL RUNNING ON A BALCONY, Italian, Futurism, oil, 1911

Post Impressionist technique. Using stylistic techniques (like Seurat) from post Impressionism. Rythm & color convey movement. Complimentary colors.

Severini, ARMORED TRAIN, Italian, Futurism, oil 1915.

WWI, Train going through country side. Simultaneously showing something from any vantage point at the same time. Sight, sound, texture. War like, Industrial.

Boccioni, UNIQUE FORMS OF CONTINUITY IN SPACE, Italian, Futurism,Polished bronze, 1913

Figure in motion. 2 pedestals. Light reflection looks like "Bird in Space" by Brancussi. Evokes a sense of movement even though not really moving. Technology / new age.

 Robert Delaunay, FIRST SIMULTANEOUS WINDOW,
French, Oprphism, oil, 1911.

*Orphism & Synchroism

Colored cubism, highly abstract / non-representational movement. Greek hero Orphius (musician). Connection w/ music — more about structure/ rhythm instead of inspiration.*

Married Sonja Delaunay & worked w/ her to combine cubism & fauvism => representational abstraction. Left w/ geometry and prismic color. Went back &forth w/ abstraction.

Robert was part of a series of simultaneous windows. He painted on the inside of a canvas (what you see on the back). Provokes the question: "Does the painting have to be on the outside?"

Windows on the world is what paintings were. Simultaneity— show same thing over & over.

Influence of a particular color theory.  Law of Simultaneous contrast says that colors opposite the color wheel look more intense. Choice, placement and shapes make viewer's eye move across the page.

This work displays what Delaunay saw outside his window: Eiffel tower, windows.

Lewis, WORKSHOP, English, Vorticism, oil 1915.

*Vorticism (short lived movement)- graphic design. Lewis was painter, writer, publisher for "Blast" a journal that influenced graphic designers. *

Workshop about machine craft, modern / inspired by urban. Aerial photo of cities. Diagonals, geometry, abstract design. Vorticism "Vortex into which ideas are constantly rushing" — Pound. 

Abstraction done in depth, use of space. Set stage for Russian graphic designers.

Coburn, PORTRAIT OF EZRA POUND, American-born artist in England, Vorticism, photograph, 1914.

Started printing w/ a device like a Kaleidoscope. Depth.

 Malevich, RED SQUARE AND BLACK SQUARE,

Russian, Suprematism, oil 1915.

* Suprematism — designed to stress pure supremacy in art. "the non-objective world." book. Universal language of basic forms. *

Malevich— arrives at economical geometric forms to include everyone. 

Everyone can relate to it. Red diagonal => energy. Black /larger => stable.

Tatlin, MONUMENT FOR THE THIRD INTERNATIONAL,

model for the structure, Russian, Constructivism, 1919. 

More dynamic. Space more important than mass. ... Art should not be personal— should not show personality / mood. Too many artists concerned w/ beauty. Art should have a definate function: to serve the state/gov't.

Was suppose to be twice the size of the empire state building. There wasn't sufficient technology or money to build it. (WWI)

Gabo, HEADS OF A WOMAN, Russian, Constructivism, celluloid and metal 1917-20.

Beautiful to look at it, personal, well-crafted. Negative space creates form, more about the space, robot-like. Constructivists liked technology.

Van Doesburg, ABSTRACTION ON A COW, De Stijl, drawings and finished oil, 1917.

Mondrian, TABLEAU 1, De Stijl, painted wood and metal, 1923.

*By eliminating subject, viewer will look at structure. (like Malevich) , something perfect / model for society. World achieves utopia. *

Plays w/ dynamic asymmetry. smaller shapes off balance the large red shapes. Society should take inspiration from art. To be read top left to bottom right.

Mondrian, Dutch, BROADWAY BOOGIE-WOOGIE,

De Stijl (Neo-Plasticism), oil, 1942-43.

Verticals / horizontals, organizational asymmetry. Shapes are smaller / syncopated rhythm of jazz.

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Wright, ROBIE HOUSE, Oak Park, Illinois, American-independent,

"Prarie Style," 1902-09.

Represents his prairie style— terrain of prairie Illinois. Low, over hanging roofs, asymmetry, lack of enclosed spaces. More of flow of space. Autumn colors, materials of that area. 

Building must reflect artsit's personality. All material is designed by him (inside and out) and reflects his body type. Even chairs can only accommodate short skinny people.

Le Corbusier, VILLA SAVOYE, Poissy, France, Swiss-born architect, International Style, 1926-29.

Architects should inspire themselves by factories of North America because they're practical. 

It's to be a machine for living. Plan should emphasize flow of building, inner and outer. Suggest flow of space, suspended on stilts— energizes space beneath it. Looks like it was made from a machine. Walls can be made thin because the stilts support the weight.

Gropius, BAUHAUS, Dessau, Germany, German architect,

Bauhaus Style, 1925-26.

The most influencial art school in 20th century. 

Precise works, advntage of space inside figures. No traditional elements. Stripped to essence. Used reinforced concrete, steel and glass.

Experimental... The Nazis closed down the school in 1933.

All art = important. Combined applied art w/ Fine art. Students / Faculty not allowed in political activity. Democratic though it favored men, women were more involved in textiles.

Beginning is in materials and what thematerials allow you to do.

Hand made is more valuable than mass production. It elicits emotions...

Much space is devoted to windows to bring in natural light. Less is more. Negative space is as important to the design as the building itself.

Arthur Dove, “Grandmother,” American, Stieglitz group, collage, 1925.

O'Keeffe, PINK TULIPS, American, Stieglitz group, oil, 1926.

People thought her works were sexual, but she just wanted to make them big so that busy New Yorker's would stop and look. 

Shapes, color and composition more important than subject. 

O'Keeffe was strong in her non-reformist views and denied being a feminist.

Was married to Stieglitz.

Stella, THE BROOKLYN BRIDGE; VARIATION ON AN OLD THEME, American, Cubo-Futurism, oil, 1939.

"in a presence of a new divinity." Symbol of modern world.

Very iconic, centrally placed, repetition of shapes, steel darks, exposed to Futurism, Fauvism, Gothic. All over map=> did a variety of styles. Playing of light => Gothic. The bottom circles are supposed to be headlights.

Sheeler, ROLLING POWER, American, Precisionism, oil, 1939.

Precisionism, No people. Focus on technology. No personal touch.

Stieglitz, THE STEERAGE, Straight photography,

Photo-Secession group, 1907.

Finest work. Very influential. Saw shapes in the picture.

Strand, NEW YORK CITY USA, American, Photo-Secession group, Straight photography 1915. 

Tonal range is subtle. Straight photography— created w/ o photo manipulation, no soft focus...etc. 

Weston, ARTICHOKE HALVED, American f/stop 64 group,

Formal Photography, 1930.

Close proximity like O'Keeffe's paintings.

In Formal photography the photographer has time to set up & play w/ lighting and composition.

Adams, CLEARING STORM, MOUNT WILLIAMSON, American f/stop 64 group, Formal photography, 1943.

The Ultimate Photographer. Waited days to get best photo. Self-taught, jazz pianist. Methodical approach to photographic gradations.

Atget, TAILOR SHOP WINDOW, DUMMIES,AVENUE DES GOBELINS,

French, Independent, 1928. 

Surrealists admired him. used sunlight to produce them. used old technology. No hand held cameras or new processes. 

Had no interest in famous parts of Paris. Wanted to do things in places which were less popular (and don't exist anymore this day). What is in the reflection = whole different world / alternate reality.

Man Ray, UNTITLED RAYOGRAPH, American modernist in Paris,

cameraless photograph, 1920's

Was an Iconoclast. Objects— areas around would be exposed. Hidden would not be exposed— old method/talbot.

Cameraless photo. Man-made objects, more than 1 source of light / translucent, moves them around - blurry. abstract, formal qualities, plays with basic process to make it look like an abstract picture.

Chagall, I AND THE VILLAGE, russian Artist in France, Fantasy Art, oil, 1911.

*Fantasy art, Dada and Surrealism are not suppose to make sense, show things that artists imagine. *

Lived in Jewish, ghetto. Based on things he can't see, but imagines. Degrees of opacity— Cubism,  rich color— morphism. Not to be taken literally— dreams, aspirations, stories, music put together to be dream-like.

 De Chirico, MELANCHOLY AND MYSTERY OF THE STREET, Italian, Metaphysical Art, oil, 1914. 

Influenced by Nicci — super real level of existence. Representative of Futurism / industrial motion.

Haunting in stillness. Renaissance, deserted. Way to gain access to a profound world than a real world. Other reality deeper than our own, we all have access to it.

Sunlight moonlight very low— casts long shadows, no rational meaning, not to be analyzed too much. Not about anything in particular.

 Klee, THE TWITTERING MACHINE, Swiss artist in Germany, Fantasy Art, Bauhaus Period, watercolor and ink, 1922.

*Automatism— (to release things in unconcious) psychic doodling w/ whatever materials. Artist regulates images & makes adjustments, improv, tapping into default concious. *

Held under faucet and colors blended. Used a pen w/ fine lines to draw on surface. The skeletol birds relate to machines. All fantasy. Didn't start w/ a subject, let the subject emerge and rendered it so viewers can look at it and recognize for themselves... Relates to Kandinsky's synthetic Cubism. Picasso admired him and called him "little Napoleon... he whispers when everyone shouts and people still hear him."

 Duchamp, THE BRIDE STRIPPED BARE BY THE BACHELORS, EVEN (The Large Glass), French artist in New York, Cubo-Futurism, oil, lead wire, lead foil and dust 1915-23.

*Dada comes from French/German? word for 'hobby horse' and sounds like a child speaking. It's a reaction to the world in mid 19teens in Switzerland. Angry about war. poetry, music, art should not express status quo. World gone crazy. Do the illogical, absurd, protest indirectly. *

Like a painting but can see through it like a window. Upper part = bride, lower part = groom. Put together you wouldn't know what it was w/o the title. 

Relationship between man & woman. Men & women can't satisfy each other.

The glass shattered and he glued it back together signifying that an artist can reinvent a work of art.

Duchamp, BICYCLE WHEEL, French artist in New York, Dada, readymade, bar stool and bicycle wheel, 1918.

Duchamp was founder of readymades. This was the first readymade.

He liked to spin his bike wheel. His friend told him to express this desire in an art form. He did and created the first mobile sculpture.

Duchamp, L.H.O.O.Q., readymade, French artist in New York, Dada, altered Mona Lisa reproduction, 1919.

"She's hot" WWI over. Plays w/ Di Vinci's Mona Lisa. Gives her male and female characteristics. Object less important than idea. Primary thing is if it makes you think it's a success. Tries to get in people's heads.

Hoch, PRETTY GIRL, German, Dada, photo collage, 1918.

Deals w/ objectification of women. Women vs. Machines. Revealing swimsuit, mechanistic. Woman is minority— comment on objectivity of women made into objects. All relate to women but also machines.