Title: "Market in Brittany

Date: 1888

Artist: Emile Bernard

Art Movement:Cloinism/Synthesism (Stain glass)

Indication of Art Movement:

• Unmodeled, heavily outlined, and simplified figures
• Flat abstract ground of one color block
• Looks like stained glass from medieval period

Other Information:

• Contemporary women, shows reality
• No horizon, pure primary background
• Influenced by medieval stained glass and Japanese print (outline)
• Gauguin's "Vision after the Sermon" was directly influenced by this work

Title: "Dynamism of a Soccer Player"

Date: 1913

Artist: Boccioni

Art Movement: Futurism 

Indications of Art Movement: 

• Depicts the speed of the soccer player
• Futurists changed Cubist formal structure with new bustle, aggressive movement, and feverish energy
• Facets seem to break through the surface of objects and show them moving in space, movement meant to reflect states of mind
• Kaleidoscope-like: force-lines, vectored shapes, mobile patterns
• Pictorial equivalent of the machine

Other Information:

• Idea of movement and stress
• Almost like robot or machine
• Verging towards abstraction, energy of light breaking up matter
• Boccioni was able to represent movement and create a pictorial equivalent for the machine

Title: "Unique forms of Continuity in Space"

Date: 1913

Artist: Boccioni

Art Movement: Futurism

Indications of Art Movement: 

• Movement and dynamism
• Stream-lined
• Evocation of power and speed
• Muscled human form represented by spiraling scallops of metal that reinforce impact of continuous motion

Other Information:

• Energy, vectors of force lines that give idea of body but also show how environment gives body impulse to move

Title: "Mlle Pogany"

Date: 1931

Artist: Brancusi

Art Movement: Abstraction/Symbolism

Indication of Art Movement: 

• Purity of form achieved by simplicity of shape
• Use of continuous sculptured surface
• Can see Brancusi's understanding of material
• Abstracted features: enormous eyes, small narrow nose, enigmatic mouth, hands clasped to one cheek
• Look of overall polished, formal perfection

Other Information:

• Abstraction of composition, only one arm
• Division of face through sweeping lines and arches to maintain sleek perfect surface. Very egg-like
• Brancusi's sculpture considered "the very essence of modernity)

Title: "The Newborn, I"

Date: 1915

Artist: Brancusi

Art Movement: Abstraction/Symbolism

Indication of Art Movement:

• Recognizable by its perfect form
• Smooth simplification
• Oblique section cut out to symbolize screaming baby rather than to describe it
• Use of marble, respect and understanding of the medium

Other Information:

• Smooth simplification, the newborn looks like a screaming baby. 
• Most simplistic perfect form to communicate the idea. 
• Ideal form of perfection, abstraction is very close. 
• Brancussi is looking for perfect forms to transcend reality.
• Choice of medium determined by content, marble lends itself to the contemplation of the origins of life.

• Avant-Garde: unorthodox, radical, experimental, daring
• 2 Aspects: 1) New urban social arena 2) middle class recreation
• Want to paint things as they see them: alive, colorful, constantly moving
• Banded together to create their own rules: paint industrial things, less blending, small brush strokes, no sketching (spontenaeity)
• See how important light and color are to the compositon
• Style emerged from each artist's unique dialogue with nature
• Dual originality - nature and self

• Anti-naturalistic reaction
• Style: symbol, dream, intuition, anarchism, negative aspects of progress
• Not an organized group, did not communicate, artists were in search of finding their own formal vocabulary from the Impressionist vocabulary
• Intellect, closing eyes, structure, line, design, vivid flat colors
• Effort to preserve naturalism while re-establishing the fundamentals of traditional pictorial design
• Neo-Impressionism = Seurat and Cezanne (resolutions through intellect)
• Symbolism = Gauguin and van Gogh (resolutions through intuition)

• Involves a relationship of power, power is determined by whoever has authority to determine meaning, determine others
• Primitive is the other side of modern, for primitive people to exist there must be modern people, decadence of over-civilized life, noble savage, conincides with economic crisis
• Post-impressionists feel they are better than society want to be communicating to the common man, feel that they are some kind of messiahs
• Hate positivism and science, believe Western world is stifling human beings

Example: Cooking.

Following the recipe would be considered "make", versus improvising/creating based on what he has: intuitive (like Manet)

• Wanted to focus more on the universal and eternal laws, not interested in nature or natural phenomena, back to the Greeks, Romans, and mythology but obvious Impressionist impact (no black, use of color)
• Believed the use of different pictorial elements would cause an emotional reaction. To objectify the subjective instead of subjectifying the object.
• Focus on line, composition, value, and color
• Symbolist Manifesto (1886) - Baudelaire, Mallarme, Verlaine, Schopenhauer
• Don't want to see paintings of every day life, believe art should be for communication of ideas and bigger concepts, wanted art to transcend every day life
• Started with a feeling or idea and then used reality to express that

(1874-1886)

70's decade where France was progressing (war, revolution, reconstruction, industrial revolution), Impressionists notice nature is starting to show the products of pollution, they doubt modern art and decide not to paint ciyt or landscapes and instead go inside houses.

Title: "The Portuguese"

Artist: Braque

Date: 1911

Movement: Analytical Cubism

Indications of Movement: Overlapping flat planes, wedges, and curves, almost nonrepresentational as if objects were taken apart and then placed back together, can still discern objects within the composition such as instruments and the human figure, use of typography to draw painting back towards realistic realm

Other Information: Supposed to be a man in an armchair playing guitar, stenciled letters act as an element of reality, *first time stenciled letters are introduced

Title: "The Violin and Palette"

Artist: Braque

Date: 1909-10

Movement: Analytical Cubism

Indications of Movement: Bottom violin shown in different perspectives through the use of planes and facets, lack of intense color while still using color to differentiate between the violin and the background, Braque's traditional trompe-l'oeil technique

Other Information: Belief that every time you see something you create a visual memory of it, so he puts multiple perceptions he has of the violin all into one but still has signs that allow you to recognize that it is a violin, trompe-l'oeil technique used to show he can represent reality in a clearer way, but bottom half with violin shows how he wants to depict his analysis for the viewer to discover, mixes the two styles to highlight that this is a painting whether he paints with illusionary or cubist style

Title: "Joy of Life"

Artist: Matisse

Date: 1905-06

Movement: Fauvism

Indications of Movement:

• Colors of Impressionism and strategies of post-Impressionism
• Arbitrary colors
• Arabesque lines (Art Nouveau) lead the eye through the composition
• Flat, wildly independent colors often seen in Fauvism such as the lavender-pink sky

Other Information:

• He's taming his own Fauvism (which usually reached towards the immediate, everyday world) to go to a subject matter that is ideal, reaches back to ancient Arcadia to allow him to monumentalize feeling without eliminating it
• Inspired by primitive art (Gauguin) he had begun to collect. 
• Space: problem of sizes compared to one another, problem of volume disappearing, overall fairly flat
• Stirred Pablo Picasso to later attempt "Demoiselles d'Avignon"

Title: "Luncheon on the Grass" aka "Le Dejeuner sur l'Herbe"

Artist: Manet

Date: 1863

Art Movement: Pre-Impressionism/Impressionism

Indications of Art Movement: 

• Denying antiquity (as compared to Bouguereau's "Nymphs and Satyr)
• Pressing all figures into forefront to create a flat surface plane
• No single vanishing point
• Appearance of "double origin" - he appeared not so much to "make" his art as to "find" it by avoiding artistic precedent and seeking truth solely in nature, including human nature, and his own feeling for it.

Other: 

• Composition based on Raphael's "Judgment of Paris"
• Though he never participated in an Impressionist show, he played as their mentor

Title: "Boulevard des Capucines"

Artist: Monet

Date: 1873

Art Movement: Impressionism

Indications of Art Movement: 

• Juxtaposed dabs of unmixed pure hues complement one another to blend in the eye
• Light feathery brush strokes
• Movement
• No single vanishing point
• Use of color to express light
• Embracing of Industrial Revolution through depiction of carriages and buildings

Other: 

• All blurred because moving, look like ants because of second-story perspective
• Highlights new carriages and buildings
• No individual identity
• Horizon line blurs out rather than continuing like what academic art does 
• See how important light and color are to the composition, show that it's a representation of nature
• "Dual Originality" - nature and self

Title: "The Dance Class"

Artist: Degas

Date: 1876

Art Movement: Impressionism

Indications of Art Movement:

• Actually sort of an odd-ball of Impressionism
• Blond palette
• Feathery atmospheric brushwork
• Modern themes

Other: 

• Hated doing landscaped unlike other Impressionist artists, and instead stayed in his studio or old opera houses
• Planned his compositions almost as much as Bouguereau, painted dancers individually and composed them together hence why some are unproportioned to others
• Wanted to give impression of having done his compositions spontaneously
• Air of detachment because no figure makes eye contact with the viewer. In this period dancers were often also prostitutes and the aristocracy payed for them as lovers, so perspective is that of a detached peeping Tom
• Composition appears rational and realistic, but is unified and flattened by large abstract expanses of floor, walls, and ceiling, as well as chain-like links between the dancer's tutu in the foreground with the pink toe shoe of the central midground performer in full arabesque.

Title: "Water Lilies, Sunset"

Artist: Monet

Date: 1914-1918

Art Movement: Impressionism (Late Monet)

Indications of Art Movement: 

• Can recognize shimmering surface with lilypads and reflections
• Small, feathery brush strokes
• Painting from direct observation of natural forms as revealed through color and light
• Purpose to create a modern landscape art in the rapidly changing, industrial world
• Can tell it's LATE Monet because: Subject matter focused more on nature and less on progress and industrialization

Other: 

• Monet created his own garden to escape from the industrial world he no longer cared for
• Was most faithful to the optical experience of all the Impressionist artists
• Became obsessed with the magnified visual detail and radical new form of dematerialization of his pond

Title: "A Sunday Afternoon on the Island of La Grande Jatte"

Artist: Seurat 

Date: 1884-86

Art Movement: Neo-Impressionism/Pointillism

Indications of Art Movement: 

• Placement of complementary colored dots next to one another
• Pointillism
• Harmony of the composition and carefully controlled space and volume (due to countless sketches and practicing)
• Not based purely on optical sensation
• Characterizations of various personages
• Juxtapositions throughout such as the charging terrier to vary away from reality
• General patterning and immobile geometric character of figures

Other: 

• Done in Paris, depicts different social classes and their interactions
• Shows study of positions - mostly profile and frontal views
• Organization and composition show a Greek/Egyptian influence because of lack of movement, sculpturesque, freeze frame

Title: "Le Cirque" aka "The Circus"

Artist: Seurat

Date: 1890-91

Art Movement: Neo-Impressionism/Pointillism 

Indications of Art Movement: 

• Use of complementary colors
• Painted with dots
• Intellectual painting with scientific rationalization
• Subject matter of entertainment because popular entertainment such as fairs, shows, and circuses were popular in the 1890's (think of Toulouse-Lautrec's poster created around this time)
• Flat, poster-like composition

Other: 

• Shows Seurat's later in life favoritism for more emphatic and flatter rhythms, while playing up decorative aspects like lines found in Art Nouveau
• Figures verge on cartoon grotesque
• Picture's blond palette meant to connote lightness and gaiety
• Following his idea that warm colors create a sense of happiness (yellow, orange, red)
• Lines up and in diagonals signal joy and happiness
• Painted frame blue to complement yellows and oranges, reinforcing effect (suggested by scientific research of color)
• **First of 4 Post-Impressionist artists to die

Title: "Luncheon on the Grass"

Artist: Cezanne

Date: 1870

Art Movement: Post-Impressionism

Indications of Art Movement: 

• The formal distortions of his figures, which emerged as products of his individual artistic aesthetic
• Dream-like scenario often present in Post-Impressionist artwork
• Dark colors, use of black (Impressionists didn't use black)
• Cezanne is NOT considered Impressionist because he wants to represent nature in the vocabulary of painting. He restructures everything he sees to fit exacly how his brain processed it, he is much more concerned with color than with light. He puts order in nature (analyzes and organizes)

Other: 

• 3 naked women, 2 dressed men and one man in a boat smoking
• Women portrayed poorly, sexually, and seductive - possibly due to his lack of training
• Phallic symbol of tree can be seen
• Man in boat possibly masturbating
• Some colors are bright while others are muddy and dark
• Parody of Manet's "Luncheon on the Grass"

Title: "The Bay from L'Estaque"

Artist: Cezanne

Date: 1886

Art Movement: Post-Impressionism

Indications of Art Movement: 

• Negation of space
• Apparent that this is a painting as seen through the eyes of Cezanne, this is Cezanne's Bay from L'Estaque
• More based on Cezanne's experience and reaction to what he sees then simply attempting to capture an optical moment
• Simplification of the different elements of nature into planes that stretch across the canvas
• "Constructive" brush stroke created color blocks rather than light feathery strokes
• No movement or spontenaeity

Other: 

• 3 Elements : land, sea, sky. Represented as bands stretching across to frame, idea of one band over another
• Flattened composition, no sense of shadow or volume
• Paradoxical relationship so you pay more attention to the relationships between the houses instead of focusing on the volume of one house
• Gives our eyes a path to follow
• Use of pure hues (because of his time working with the Impressionists)

Title: "Still Life with Basket of Apples"

Artist: Cezanne

Date: 1890-94

Artistic Movement: Post-Impressionism

Indicators of Movement: 

• Thwarted perspective
• Use of "flat depth" instead of focus on the realistic
• Use of black outlines
• Bright color blocking to suggest objects

Other: 

• To change the perspective, he tiltedd the horizontal plane of the table up in order to thrust the background closer to foreground and widen the opening of the bowl
• Painted apples in foreground at eye level 
• "Flat depth" achieved by use of multiple viewpoints
• Factors nature through his own heightened sensibility, reordered the motif into pictorial logic 
• At first it looks coherent
• Adds different points of view because his p.o.v. changes each day he paints
• Tilts tabletop to get bird's eye view
• Reality is left behind, but unlike Seurat who used science, Cezanne used his personal order to create a parallel harmonious with reality

Title: "The Apparation"

Artist: Gustave Moreau

Date: 1876

Artistic Movement: Symbolism

Indications of Movement: 

• Narrative
• Doesn't have the bright colors of Impressionism (dark colors)
• Suggestive of Classic subject matter
• Loaded paint applications
• Tumescent forms
• Erotic fantasies

Other: 

• Gauguin found most of his inspiration from the Symbolist artists because of their attempts to make art a vehicle for more personal emotions, fantasy, and dream
• Moreau's painting combines an hallucinatory mythic subject matter with conscious attempt to achieve his own stated objectives of a "beauty of inertia" and "necessary richness" of pictorial effect
• Goes back to the Bible for inspiration
• Ideas of lust, women destroying men (femme fatale)
• Erotic/exotic environment
• Impressionists were painting at the same time period, but these artists avoided that movement
• Reactions to liberation of women: portray them as temptresses

Title: "Les Miserables"

Artist: Gauguin

Date: 1888

Artistic Movement: Post-Impressionism/Symbolism

Indications of Movement: 

• Indications of Impressionist influence (specific to Gauguin since he was taught by Pisarro and owned a Cezanne)
• Signs of Primitivism in wallpaper indicative of Gauguin's style

Other: 

• In role of martyred Christ with halo made out of wallpaper, but facial expression suggest ferocity of character
• As a primitivist, he hated positivism and science, believed the western world is stifling human beings
• Post-impressionists as a group felt that they were better than society (why he depicts himself very Christ-like with halo) 
• Gauguin idetifies with main male character of "Les Miserables" who is cast out of society because he is accused of a crime even though he is innocent
• Meant to communicate "I am good, the system is bad"
• Sends this to Van Gogh (they exchange self-portraits in 1888)
• Cartoonist almost, floral wallpaper, unsophisticated, thick outlines characteristic of Primitivism

Title: "The Vision after the Sermon"

Artist: Gauguin

Date: 1888

Artistic Movement: Post-Impressionism/Symbolism

Indications of Movement: 

• Abstract, flat color shapes
• Abrupt psychological division between the vision itself and those that are envisioning it, very dream-like situation as a whole (indicative of Symbolism)
• Gauguin known for gay colors, dramatic patterns, disregard for proportion or natural coloration, deliberate awkwardness, replacing realistic aspects with distorted shapes

Other: 

• First widely recognized departure from Naturalism
• Gauguin influenced by Impressionist's colorful palette and painterly brushstrokes
• Gauguin believed art was an "abstraction to be dreamed in the presence of nature"
• Gauguin believed if he could not control his environment, he could use his art to create an ideal environment
• Contains 11 women from Brittany in Middle Age folkloric society, vision of Jacob fighting the angel (story in the Bible)
• Poses the questions: is this a miracle? Is this a dream all these women are sharing? Is this a shared religious vision?
• Tree separates one world from the other, diagonal moves the eye to the women and then down
• While there are symbolic meanings, the formal elements allow you to understand more clearly what is represented

Title: "The Talisman"

Artist: Paul Serusier

Date: 1888

Artistic Movement: Post-Impressionism/Synthesism

Indications of Movement: 

• Can see the influence of Gauguin's use of color because he taught Paul: "What color is that tree? If it is yellow, then put yellow. And that shadow looks rather blueish. Well then use the purest of blue tones."
• Flat color shapes
• Verges on pure abstraction so it can't actually be a Gauguin
• All about the composition (while Cezanne was interested in parallel order but obsessed with nature and reality, Gauguin wanted to close his eyes to nature almost completely)

Other: 

• Called the Talisman because it was the epitome of painting according to the followers of Gauguin
• Almost considered abstraction
• The group of followers that worshipped Gauguin called themselves the "Nabis" (Hebrew for "Prophets")
• They identified themselves as the Impressionist and Synthesist Group, Gauguin eventually tired of them and disassociated himself from their movement

Title: "Self-Portrait dedicated to Paul Gauguin"

Artist: Van Gogh

Date: 1888

Artistic Movement: Post-Impressionism

Indications of Movement:

• Flat areas of uniform color
• Aggressive outlines
• Sense of struggle, conflict, and even extreme nervous excitement
• Explosive linear energies 
• Impressionist colors

Other: 

• Communicating with Gauguin when Gauguin is in Brittany, thinking about wanting to form a group of artists
• Brush strokes are very thick, works with dense oil
• Seems to be a halo around his head (like Gauguin) because he is trying to depict himself as a priest or monk
• He keeps his physical characteristics accurate overall (red hair, intense stare)
• Impressionist colors, makes lines and distinctions of facial features with color blocking of paint
• Van Gogh's passion comes through, can be seen at the end when he can't organize his work
• Tells his brother he uses his colors arbitrarily to express himself (*First Expressionism)

Title: "Night Cafe"

Artist: Van Gogh

Date: 1888

Artistic Movement: Post-Impressionism

Indications of Movement: 

• Bright, Impressionism color palette
• Use of color arbitrarily to express dramatic mood of violence and frustration
• Non-naturalistic and emotional use of color
• Multiple points of perspective
• Innacurate depiction of space
• Linear energies (lights)

Other: 

• Figures are hunched over green tables and illuminated by jittery blazes of light coming from ceiling
• Floor drives away in converging perspective lines and then hits the back completely red wall
• Overall strangeness of color scheme
• Yellow and green almost like acid, not warm or natural colors, contrasted by the red, intensity of the colors repelling
• Tilted ground accelerates what is happening, elements of reality there
• Lights seem to have energy, as if they are vibrating
• Closes off the back of the space so the whole composition and colors come towards you
• Describes intention to his brother that he wanted to portray the cafe as wickedness "a place where one can ruin oneself, go mad, or commit a crime...I have tried to express the terrible passions of humanity by means of red and green"

Title: "The Cry"

Artist: Munch

Date: 1893

Artistic Movement: Symbolism/Precursor to German Expressionism

Indications of Movement: 

• Use of chaotic lines to express feeling (influence of van Gogh)
• Use of bright colors (Impressionist) contrasting against one another (van Gogh's "Night Cafe")
• Arbitrary primary colors

Other: 

• Munch shared van Gogh's desire to express human suffering in art
• Focus on the mania of totality came from van Gogh's Starry Night
• Visit to Paris in 1889 made Munch stop painting Naturalistic things and instead move towards Symbolism
• "The Cry" shows an understanding of the nameless sexual fears of adolescense and the hysterical anxiety
• The shriek of the figure is supported by the lines radiating outwards like sound waves
• Overall sense of losing oneself in the cosmos, fusion of individual personality and the absolute
• Painting and brushwork express that the universe is screaming too, universal despair

Title: "Jane Avril at the Jardin de Paris"

Artist: Toulouse-Lautrec

Date: 1893

Artistic Movement: Post-Impressionism

Indications of Movement/Artist: 

• Drastic silhouettes
• Bold outlines
• Original color
• Use of decorative outlines (similar to those seen in Art Nouveau)
• Flat color blocking, but bright Impressionist colors

Other: 

• Becomes a master of poster making
• According to Academy and contemporary artists his work is considered advertising although he was at the level of a master artist
• What is advertising? Meant to attract attention of people, people have to understand immediately original line. Border becomes and instrument, then the hand, then back to the line border
• Uses very flat colors
• Lithograph medium is a stone that has to be inked every time, paper went through 3 times (the more colors the more money)
• Technique perfectly adapted so as to make a functional poster communication with limited colors
• In order to create objects from the lines, he had to be able to reduce reality to lines in a way that people would still recognize and understand

Title: "The Age of Bronze"

Artist: Rodin

Date: 1876

Artistic Movement: Symbolism/Impressionism

Indications of Movement: 

• Vigorous realism
• Appearance of movement
• Shows Rodin's attachment to the rhetoric of the past
• Particularly because this was his first figure piece, it is not incredibly controversial because at this point he wished to stay in favor of the public
• Rodin introduced the technique of working in broken planes to reveal incompletely defined forms as if seen in flickering illumination

Other: 

• Caught in a pose of awakening consciousness
• Still a hint of ominous symbolism of the Salon (similar to Michelangelo's "Slaves")
• Critics accused him of making casts from a model because it was more life-like then they had ever seen
• Rodin wanted to emphasize the ever-changing surfaces of his sculptural form, in order to capture life by the complete expression of the profiles
• It was first called "The Vanquished", because at the time there were lots of monuments about French soldiers being defeated by Germany
• Surface moves and has volume for the light, idea of volume as moving, more than just a representation of the muscles, but rather the bronze appears actually as flesh, you can see where the artist was fighting the material
• Inspired by Baudelaire's idea that art should depict the heroism of modern life

Title: "The Gates of Hell"

Artist: Rodin

Date: 1880

Artistic Movement: Symbolism/Impressionism

Indications of Movement: 

• Rising and falling of figures
• Focus on surface
• Use of surface to convey sense of writhing movement
• Understanding of medium
• Expressive suface (Representation, Artistic Process, Rodin's emotions)

Other:

•  Inspired by the "Divine Comedy" with the 7 Circles of Hell but modified by Baudelaire's modern concept of ennui (def: a feeling of utter weariness and discontent resulting from society)
• For Rodin, Hell was a spiritual nightmare of estranged modern man who couldn't be consoled by the church or the state and was not supported by any attachment to nature; a psychic distress.
• Meant to show the hell of modern life, artist is there looking at human beings suffering
• The doors seem to be a chaotic membrane from which things grow and dissolve
• Symbolism was essence of moral strength, not realism or naturalism but more focused on symbolyzing heroism

Title: "The Back, I"

Artist: Matisse

Date: 1909

Artistic Movement: Fauvism/Expressionism

Indications of Movement/Artist: 

• Matisse's sculpture can be recognized by his acute sense of volume and aesthetic ordering in radically simplified forms
• Use of modeled relief with intense sculptural power (unique to Matisse)
• Focus on medium as a whole rather than as a separation of parts
• Simplification and unification of form
• Liberation of sculpture from representational art
• Emphasis in form and volume

Other: 

• Worked on this series of shallow relief forms from 1909-1930
• Back I was influenced by Rodin: more naturalistic character, freely expressive modeling, and anatomical detail.
• Experiment constrained by the structure of the rectangle and the condition of physical flatness
• Matisse liberates himself from model and reality

Title: "The Back, IV"

Artist: Matisse

Date: 1911

Artistic Movement: Fauvism/Expressionism

Indications of Movement/Artist: 

• Matisse's sculpture can be recognized by his acute sense of volume and aesthetic ordering in radically simplified forms
• Use of modeled relief with intense sculptural power (unique to Matisse)
• Focus on medium as a whole rather than as a separation of parts
• Simplification and unification of form
• Liberation of sculpture from representational art
• Emphasis in form and volume
• Radically simplified and stylized (much more so than Back, I)

Other: 

• Worked on this series of shallow relief forms from 1909-1930
• Limbs of model become virtually unrecognizable tubular forms, hair takes on more of an architectural form rather than a descriptive one.
• Sense of living model's proportions and sensuous ripple of flesh and muscle still survive the reductive process
• Experiment constrained by the structure of the rectangle and the condition of physical flatness
• Matisse liberates himself from model and reality

Title: "Eiffel Tower"

Artist: Gustave Eiffel

Date: 1889

Artistic Movement: Modern Architecture?

Indications of Art Movement/Artist: 

• Use of steel frame
• Exposure of interior
• Lack of practical function

Other: 

• Architect usually built bridges
• Built in honor of the centennial of the French Revolution
• Was supposed to be a temporary exhibit
• Function was just to honor French commemoration, French pride, show knowledge of steel work
• The structure was important because it was unique
• Represented the powers of extension in height and transformation in substance

Title: "Casa Mila Apartment House"

Artist: Gaudi

Date: 1905-07

Artistic Movement: Modern Architecture?/Symbolism

Indications of Art Movement/Artist: 

• Reminiscent of Art Nouveau because the horizons of curved forms, the cast-iron rails, and the wavelike crests reflect the Art Nouveau style. (NOT Art Nouveau though, that term is much too restrictive)
• Symbolic of sea and sand and bone

Other: 

• Domestic architecture
• Supposed to mimic organic nature of the sea
• On roof, crazy fantastic chimney's seem to be sea creatures or corral, seem almost bone-like
• Symbolic reference to sea and sand

Title: "Ward Willetts House"

Artist: Wright

Date: 1900-02

Artistic Movement: Modern Architecture?

Indications of Art Movement/Artist: 

• A low, brick hearth is at the core of the house
• Side entrance
• Low silhouette of house
• Unusually pronounced overhang
• No conventional basement
• Similar construction to Prairie House, but very big changes

Other: 

• Wright known for making a building not just a part of nature, but also giving it an overall design so it appears as if the building has its own inward plant-like growth from root to stem to leaf to blossom
• Integral approach to achitecture
• No symmetry, low roof lines, central fireplace meant to show the heart of a house if the family
• Grow your house from the center according to needs
• Meant to act as the "destruction of the box"

Title: "Open Window, Collioure"

Artist: Matisse

Date: 1905

Artistic Movement: Fauvism

Indications of Art Movement/Artist: 

• Wild and Bright color palette (Fauvist)
• Matisse owned a Cezanne and knew of Gauguin, so he was trying to combine Impressionism and Post-Impressionism
• Use of color-blocking to create solid forms
• Flattening of space
• Unproportioned objects
• Juxtapositions of complementary colors

Other: 

• Fauvists followed instinct rather than the "scientific" approach of the Neo-Impressionists
• Cezanne was primary source of influence
• Offers view from interior world of human habitation into the exterior world of nature
• Used free version of Impressionist brushstrokes to paint the natural parts of the scene
• Used areas of pure hue (like Impressionists) but made these incredibly large and contrasting against one another
• Motif separates lateral fields of inside and outside, but colors overlapping unifies them together
• Flat composition resists optical penetration, cancels illusion of deep space
• Still cannot deny the invisibly organic reality of nature
• Colors are wild (Impressionism) but the composition is harmonized (Post-Impressionism) because the complementary colors balance each other, feathery brushstrokes for natural parts (Impressionism) but color-blocking for architectural (Post-Impressionism), thick texture from paint creates a consciousness of canvas, no perspective

Title: "Self-Portrait with Model"

Artist: Kirchner

Date: 1910

Artistic Movement: German Expressionism

Indications of Art Movement/Artist: 

• Jarring contrasts of color
• Jagged, slashing lines
• Forced distortion of natural forms
• Signs of Primitivism (mask)
• Subject choice: highlighting Kirchner's rebellion from societal ideal of living
• Bold, painterly treatment of forms
• Flattened composition

Other: 

• Compared to Matisse's "Carmelina" in this the artist puts himself in from bigger than the model
• Brush represents power and eagerness (phallic)
• Lines suggest volume but color-blocking flattens
• Wild colors, flat, can't see brushstrokes
• Naked with caftan over him (primitive attire)
• Persona of strength and will of artist, defying art through painting, defying society through the way he lives

Title: "Street, Berlin"

Artist: Kirchner

Date: 1913

Artistic Movement: German Expressionism

Indications of Art Movement/Artist: 

• In later Kirchner works, his style moved on to a quieter more formalized style derived in part from Cubism
• Separation of forms into facets (Cubist influence)
• Color-blocking
• Use of bright colors
• Distortion of faces and bodies

Other: 

• Lonely people looking at objects rather than at each other, all window shopping
• Harsh diagonals, abrupt lines, about speed
• Separation of forms into facets

Title: "Last Supper"

Artist: Emil Nolde

Date: 1909

Artistic Movement: German Expressionism

Indications of Art Movement/Artist: 

• Thick brushstrokes
• Harsh colors
• Taste for the primitive
• Attack on standards of society
• No clear representation of space
• Childlike crudity and simplicity

Other: 

• Christ and his disciples are portrayed as German peasants
• Cold garish colors although they are still bright
• Unmixed colors laid directly onto canvas
• Nothing is idealized
• Can see influence of African sculpture in faces
• Can only differentiate Christ because of his increased size

Title: "Composition IV"

Artist: Kandinsky

Date: 1911

Artistic Movement: Lyrical Abstraction/Expressionism

Indications of Art Movement/Artist: 

• Free-form/nonobjective
• Pure colors
• Arabesque lines
• Free color lyricism (stemmed from Symbolist and Fauve art)

Other: 

• Experimental artworks from 1910-13 (Composition IV included) became known as first free-form, nonobjective art
• Kandinsky believed art should be a graphic representation of a mood and not the representation of objects
• Dispensed with subject matter in favor of autonomous pictorial expression in 1910
• Expression because each color expressed a vibration/meaning/feeling

Title: "Blue Horses"

Artist: Franz Marc

Date: 1911

Artistic Movement: German Expressionism

Indications of Art Movement/Artist: 

• Use of bright colors
• Juxtaposition of colors
• Crude forms
• Depiction of animals

Other: 

• Organic rhythm
• Flow of blood of nature
• Unified animals
• Unlike Kandinsky (fellow member of Blue Rider), Marc's symbolism identified feeling with animal existence ("animalizing of art")
• Pantheism - calm animal belonging, being one with the Earth

Title: "Les Demoiselles d'Avignon"

Artist: Picasso

Date: 1907

Artistic Movement: Analytic Cubism

Indications of Art Movement/Artist: 

• Analysis of volumes, facets, and planes
• Coordination of planes to create bodies
• Crystallized background
• Integration of figures into background

Other: 

• Inspired by Cezannes "Bathers"
• Wants to outdue Matisse, takes lessons from what he's seen in the Stein's collection
• Pink and ochre coloration of Roman fresco
• Masks of two figures on right influenced by the African art Picasso had seen in the museums 
• Hard to discern figures themselves (one nude seems to be opening curtain, head of sitting one seems to be totally turned around)
• Believed to be the foundation of Cubism
• Braque sees this and answers to it
• Never finished, it wasn't found until 1914
• 2 women looks imilar to portrait of Gertrude Stein
• 5 prostitutes offering themselves, sketches incorporated a young med student holding a skull and a sailor surrounded by prostitutes, med student trying to show sailor the danger (Sexually transmitted diseases) African masks serve this same purpose
• When men disappear in the painted product, WE become the spectators they are trying to solicit, they are alluring but also a symbol of death, their bodies look jagged and the African masks evoke fear
• Instead of us looking at the painting, the prositutes in the painting are looking at US (Spiritual transformation of painting)

Title: "Portrait of Ambroise Vollard"

Artist: Picasso

Date: 1910

Artistic Movement: Analytic Cubism

Indications of Art Movement/Artist: 

• Integration of background with figure
• Taking apart subject matter and putting it back together in facets
• Overlapping facets and planes
• Basic disregard for color other than to differentiate between figure and background

Other: 

• Response to Braque's "Violin and Palette"
• Modeled after Cezanne's portrait of Ambroise Vollard
• Cluster of angles create his face, color also helps to differentiate from background planes
• Facial features created by intersecting planes
• Body and background mesh together
• At time of Einstein's theory of relativity
• Gives you clues to decipher what is being depicted

Title: "Still Life with Chair Caning"

Artist: Picasso

Date: 1912

Artistic Movement: Synthetic Cubism

Indications of Art Movement/Artist:

• Dual Realities (the representation of the still life and its evocation with real-life fragments of materials)
• Collage 

Other: 

• Picasso was the first collage
• Symbol of chair represented by paper
• Instead of analyzing things, he brings pieces of different materials to represent objects
• Response to Braque's use of stenciled letters as an aspect of reality in "The Portuguese", wants to add more reality

Title: "Suprematist Painting (Eight Red Rectangles)"

Artist: Malevich

Date: 1915

Artistic Movement: Suprematism (aka Constructivism)

Indications of Art Movement/Artist: 

• Use of geometric shapes like squares and rectangles
• Use of icons

Other: 

• Focused on mysticism and the power of icons
• Wanted to change the country, the result was the Russian Revolution (1917)
• All psychic tensions dissolved in the apprehension of a new kind of absolute truth. Abstract art replaced the familiar world of naturalism, mundane objects, and events to form an aesthetic blueprint for a utopian world and for superior modes of personal expression.

Title: "Poster Advertisement: 'Books'"

Artist: Rodchenko

Date: 1925

Artistic Movement: Suprematism

Indications of Art Movement/Artist:

• Simple Suprematism abstract language combined with photography 

Other: 

• Rodchenko believed art must adapt itself to modern technology and the nonobjective style of Malevich's detached abstractions

Title: "Composition with Red, Blue, and Yellow"

Artist: Mondrian

Date: 1930

Artistic Movement: De Stijl

Indications of Art Movement/Artist: 

• Composition made up of only vertical and horizontal lines
• Not until 1917 that Mondrian began to combine flat areas of pure color with geometric form
• Not until 1919 that he starting exclusively using vertical and horizontal lines
• Not until the 1930's that Mondrian began using a pure white background

Other: 

• Keeps this formal vocabulary for the majority of his life
• There is no ruler and there are no rules
• Attempting to apply his sensibility and emotion to convey harmony
• Believed that beyond the material is the perfect world of the transcendent
• Thought the world would soon become a rational machinist society, his paintings he thought were a way to educate people of the future as well as to educate people of the time to strive for this, thought art would be part of architecture and objects so paintings wouldn't be needed (principles would be part of everyday reality

• Leading designer Henry van de Velde
• Line can be abstract, symbolic, ornamental, or structural
• Known in Germany
• Dominated arts and architecture from early 1890's-1906
• Origins in Arts and Crafts Movement and English Aesthetic Movement
• Role of Ornament should not be merely decorate, but directed to structure: the relationship between structural and dynamographic ornamentation
• EXAMPLE 1: "Jane Avril at the Jardin de Paris" Toulouse-Lautrec
• EXAMPLE 2: "Salome with the Head of John the Baptist" Beardsley
• EXAMPLE 3: "Staircase, Tassel House, Brussels" Horta

Definition: a simous, spiraling, undulating, or serpentine line or linear motif; a design of flowing lines

• EXAMPLES: Same as Art Nouveau

• Strives to integrate space into a unified whole
• Wright believed every building should grow naturally from its environment
• EXAMPLE 1: "Ward Willetts House" Wright
• EXAMPLE 2: " Robie House" Wright
• EXAMPLE 3: "Casa Mila Apartment House" Gaudi

• 1904-07
• Went beyond visual impressions to express emotional states and spiritual values
• Investigated concept of expression, painted with abandon, passion, and even violence of pictorial means
• Considered century's first Expressionist artists
• Used lessons of Post-Impressionist artists to revitalize Impressionist sensations; reaction to Post-Impressionism because they thought Post-Impressionists were forgetting reality too much
• Use Post-Impressionist vocabulary to remake Impressionism (focus on nature and landscape)
• EXAMPLE 1: "Open Windown, Collioure" Matisse
• EXAMPLE 2: "Carmelina" Matisse

Definition: literally translates as "to glue" from French word, act of pasting real components pasted directly onto the support

• Invented by Picasso, used in Synthetic Cubism
• EXAMPLE: "Still Life with Chair Caning" Picasso

• Hierarchy of Genres (History at top)
• Style: line, chiaroscuro, perspective
• Education of Artists: Professional standards
• Impressionists went completely against everything the Academy promoted

• Organic architecture
• According to environment and landscape, should integrate itself into landscape
• Should function according to patron's needs
• Horizontal (because of prairie), tells how Wright accentuates horizontal lines

• Almost abstraction
• Analyzing reality, taking objects from reality and reconstructing them using facets and intersecting planes
• EXAMPLE 1: "Portrait of Ambroise Vollard" Picasso
• EXAMPLE 2: "The Portuguese" Braque
• EXAMPLE 3: "Violin and Palette" Braque

• Adds objects from real life
• Instead of analyzing things, he brings pieces of different materials to represent the objects
• EXAMPLE 1: "Still Life with Chair Caning" Picasso

• Led by Kandinsky and Marc, group of Germans that wanted to break free from the Academy
• More sophisticated and intellectual and less primitive then The Bridge
• Stressed the spiritual and symbolic properties of natural and abstract forms
• Combined in their style Cubism's geometric structure with the pure painterly color of Robert Delaunay and the Fauves, to which they added emotionalism and spirituality
• Belief that nature is an imperfect manifestation of the real
• Came from Munich
• Individuals who believed in freedom of expression and experiments
• Possible more ambitious then The Bridge, they wished to assimilate and synthesize the far-ranging interests and influences of modern art

• 1909-1914 in Italy
• Artists tired of everyone's interest only in ancient artwork
• Vouch for: speed, violence, dynamic movement, war, passage of time (want war to destroy the past so they can look to the future)
• First militant movement
• Manifesto glorifies war, demolish museums and libraries, beauty exists only in struggle

expressionism:

• Distort reality through your ideas
• Ex: Van Gogh painted reality according to how he felt
• Matisse and the Fauves
• Based on technical expression and composition, express their feelings through the way they organize and compose their art
• French Academy influence of logicial analysis

Expressionism:

• 1914 Germans nationalize term "Expressionism", expression of emotional states and spiritual values,
• Lack of master's balance of intellectual control (France)
• The Bridge
• Less tradition of realism than France so they didn't like/have history of logical analysis, more abstract and individualistic ideals

Shared:

• Some formal elements
• Common source of Art Nouveau
• Common source of emotional aspects of van Gogh, Gauguin, and Cezanne 

• Russia
• No industrial revolution, lots of peasants
• Artists wanted to be modern and stay Russian
• Group of artists try to change country, results in Russian Revolution (1917)
• Revolution against artistic establishment = political revolution
• Mysticism and power of icons
• Entirely non-representational art forms
• Beginning of movement: kind of nativist art based on icons
• 1912-13: Slashing colored lines
• Solid colored squares and rectangles (Malevich specifically)
• Viewed abstraction as a superior mode of personal expression

• Netherlands
• Piet Mondrian and Theo van Doesburg founders of this movement
• Mondrian represents this movemet, looking at philosophy, believes that beyond the material is the perfect world of transcendent
• Symbolist/mystic artist trying to suggest bigger idea
• Attempts to apply sensibility and emotion to convey harmony
• Simplification, by late stages vertical and horizontal lines with primary colors

• A mode of representing identifiable objects that, to a greater or lesser degree, stresses the essential rather than the particular; also, a set of aesthetically significant forms in which lines, colors, etc do not correspond to those in the visible world.
• Suprematism and De Stijl took Cubism towards abstraction