Cubism Destijl

7/29/2019 Cubism Destijl

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Georges Seurat(1859-1891)

The Forest at Pontaubert. c. 1881-82. Le Tacheron. c. 1882


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The Island of La Grande Jatte. 1884


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Study for A Sunday on La Grande Jatte. 1884.


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Models. 1886-88


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J.M. Olbrich: Secession Building, Vienna, 1898

Vienna Secession

(1897-1939)

In 1897 a group of Artists, such as Otto Wagner and his gifted students, Josef Hoffmann and

Josef Olbrich, with Gustav Klimt, Koloman Moser and others aspired to the renaissance of the

arts and crafts and to bring more abstract and purer forms to the designs of buildings and

furniture, glass and metalwork, following the concept of total work of art and to do so they tried tobring together Symbolists, Naturalists, Modernists, and Stylists.

They gave birth to another form of modernism in the visual arts and they named their own new

movement: Secession (Wiener Secession). As the name indicates, this movement representeda protest, of the younger generation against the traditional art of their forebears, a "separation"

from the past towards the future. The first chairman was Gustav Klimt.

Starting with the first exhibition in November 1898, the

Vienna Secession Building presented works of the most

important artists of the time as:

Gustav Klimt, Koloman Moser, Josef Maria Olbrich, Max

Klinger, Walter Crane, Eugene Grasset, Signac, Charles

Robert Ashbee, Charles Rennie Mackintosh, Degas, Arnold

Bocklin, Giovanni Segantini, Auguste Rodin, Edvard

Munch, van Gogh, Toulouse-Lautrec, Vuillard, Bonnard,

Redon, Gauguin, Otto Wagner


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Gustav Klimt

Idylle (Idylls). 1884.


11/117The Old Burgtheater. 1888-89. Gouache on paper.


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Hope I. 1903

Pear Tree. 1903

Watersnakes. 1904-1907


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Danae. 1907-1908

The Kiss. 1907-1908.


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Hope II. 1907-1908

Judith, II. (Salome). 1909


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The Virgin. 1913.Apple Tree II. 1916


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Still Life with a Beer Mug, 1921The Railway Crossing, 1919,

Fernand Lger

A personal form of Cubismhis critics called it "Tubism"

for its emphasis on cylindrical formsthat made no use

of the collage technique pioneered by Braque and

Picasso.
http://en.wikipedia.org/wiki/Tubismhttp://en.wikipedia.org/wiki/Tubismhttp://upload.wikimedia.org/wikipedia/en/f/f7/Leger_railway_crossing.jpghttp://upload.wikimedia.org/wikipedia/en/a/a8/Leger_beer_mug.jpg


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Constructivism was first created in Russia in 1913when the Russian sculptor Vladimir Tatlin, during his

journey to Paris, discovered the works of Braque and

Picasso. When Tatlin was back in Russia, he began

producing sculptured out of assemblages, but he

abandoned any reference to precise subjects or

themes. Those works marked the appearance of

Constructivism. The name Constructivism did notdescribe a specific movement but rather a trend within

the fields of painting, sculpture and especially closely

conjoined artists and their art with machine production,

architecture and the applied arts.

Constructivism art refers to the optimistic, non-

representational relief construction, sculpture, kinetics

and painting. The artists did not believe in abstract

ideas, rather they tried to link art with concrete andtangible ideas. Early modern movements around WWI

were idealistic, seeking a new order in art and

architecture that dealt with social and economic

problems. They wanted to renew the idea that the

apex of artwork does not revolve around "fine art", but

rather emphasized that the most priceless artwork can

often be discovered in the nuances of "practical art"

and through portraying man and mechanization into

one aesthetic program.

Constructivism was an invention of the Russian

avant-garde that found adherents across the continent.

The artists mainly consisted of young Russians trying

to engage the full ideas of modern art on their own

terms. They depicted art that was mostly three

dimensional, and they also often portrayed art that

could be connected to their Proletarian beliefs.

Suprematism considered the first systematic school ofpurely abstract pictorial composition in the modern

movement, based on geometric figures and was the

expression "of the supremacy of pure sensation in creative

art". It is Russian art movement founded (1913) by Kazimir

Malevich in Moscow, parallel to constructivism.

The Suprematist project was above all the brainchild of thepainter and theoretician Malevich. According to him,

Suprematism sought "to liberate art from the ballast of the

representational world." The work of the painter no longer

involved representing and creating chromatic harmonies or

formal compositions, but rather attaining the limits of

painting. It consisted of geometrical shapes flatly painted on

the pure canvas surface. The pictorial space had to be

emptied of all symbolic content and all content signifying

form. It had to be decongested and cleared, so as to show anew reality where thought was of prime importance.

In 1915 Malevich exhibited Black Square on a White

Ground. For this show he also published From Cubism and

Futurism to Suprematism, a tract in which he described a

sequence of avant-garde movements within a historical

perspective. Three years later, Malevich painted White

Square on a White Ground, part of his famous White on

White series. Here, the abstraction of painting attained andfully revealed the abstraction of thought and embodied the

movement's principles. Malevich was given a cold shoulder

by the Stalinist regime, but he carried on his exploratory

work by returning to figurative forms and subjects drawn

from the everyday life.

http://www.huntfor.com/arthistory/C20th/Suprematism.htm


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Constructivism is a movement which was an artistic andarchitectural movement in Russia from 1919 onward which

rejected the idea of "art for art's sake" in favour of art as a

practice directed towards social purposes. Constructivism as

an active force lasted until around 1934

Photograph of the first Constructivist Exhibition, 1921

Alexander Rodchenko

Alexander Rodchenko. 'Books'. The Board for the

Leningrad branch of the State publishing house

Gosizdat. 1924.

Girl with a Leica byAlexander Rodchenko,

1934. Artist print
http://www.guardian.co.uk/arts/gallery/2008/jan/31/?picture=332326881http://www.guardian.co.uk/arts/gallery/2008/jan/31/?picture=332326688


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P bl Pi


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Pablo Picasso(1881-1973)

First Communion. 1895/96. Oil on canvas

Portrait of the Artist's Mother. 1896.Pastel on Paper

Science and Charity. 1897.
http://www.abcgallery.com/P/picasso/picasso2.html


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Matador Luis Miguel Dominguin. 1897Leaning Harlequin. 1901


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Portrait of the Art Dealer Pedro Manach. 1901

Le Gourmet. 1901Breakfast of a Blind Man. 1903


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La Vie (Life). 1903L'ascete. 1903

The OldGuitarist.1903

Acrobat and Young Harlequin. 1905

Harlequin Sitting on a Red Couch.

Self-Portrait with a Palette. 1906.


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The Dance of the Veils. 1907Woman Seated. 1908


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Portrait of Ambroise Vollard. 1910Nude Woman. 1910. Oil on canvas.


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Still-Life with Chair Caning. 1911/12

Violin. 1912. Color paper.

Tavern (The Ham). 1912.


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Still-Life. 1918. Oil on canvas

Guitar, Bottle, Bowl with Fruit, and Glass on Table. 1919


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The Seated Harlequin. 1923.

Three Dancers. 1925.


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Nude in an Armchair. 1929

Nude and Still-life. 1931


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Girl on a Pillow. 1936

Marie-Therese Walter. 1937


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Three Musicians. 1921. Oil on canvas

Three Musicians, or Musicians in Masks. 1921


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Guernica. 1937


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Weeping Woman. 1937

Portrait of aYoung Girl.1938

Portrait ofa YoungGirl. 1938

Portrait of a Young Girl. 1938


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The Bull. State I. 1945. Lithography

The Bull. State IX The Bull. State XI.

Wassily Kandinsky
http://www.abcgallery.com/P/picasso/picasso49.htmlhttp://www.abcgallery.com/P/picasso/picasso48.htmlhttp://www.abcgallery.com/P/picasso/picasso47.htmlhttp://www.abcgallery.com/P/picasso/picasso46.html


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Wassily Kandinsky(1866-1944)

The Blue Rider.1903. Oil on canvas

Gabriele Mnter

Painting in Kallmnz.1903. Oil on canvas.

Gabriele Mnter. 1905. Oil on canvas.


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The Blue Mountain. 1908/09. Oil oncanvas. 106 x 96.6 cm. The Solomon

R. Guggebheim Museum, New York,

NY, USA

Untitled (First AbstractWatercolor). 1910(1913). Pencil, watercolor

and ink on paper


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Improvisation 12(Rider). 1910. Oil oncanvas.

Improvisation 7. 1910. Oil on canvas.


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Improvisation 19. 1911. Oil on canvas.

Flood Improvisation. 1913. Oil on canvas.


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Composition VI. 1913. Oil on canvas


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Composition VIII. 1923. Oil on canvas


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Several Circles. 1926. Oil on canvas.

In 1911 together with a friend a German painter Franz Marc


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In 1911 together with a friend, a German painter Franz Marc,Kandinsky founded the society "Der Blaue Reiter" (Blue Rider),which also published an illustrated almanac. The aim of thissociety, according to its founders, was "to destroy barriers

between the different forms of art", collect and promote newideas in painting, theater and music. The same year his firsttheoretical work "Concerning the Spiritual in Art" was published.In the book, he postulated an inner relationship between musicand painting.

Kandinsky came to Berlin in 1921 and never returned to Russia. From

1922 till 1933 he taught at the Bauhaus (the college of building and artconstruction in Germany). The years in Bauhaus were full of theoretical

search, experiments both in painting and in the sphere of creating

synthetic art. In Bauhaus Kandinsky befriended his colleague, German

painter and professor, Paul Klee. They both valued each other as people

and painters, and demonstrated respect for each other's artistic

principles.In the 1920-30s Kandinsky's name became world famous. He was

proclaimed the theoretician and leading figure of abstract painting. In

addition to teaching courses, Kandinsky became actively involved in

delivering lectures; his exhibitions took place almost yearly in Europe and

America.

Piet Mondrian


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Piet Mondrian

(1872 - 1944)

Girl Writing. /Schrijvend meisje.c.1892-95. Black chalk on

paper.

Windmill in Sunlight / Molen bijzonlicht. 1908.


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The Red Tree. c.1909.


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The Red Mill./ De rodemolen. Oil oncanvas.

Evolution / Evolutie. 1910/11. Oil on canvas.


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Composition / Compositie. 1916.

Composition in Color A / Compositie inkleur A. 1917


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Lozenge with Grey Lines / Losangiquemet grijze lijnen. 1918. Oil on canvas

Composition Chequerboard, Dark Colors./ Compositie Dambord, donkere Kleuren.1919.


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Composition with Red, Blue and Yellowish-Green / Compositie met rood, blauw engeel-groen. 1920.

Tableau I. 1921. Oil on canvas.


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Composition II with Black Lines. /Compositie nr.2 met swarte lijnen. 1930.

Composition with Black,White, Yellow and Red /Compositie metzwart,wit,geel en rood.1939-42.


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Broadway Boogie-Woogie. 1942/43.Oil on canvas.

New York City II. 1942-44. Oil and paper on canvas.

New York City I. 1942. Oil on canvas.

Fauvism is a movement in French painting that revolutionized the concept of color in modern art.


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Fauvism is a movement in French painting that revolutionized the concept of color in modern art.

Fauves earned their name ("les fauves"-wild beasts) by shocking exhibit visitors on their first

public appearance, in 1905.

At the end of the nineteenth century, neo Impressionist painters were already using pure colors,

but they applied those colors to their canvases in small strokes. The fauves rejected the

impressionist palette of soft, shimmering tones in favor of radical new style, full of violent colorand bold distortions.

These painters never formed a movement in the strict sense of the word, but for years they

would nurse a shared ambition, before each went his separate and more personal way.


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The Bauhaus is one of the first colleges of design. It came into being from the merger

of the Weimar Academy of Arts and the Weimar School of Arts and Crafts. It was

founded by Walter Gropius in 1919 and was closed in 1933 by the Nazis.

The Bauhaus holds a place of its own in the culture and visual art history of 20th

century. This outstanding school affirmed innovative training methods and also createda place of production and a focus of international debate. It brought together a number

of the most outstanding contemporary architects and artists. The Bauhaus stood

almost alone in attempt to achieve reconciliation between the aesthetics of design and

the more commercial demands of industrial mass production.

The teaching program was organized in the form of workshops to produce works that

were both aesthetically pleasing and useful. The creed of this program asserted that

the modernization process could be mastered by means of design. As a result, in 1923

the Bauhaus turned it attention to industry. The first major Bauhaus exhibition whichwas opened in 1923 reflected the revised principle of art and technology a new unity

spanned the full spectrum of Bauhaus work. It was Art and Technology, a New Unity,

which was also the name of the workshop in which the art was created.

The Nazi Party and other fascist political groups had opposed the Bauhaus

throughout the 1920s. They considered it a front for communists, especially because

many Russian artists were involved with it. Gropius was succeeded in turn by Hannes

Meyer and then Ludwig Mies van der Rohe. School was moved first from Weimar to

Dessau, from Dessau again to Berlin, and was closed on the orders of the Nazi regime

in 1933.

The Bauhaus had a major impact on art and architecture trends in western Europe

and the United States in the decades following its demise, as many of the artists

involved fled or were exiled by the Nazi regime.

Henri Matisse


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Henri Matisse

Fruit and Coffee-Pot. 1899

Studio under the Eaves. 1903


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The Window. 1905Madame Matisse,"The Green Line" ( La Raie verte). 1905


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Andre Derain

1905

painted by Matisse


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Interior at Collioure. 1905

Gypsy. 1906. Oil on canvas.


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Bouquet (Vase with Two Handles). 1907

The Bank. 1907.


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Harmony in Red. 1908.

La Danse (first version). 1909.


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La Musique. 1910


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The Dance. 1910. Oil on canvas.


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Les Coloquintes. 1915-16.

Nude's Back. 1918


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Le genou lev. 1922.

Pink Nude. 1935

The Dance. 1932-33


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Polynesia, The Sea. 1946.

Icarus. 1947.

The Circus.


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Blue Nude IV. 1952

Gouache on paper cut-out

Andre Derain

1905

painted by Matisse

A d D i


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Harlequin and Pierrot, c.1924

Andr Derain


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1905

Boats

1905

Boats at Collioure's Harbor


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1906

The Dancer

Charing Cross Bridge, London


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Henri Matisse

1905

painted by Derain

Raoul Dufy (1877-1953)


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The Jetty at Sainte-Adresse

1906

Billboards at Trouville

Futurism


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FuturismFuturism was an international art movement founded in Italy in 1909. It

was (and is) a refreshing contrast to the weepy sentimentalism of

Romanticism. The Futurists loved speed, noise, machines, pollution,

and cities; they embraced the exciting new world that was then upon

them rather than hypocritically enjoying the modern worlds comforts

while loudly denouncing the forces that made them possible. Fearing

and attacking technology has become almost second nature to many

people today; the Futurist manifestos show us an alternative

philosophy.

Manifesto of the Futurist Painters

Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, Gino Severini

These paid critics have other interests to defend. Exhibitions, competitions, superficial and

never disinterested criticism, condemn Italian art to the ignominy of true prostitution.


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, g y p

And what about our esteemed specialists? Throw them all out. Finish them off! The

Portraitists, the Genre Painters, the Lake Painters, the Mountain Painters. We have put up

with enough from these impotent painters of country holidays.

Down with all marble-chippers who are cluttering up our squares and profaning ourcemeteries! Down with the speculators and their reinforced-concrete buildings! Down with

laborious decorators, phony ceramicists, sold-out poster painters and shoddy, idiodic

illustrators!

These are our final conclusions:With our enthusiastic adherence to Futurism, we will:

Destroy the cult of the past, the obsession with the ancients, pedantry and academic

formalism.Totally invalidate all kinds of imitation.

Elevate all attempts at originality, however daring, however violent.

Bear bravely and proudly the smear of madness with which they try to gag all innovators.

Regard art critics as useless and dangerous.

Rebel against the tyranny of words: Harmony and good taste and other loose

expressions which can be used to destroy the works of Rembrandt, Goya, Rodin...

Sweep the whole field of art clean of all themes and subjects which have been used in the

past.

Support and glory in our day-to-day world, a world which is going to be continually and

splendidly transformed by victorious Science.

The dead shall be buried in the earths deepest bowels! The threshold of the future will be

swept free of mummies! Make room for youth, for violence, for daring!


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Joseph Stella

(American, 1877-

1946), Battle ofLights, ConeyIsland, c. 1913-14

Giacomo Balla, Swifts: Paths

of Movement + DynamicSequences (Volo RondiniGrondaia Cielo), 1913


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Umberto Boccioni, The Laugh(La risata), 1911,

Umberto Boccioni,Unique Forms ofContinuity in Space(Forme uniche dellacontinuit nellospazio), 1913, cast

1972


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Marcel Duchamp (American, born France,

1887-1968; in U.S.A. 1915-18, 1920-23,

1942-68), Nude Descending a Staircase,

1911-12,

Sometimes called Cubo-Futurist, so also see Cubism, as well as

the Armory Show of 1913, in which this painting was highly

controversial.

Giacomo

Balla (Italian,1871-1958), StreetLight (LampadaStudio di luce),

1909

Rousseau Henri known as Le Douanier Rousseau (1844-1910) The Dream


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Rousseau, Henri, known as Le Douanier Rousseau (1844 1910).French painter, the most celebrated of nave artists.

The Sleeping Gypsy1897

The Dream1910

Rousseau is a perfect example of the kind of artist in whom

the Surrealists believed: the untaught genius whose eye

could see much further than that of the trained artist.

Paul Klee(1879 - 1940)


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Hermitage. 1918. Watercolor on chalk ground.

Senecio. 1922. Oil on gauze.

Puppet

Theater.1923.

Watercolor

on chalk

ground.

Around the Fish. 1926. Tempera and oil.

(1879 1940)


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Contemplating. 1938. Paste color on newsprint.

Death and Fire. 1940. Oil on paper.

Polyphony. 1932.Tempera on linen.

Prades, theVillage. 1917.


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Joan Mir(1893-1983)

gOil on canvas.

Self-Portrait. 1917. Oil on canvas.Nude with Mirror. 1919.

Standing Nude. 1921.


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The Ear of Corn. 1922/23.

The Tilled Field. 1923/24

Harlequin's Carnival. 1924-25.


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Maternity. Oil on canvas. 92 x 73 cm. 1924

The Birth of the World. Oil on canvas. 1925


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Person Throwing a Stone at a Bird. 1926.

Dog Barking at the Moon. 1926.

Dutch Interior I. 1928.


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Swallow/Love. 1934.

Constellation: Awakening at Dawn. 1941

Constellation: The Morning Star. 1940


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The Lark's Wing, Encircled withGolden Blue, Rejoins the Heartof the Poppy Sleeping on aDiamond-Studded Meadow.

1967

A Dew Drop Falling from aBird's Wing Wakes Rosalie,who Has Been Asleep in theShadow of a Spider's Web.1939


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Max Ernst(1891-1976)

Family Excursions. c. 1919

Le Limaon de chambre. 1920. Tempera,goache, ink, pencil, collage on paper.


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Approacing Puberty or ThePleiads/La Pubert proche... ou

Les Pliades. 1921.

Oedipus Rex. 1922.


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Vision Induced by theNocturnal Aspect of thePorte St. Denis. 1927.

L'Ange du foyer ou Le Triomphe du surralisme. 1937.


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Europe after the Rain II. Oil on canvas. 54 x 146 cm. 1940-42.

The Robing of the Bride.

The Eye of Silence. 1943/44.

Painting for Young People. 1943


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In 1934, Surrealist Max Ernst created an extraordinary collage novel (or, as I

pointed out a few years ago, graphic novel), composed of collage images

constructed of cut-outs from popular French periodicals and catalogs of the

time.


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