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AP ART HISTORY Mrs. LawsonChapter 28 – Comparative Analysis Assignment 100 Points Total

Directions: Read assigned pages. Collect data on the artworks listed below.

ARCHITECTURE ANALYSIS/DATA COLLECTION WORKSHEET

CRITERIA: Labrouste, Reading Room, Bibliotheque Paris, pg 982

Gaudi, Casa Mila, pg 1069-1071

Gropius, Bauhaus Building, pg 1072-3 & 1088-83

Le Corbusier, Villa Savoye, pg 1080 & 1134-35

Date / Time Period / Style

1843-50 / Escole des Beaux-ArtsNeo-Classical meets Modernism

Art Nouveau Purism / International Style

Site / Location / Relationship to site (geography, climate, geology, etc.)

Europe = Paris – center for arts education

Europe German France

Medium / Materials / Techniques / Construction

Innovation of engineering, concepts of design, prefabrication (modules), steel frame, cast iron construction, reinforced concrete, cables of galvanized steel

Function / Purpose educational

Artistic Importance / Influences:

Blends old w/ new innovationsEscole des Beaux-Arts = strong conservative design principles- Technological innovations = new materials

Formal Qualities:Scale/ Size/ Proportion / Form / Vertical / Horizontal

Mix of Roman, Renaissance, with modern elements to symbolize foundation of learning

Organization- Interior & Exterior:Axis / Plane / Plan/ Vertical /Horizontal

Exterior- stripped down Renaissance style (symbolism), ancient perm building materials, subtle change to inside outlines evolution of architectural techniques / interior- iron columns cast (Roman order), sits on concrete (Roman contribution to architecture)

Patron / Audience: students

Relationship to cultural belief system (Religious):

Belle époque- Beautiful age –Leisure / Fin de Siecle – at century’s end / material innovation-telegraph, telephone, bicycle, automobile, typewriter, phonograph, elevator, electric lamp=life more complicated / age of social unrest (moral decay) /

Political / Social / Economic / Power & Authority:

Economic depression-England / Women’s Rights/ Science=quantum physics, theory of relativity/ atom/psychology-psychoanalysis

Other Related Artworks / with relevant criteria

Garnier, Opera House- typically used iron as internal support

Fagus Factory

Notre-Dame– International Style



ARCHITECTURE ANALYSIS/DATA COLLECTION WORKSHEET

CRITERIA: Hunt, Court of Honor, pg 1062-1064

Sullivan, Wainwright Building, pg 1064-66

Gilbert, Woolworth Building, pg 1064-66

Wright, Fallingwater, pg 1067-68 &

Date / Time Period / Style

American Beau-Arts

Site / Location / Relationship to site (geography, climate, geology, etc.)Medium / Materials / Techniques / Construction

Function / Purpose

Artistic Importance / Influences:

Eclecticism Chicago School

Formal Qualities:Scale/ Size/ Proportion / Form / Vertical / Horizontal

Organization- Interior & Exterior:Axis / Plane / Plan/ Vertical /Horizontal

Patron / Audience:

Relationship to cultural belief system (Religious):

Political / Social / Economic / Power & Authority:

Other Related Artworks / with relevant criteria

Olmstead & Vaux, NY Central Park Richardson,

Marshall Field Warehouse- iron-framed building style

Robie House

Guggenheim



SCULPTURE ANALYSIS/

DATA COLLECTION WORKSHEET

CRITERIA: Rodin, Burghers of Calais, pg 1025-26

Matisse, Back I & Back IVHandout

Picasso, Mandolin & Clarinet, pg 1055-56

Brancusi, Magic Bird, pg 1031

Date / Time Period / Style European Modernism /

Impressionist to Post-Impressionist

European Modernism / Post-Impressionist to Cubism

European Modernism / Synthetic Cubism

European Modernism / Conceptual Simplicity

Site / Location / Relationship to site

France France France (Romanian) working in France

Medium / Materials / Method /Technique

Function / Purpose

Expressionism:Content / Subject / Message / Iconography / symbolism

Formalism: Scale / Size / Proportion /Pictorial Space / Composition / Emphasis / Balance / Volume / Mass / Depth / Color / Movement / Treatment of the Human FormArtistic Importance / Influence:

1880-1905 - Before WWI - Break from tradition of Academies (reaction to) / independent group exhibits formed

Representational / Abstraction (formalism) / Formal gains importance (space, color, line, pattern) – equal to contentContent = change in ideas of representation

Patron / Audience Art Dealer = merchants (visionary patron) / large crowds visit independent exhibitions

Relationship to Political / Social / Economic / Power & Authority / Cultural belief system (Religious)

impact of industrialization / psychological consequences / Age of Nationalism- Western Imperialism, Industrialized nations increase wealth - World Markets / Opening of China & Japan - Africa / European Migrants

Other artworks from the period & relevant criteria

Gates of Hell

Lipchitz – Man w/ Guitar, 2nd generation Cubist sculptures

Picasso (Later work)Bull’s Head, 1943, Ready-mades = Expressionism

Bird in Space, c. 1927 – non-representational



SCULPTURE ANALYSIS/


CRITERIA: Boccioni, Unique Forms of Continuity in Space, pg

1058-59

Tatlin, Corner Counter-Relief, pg 1061-62 & 1075

Moore, Reclining Figure, pg 1074-75

Duchamp, Fountain, pg 1024 & 1085-87

Date / Time Period / Style European Modernism /

Italian Futurism European Modernism / Constructivism

European Modernism / Post-war Classicism

European Modernism / Dada


Italy Russia England (French) working in New York


Function / Purpose

Expressionism:Content / Subject / Message / Iconography / symbolism

Formalism: Scale / Size / Proportion /Pictorial Space / Composition / Emphasis / Balance / Volume / Mass / Depth / Color / Movement / Treatment of the Human FormArtistic Importance / Influence:

Response to Cubism / Abstraction (formalism) / Formal aspects gain importance (space, color, line, pattern) – equal to content / Content = change in ideas of representation= non-representational / faktura- each material generates its own forms & colors = respect for materials / post-revolution = constructivism – artist must go to the factory, create useful objects

Classical traditions with primitive art / influence of pre-Columbian art / depict other than the visible world / experimentation & rejection of old forms

Ready-makes / Avant-Garde / experimentation & rejection of old forms / art should appeal to the mind rather than the senses (cerebral) / conceptual

Patron / Audience

Relationship to Political / Social / Economic / Power & Authority / Cultural belief system (Religious)

Futurist Manifesto – against everything old, feminine, & safe / Pre-WWI –Western Imperialism, Industrialized nations increase wealth - World Markets / Opening of China & Japan - Africa / European Migrants

Art=desire to communicate to Western Culture / Pre & Post-WWI – Russian Revolutions / Nicholas, Lenin

Comforts viewers – anxious about the human capacity to endure, after horrors of WWI / Age of Anxiety – uncertainty / WWI & Russian Revolutions / abandon Enlightenment-progress values & beliefs / questioning rational thinking /

Rejection of European “art factory” / useful object made useless by transformation into art


Model for the Monument for the 3rd International, 1920

Reclining Mother & Child, 1960-61

Bicycle, 1951

(The Large Glass)


1915-23Directions: Read assigned pages. Collect data on the artworks listed below.

PRINTMAKING & PAINTING ANALYSIS/


CRITERIA: Toulouse-Lautrec, Jane Avril, pg 1026-29

Seurat, A Sunday Afternoon on the Island of La Grande Jatte, pg

1035-37

Gauguin, Ia Orana Maria (We Hail Thee Mary), pg 1037

Van Gogh, The Starry Night, pg 1038-39

Date / Time Period / Style Post-Impressionism Post-Impressionism Post-Impressionism Post-Impressionism


France France France France


Scientific method -

Function / Purpose

Artistic Importance / Influence:

Expressionism:Content / Subject / Message / Iconography

Formalism: Scale / Size / Proportion /Pictorial Space / Composition / Emphasis / Balance / Volume / Mass / Depth / Color / Movement / Treatment of the Human FormPatron / Audience Art Dealer = merchants

(visionary patron) / large crowds visit independent exhibitions

Art Dealer = merchants (visionary patron) / large crowds visit independent exhibitions

Art Dealer = merchants (visionary patron) / large crowds visit independent exhibitions

Context= Relationship to Political / Social / Economic / Power & Authority

Post-Impressionism = time period (1880-1905) / impact of industrialization / psychological consequences / Age of Nationalism- Western Imperialism, Industrialized nations increase wealth - World Markets / Opening of China & Japan - Africa / European Migrants






At the Moulin Rouge

The Bathers

Vision After the Sermon (early work)

Night Cafe

Irises


PRINTMAKING & PAINTING ANALYSIS/DATA COLLECTION

WORKSHEET

CRITERIA: Cezanne, Mont Sainte-Victorie, pg 1033-35

Rousseau, The Sleeping Gypsy Munch, The Scream, pg 1039-40

Odilon Redon, CyclopsUse info on pg 1032

Date / Time Period / Style Post-Impressionism

1897Late 19th –century / Symbolism

Late 19th –century / Symbolism

Late 19th –century / Symbolism


France


Oil on canvas

Function / Purpose artists = express their intense feelings to the world


Formalism - Representational / Abstraction / Formal gains importance (space, color, line, pattern) – equal to contentContent = change in ideas of representation –recreating nature, not reproducing it / artist spirit= painted for himself /

No formal artistic training = primitive artist

Expressionism- examination of the symbolic character of subject matter / subjective, emotional, from within, the act of creation (process), intuitive / reaction to Impressionism-


Fantasy of a gypsy dreaming –viewer uneasy = vulnerability of sleep

neglected the mysterious centers of thought, should look to the primitive & savage to restore painting to primal emotion & imaginationHaunting, shocking, terrifying & nightmarish visions

Formalism: Scale / Size / Proportion /Pictorial Space / Composition / Emphasis / Balance / Volume / Mass / Depth / Color / Movement / Treatment of the Human Form

flat patches of color / forms geometric / stable, order

Lion & gypsy not realistic = lacks optical realism a trained artist could create / praised by counterpoise for abstraction which accentuated fantasy atmosphere

Patron / Audience Art Dealer = merchants (visionary patron) / large crowds visit independent exhibitions


1880-1905 - Before WWI - Break from tradition of Academies cont. - (reaction to) Impressionism / independent group exhibits formed / Documenting emotions to modern life / rooted in literature



Still Life with Basket of Apples


WORKSHEET

CRITERIA: Aubrey Beardsley, Illustrations Klimt, The kiss, pg 1032 Matisse, Woman with Hat, pg 1040-42

Kirchner, Street Berlin, pg 1043-47

Date / Time Period / Style Late 19th –century / Art

NouveauLate 19th –century/ Art Nouveau

Late 19th –century / Fauvism Late 19th –century /

Site / Location / Relationship to siteMedium / Materials / Method /Technique

Function / Purpose Communicate emotions through color



Formalism: Scale / Size / Proportion /Pictorial Space / Composition / Emphasis / Balance / Volume / Mass / Depth / Color / Movement / Treatment of the Human FormPatron / Audience


Other artworks from the


period & relevant criteria



WORKSHEET

CRITERIA: Kollwitz, The Outbreak from the Peasants’ War, pg

1045-47

Kandinsky, Improvisation # 30, pg 1047-49

Marc, The Large Blue Horses, pg 1047-49

Picasso, Les Demoiselles d’Avignon, pg 1049-56

Date / Time Period / StyleSite / Location / Relationship to siteMedium / Materials / Method /Technique

Function / Purpose









WORKSHEET

CRITERIA: Braque, Houses at L’Estaque, pg 1052-56

Delaunay, Homage to Bleriot, pg 1056-58

Malevich, Suprematist Painting, pg 1060-

Mondrian, Composition with Red, Blue, & Yellow, pg 1077-78

Date / Time Period / Style Post WWI Post WWISite / Location / Relationship to site

French French Russian Dutch


Function / Purpose


Reaction to Cubism / Artists search for new forms

Rationalism -Constructivism Rationalism -De Stijl




Changes in technology / agrarian to industrial / rural to urban / WWI / political chaos / R. revolutions /end of the old



Violin & Palette



WORKSHEET

CRITERIA: Leger, Three Women, pg 1078-1080

Duchamp, Nude Descending a Staircase, 1085-87

Dali, The Persistence of Memory, 1087-1090

Miro, Painting, pg 1087-90

Date / Time Period / Style Rationalism Surrealism Surrealism


French French / USA Spain Spain


Function / Purpose



Rationalism -Purism Reaction to static cubism Paranoic-critical method Automatism

Formalism: Scale / Size / Proportion /Pictorial Space / Composition / Emphasis / Balance / Volume / Mass / Depth / Color / Movement / Treatment of the Human Form

Movement & time / repetition of form = movement / move away from static cubism / analyzed into planes / influenced by photography

Patron / Audience


Changes in technology / agrarian to industrial / rural to urban / WWI / political chaos / R. revolutions /end of the old

Other artworks from the period & relevant


criteria

NAME: ________________________________________________________________

CHAPTER 27

THE RISE OF MODERNISM IN EUROPE & THE UNITED STATES

ANALYSIS PACKET

DIRECTIONS: Use attached worksheets to record information from reading homework assignments. On the reading due date, turn in each assigned analysis worksheet to Mrs. Lawson for a Reading-check grade. Add information from class discussion to the worksheets. Upon completion of chapter, place analysis packet into the turn-in drawer for a completed-packet grade.

Architecture Sculpture


Painting

AP EXAMPast AP Art History tests contained few multiple-choice questions on topics from some of the styles in this

chapter. Slide-based multiple-choice questions have examined Horta’s Tassel House & Gaudi’s Casa Mila, the influence of arts & crafts on art nouveau, and the chronology of the fin de Siecle (1880-1910) relative to other periods. Certain topics such as the sculpture of Rodin lend themselves well to a slide-based short answer question. So many major developments transpired during 19th-century art history (Romanticism, photography, Realism, Impressionism, & Post-Impressionism) that they can eclipse the fin de Siecle period. This period is the transition from the 19th century stirrings of Modernism to its full employment during the 20th century.

Questions on past AP Art History tests pertaining to the late 19th-century have assess students’ ability to: Recognize that various art movements were contemporary with each other Observe & comprehend complementary formal terms: flat/modeling, decorative/simple,

organic/artificial Apply knowledge of contextual events to interpret formal elements (Art & Crafts movement & Art

Nouveau reacted against industrialism)Post-Impressionism

The works of the Impressionists affected the next group of artists, the Post-Impressionist. Yet the works of the Impressionists dissatisfied the Post-Impressionists. First, Impressionists focused only on reproducing the natural world. In their rush to capture a moment in tine, the Impressionists lost the traditional elements of picture making—line, shape, & color. Lines dissolved & shapes lacked solidity in Impressionist paintings because of the loose brushwork. Color reflected the lighting of a given moment. Artists of the Post-Impressionist period sought to restore some of these elements to painting.

Post-Impressionism was not a specific art movement like Neoclassicism or Realism. Post-Impressionism refers to a group of French artists painting in the 1880s & 1890sThese painters did share some common ground. Some wanted to restore color & shape to art, which were formal elements that they felt the Impressionists compromised. Others wanted to restore the subjectivity of the artist in creating a picture rather than copying nature. (Gauguin & van Gogh stop looking at nature during painting in exchange for painting from memory.)

Since the Renaissance, art was a means to express the natural world, a mere means to an end. Artists sought to obscure all evidence of brushstrokes and, using chiaroscuro & accurate perspective (both linear & atmospheric), attempted to re-create their view of the real world. The more polished the painting & the more an artist controlled line & gradations of shadow & light, the more society recognized the artist’s ability. Post-Impressionists deviated from this expectation. Instead. They created abstract visions of the natural world to reinforce that art is indeed different from nature.

Impressionism & Post-Impressionism are difficult to categorize as coherent artistic movements because the artists within the movements had varied objectives. The movements are described by their chronological placement as well as basic similarities shared by the artists in each period. Impressionism occurred in the 1870s-80s & Post-Impressionism in the late 1880s-90s. Impressionist artists were interested in capturing a moment in time, the

AP ART HISTORY Mrs. LawsonChapter 28 – Comparative Analysis Assignment 100 Points Totalfleeting qualities of light at the moment, and how the momentary light affected color. Cropped edges, informal arrangements of characters & unusual viewpoints enhance the transitory feel of their paintings.

Post-Impressionists such as Seurat, Gauguin, van Gogh, & Cezanne were dissatisfied with the limitations of Impressionism. Seurat & Cezanne explored the science of color & shape (Formalism). Gauguin, & somewhat van Gogh transcended faithfulness to nature in exchange for their inner, unique visions of the world (Expressionism).

Both Impressionism & Post-Impressionism illustrate the influence of Japanese woodblock prints, with their flat qualities, cropped edges, and depictions of a moment in time.

Other Late 19th-Century Art StylesThe Symbolists

Symbolism was a reaction against the 19th-century belief in the advance of science & technology. The artists discarded the visible world of surface appearances. Instead, they wanted to give visual form to states of mind. Common topics:

The inner world of fantasy, in which imagination takes precedence over nature A state of mind, emotion, or idea Images that portray irrational aspects of the human mind; these irrational images can be disturbing

The major Symbolists include Redon, Moreau, Rousseau, & Munch. Their influences were Goya’s etchings & black paintings and Gericault’s depictions of the insane, and Gauguin’s paintings of the inner vision. Gauguin’s followers called themselves Nabis = ‘prophet” in Hebrew. A large amount of Symbolist literature accompanied this art movement.

Both Moreau & Redon are known for alluding to mythology, which demonstrates their departure from the topics of the real world. Moreay drew inspiration for the opulent decoration from Byzantine mosaics, Indian miniature paintings, medieval cloisonné, & exotic decorations.

Arts & Crafts MovementBy the late 19th-century, most people accepted the changes being caused by industrialization &

urbanization. Some writers & artists living in Great Britain, the most industrialized country of Europe, rejected what they saw as runaway industrialism. Suspicious of machines & capitalism, they advocated handcrafting objects that were useful & aesthetically beautiful. Their influence gave rise to the Arts & Crafts movement.

The Arts & Crafts movement relied on hand production of everyday household items. Artists beautified the objects to bring pleasure to both the person using the object & the maker. The movement rejected artificial patterns, turning instead to natural floral patterns, which in turn influenced the next movement, Art Nouveau. Artisanship was integral to their creations, & leaders of the movement reinforced this by forming guilds & workshops. The process was just as important as the end result, a theme that will be seen again in artists such as Jackson Pollock during the 20th-century. William Morris & Charles Rennie Mackintosh crated arts & crafts theme rooms in which all elements, from tea sets to tables to wallpaper to stained-glass windows, were harmonized. Creations of these artists could not have resulted from industrialism but from the thoughtfulness & craftsmanship of and individual.

Art NouveauArt Nouveau was a short-lived art movement in the late 19th-century that focused on the decorative arts &

architecture. It took its name from a decorative arts store in Paris, L’Art Nouveau meaning New Art. Influenced by the arts & crafts movement, Art Nouveau became popular in France, Belgium, Holland, Great Britain, & America. Art Nouveau also became popular in Germany, where artists called it Jugendstil, and in Austria, where artist referred to it as the Austrian Secession. Art Nouveau works contain organic designs. The term organic refers to artwork that has qualities of organic life, such as plants. The designs often contain leafy tendrils, meandering vines, & elaborate floral patterns.

During the late 19th-century & early 20th-century, Post-Impressionism, Symbolism, Arts & Crafts, and Art Nouveau grew simultaneously. The artists of each movement separated themselves from creating the illusion of a 3-dimensional world in their work. Instead, their work expressed grater individual subjectivity & reinforced “art for art’s sake.” (art did not have to serve solely as a means of imitating the real world, which had been the trend since the Renaissance.) In addition to various artistic movements, sculpture also entered the Modern era, as seen in the work of Rodin.

Early 20th-Century ArtAP Exam

Art of the 20th & 21st-centuries makes up 10-15% of the points on the AP Art History exam. Students should understand the formal, stylistic tendencies of early modern art as well as relevant contextual information.


Modernism - The late 19th Century begins the period known as Modernism. What is Modernism? What are the two main branches of exploration called and what are 3 characteristics of each?

What is Modernism? “art which calls attention to itself as art”1. art that calls attention to the process of its making2. focus on the individual in the form of self analysis & self expression3. desire for freedom from academic art institutions & traditional processes of art-making4. interest in the exotic & in new sources of imagery which are often non-western5. redefining what reality is (a growing interest in psychological reality & imagined reality)6. increase interest in formal concerns (elements of art) as a primary structuring device 7. fracturing of image & the process of various ways of abstraction8. experimentation & use of modern materials & technology for art making9. directness & immediacy with the subject matter10. challenging conventional ideas of what is “beautiful”11. the objectification of the art work – moving away from pictorial space12. “the shock of the new” – innovation becomes one of the defining elements of art

Modernist Art Artist changed their views on art because during the early 20th-century, people began to look at the world

differently. Scientists questioned the nature of matter. Physicists such as Planck & Bohr wrote about atomic structure. In his theory of relativity, Einstein postulated that space & time were not absolute. He also explained that matter was not solid but really another form of energy. Industrial technology evolved as inventors developed complex & efficient machines. Planes, trains, automobiles, & electricity became significant parts of everyday life. Chemistry developed newer materials through oil refining, the various qualities of steel, & plastic polymers.

Meanwhile, intellectuals challenged the traditional beliefs of society. Nietzsche believed that European civilization had become decadent & that a major holding society back was religion. Nietzsche preach “God is Dead” & explained that as soon as people realized there is no God, they can begin to follow their passions & truly live. The Austrian psychologist Sigmund Freud hypothesized that the human repression of unconscious desires affects human behavior. Freud advocated analyzing the dreams & relationships of his patients to discover their repressed desires, which he believed caused their psychoses.

In the 1890s, artists began to explore their own artistic vision rather than copying realistic perception of the natural world. The styles of artists evolved to reflect the changing viewpoints on science, matter, concepts of “reality”, and humanity of the 20th-century.

FORMALISM or EXPRESSIONISM

FORMALISM = Artists wanted a more systematic examination of the properties of 3-dimensional space / communicative qualities of line / pattern / color

EXPRESSIONISM =Artists wanted a more systematic examination of the symbolic character of subject matter

Artists: concentrated on formal, near-scientific design - Seurat / Cezanne

Artists: wanted a more systematic examination of the symbolic character of subject matter/ emphasized expressing their emotions and sensations through color & light – Gauguin / van Gogh / Lautrec

objective subjectiveintellectual emotionalanalytical expressivelooking at the world from without looking at the world from withinformal elements of art structuring the artistic process-the act of creationelement of art work shapes work of artreason passioncontrived or applied order or structure to visual image

intuitive or random ordering of images

organization of time/space/form chance organization of experience/feeling

Patronage & Artistic LifeEarly 20th-century art was sponsored by extremely cultivated & intellectual patrons who were members of

the avant-garde. They saw art as a way to embrace the modern spirit in a cultured way. These influential patrons (Gertrude Stein) promoted great artists through their sponsorship & connections.

Not all modern art was greeted with enthusiasm. The Armory Show of 1913, which introduced modern art to American audiences, was generally hated.

Modern Architecture


As the 19th-century came to a close, in the big cities throughout the U.S., property vales were climbing and space contracting. Attempting to work within these restrictions, architects began to build upward. Building taller, narrower structures gave owners of the buildings more rental property. Ever-higher floors could command top-dollar rents in the city. Thus, the demand for taller buildings used for commercial purposes increased.

Cast iron played an important role in the evolution of the skyscraper. Before its emergence, masonry (concrete) was the main material. At first, architects embraced cast iron and greatly decreased that amount of masonry they used for building support. After a series of fires revealed the weakness of using cast iron alone, engineers discovered that encasing cast-iron beams in masonry offered the benefits of the increased strength of the former and the fire-resistant qualities the later. The cantilever helped push building elements beyond the solid structure of the skeletal framework.,

In general. Architects avoided historical associations: There are few columns & fewer flying buttresses, preferring clean sleek lines that stress the building’s underlying structure & emphasizing the impact of the machine & technology.

20th-Century SculptureThe adventurous spirit that epitomizes modern painting & architecture also characterizes modern sculpture.

Artists used new materials, such as plastic, & new formats, such as collage, to create dynamic compositions. Artists also dangled metal shapes from a ceiling & called them mobiles.

In the Dada movement, artists saw a found object and turn it into a work of art. These ready-mades became works of art simply because the artist said they were.

20th-Century PaintingAll of the characteristic painter’s tools of expression were under question in the early 20th-century. Color

was not used to describe a setting or an artist’s impression, but to evoke a feeling and challenge the viewer. Perspective was generally discarded, or violently tilted for dramatic impact. Compositions were forcefully altered in a new & dynamic way.

Most radically, the introduction of pure form, abstraction, became the feature of modern art. Actually, abstract art has always existed, usually in marginal areas of works of art, sometime in frames or as decorative designs. The new direction for modern art is the placement of the abstract form directly in the center of the composition—a statement averting that abstraction has a meaning independent of realistically conveyed representations.

Artists moved beyond the traditional oil-on-canvas approach to great art, and were inspired by frottage & collage, techniques formerly relegated to children’s art. Such fervent experimentation led Europeans to draw inspiration from African artists’ ability to crate works in geometric, sometimes abstract, terms, unafraid of a lack of reality. This freedom of expression inspired Europeans to rethink traditional representations, sometimes by writing their thoughts down in artistic manifestos, which served as calls of arms for their movements.

Fauvism (French) 1905-1908Fauvism is an art movement that began in 1905 at Salon d’Automne in Paris. It was so named because a

critic thought that the paintings looked as if they were created by “Wild Beasts.” Fauvism was inspired by Post-Impressionist painters, (Gauguin & van Gogh), whose work was exhibited in Paris around this time. Fauves stressed a painterly surface with broad flat areas of violently contrasting color. Figure modeling & color harmonies were suppressed so that the expressive effects could be maximized. Fauvism died out by 1908.

German Expressionism 1905-1911Inspired by the Fauve movement in Paris, a group of German artists in Dresden gathered around Kirchner

& formed Die Bruke. The Bridge, in 1905, so named because they saw themselves as a bridge from traditional to modern painting. They emphasized the same Fauve ideals expressed in violent juxtaposition of color, which so purposely roused the ire of critics and the public.

A second group, called Der Blaue Reiter (The blue Rider), formed in Munich, Germany, in 1911. This group (so named because of an affection the founders had for horses & the color blue) began to forsake representational at and move toward abstraction. Highly intellectual, and filled with theories of artistic representation, artists like Kandinsky & Marc saw abstraction as a way of conceiving the natural world in terms that went beyond representation. Kandinsky’s theories were best expressed in his influential essay; Concerning the Spiritual in Art, which outlined his theories on color and form for the modern movement.

Cubism – began in France (1907-1930s)


Cubism received its name when Matisse described a Braque painting as nothing but little cubes. Art historians refer to the style established by the collaboration between Picasso & Braque as Analytic Cubism, because the artists analyzed the forms of objects before reconstituting them. Pablo Picasso revealed the first cubist painting, Les Demoiselles d’Avignon in 1907. Influenced by the simple geometries of African masks, then the rage in Paris, Picasso was inspired to break down the human form into angles and shapes, achieving a way of looking at the human figure from many sides at once. This use of multiple views shows parts of a face, for example, from a number of angles. Cubist artists reexamined the shapes and qualities of objects by breaking them apart into their simple geometric components and reconstituting the pieces as the artists saw fit. Artists had to understand what they were dissecting and were not to leave out important parts of the object. The artwork is dominated by wedges and facets that are sometimes shaded to simulate depth. Another significant element of Analytic Cubism is the artists’ use of muted colors. Vivid color could distract the artists and the viewer from interpreting the shapes and the surrounding space.

The first phase of Cubism, 1907-1912, called Analytical, was highly experimental, showing jagged edges and sharp multifaceted lines. The second phase, after 1912, called Synthetic Cubism, was initially inspired by collages and found objects and featured flatten forms. The last phase, Curvilinear Cubism, 1930s, was a more flowing rounded response to the flattened and firm edges of Synthetic.

RESPONSES TO CUBISMFuturism – originating in Italy (1909-1914)

Just before WWI, a group of Italian artists came together to celebrate the scientific and technological progress of the modern world. The glory of the machine world and a fascination with spend were the chief subjects of all Futurist art. Influenced by Cubism, the Futurist enjoyed the prismatic effects of representation, rendering an almost shattered look to their work. Futurist theories were given formal expression by the theories of Marinetti, who published manifestos that advocated an artistic revolution.

Russian Constructivism (1917)The Russian equivalent of Futurism occurred contemporaneously with the Russian Revolution of 1917. The

leading figure of the movement, Tatlin, described the Russian avant-garde movement as Constructivism. His aim was to construct a new art rather than compose art according to the traditions of the bourgeoisie dominated past. This is the same class against whom the Russian proletariat revolted. Therefore, Tatlin argued, artists needed to construct an art that stripped away the symbols and themes of the art of the past. Constructivism used the new industrial materials of the day such as steel (Russia was behind other countries in steel production) and plastic.

Armory Show (1913)In February 1913, the United States had its first taste of modern art. Organizers created the Armory Show,

which was held at the National Guard Armory, on Lexington Ave in New York City. Officially called the International Exhibition of Modern Art, the Armory Show displayed about 1,250 works by more than three hundred avant-garde European & American artists. Featuring the works of the Impressionists, Post-Impressionists, Fauves, & Cubists, and others. The Armory Show as an important catalyst inspiring American artists and exposing greater numbers of Americans to Modern art. Yet the works horrified most of the American public. Critics described the artists as depraved lunatics and bomb throwers. Public officials even debated closing the show because it endangered the public’s morals.

World War I (1914-18) – primarily in EuropeWorld War I had a devastating effect on European life. Europe lost a generation of men through the

incredible destruction of new weapons and trench warfare. A current estimate is that nearly 10 million men from the Allies & Central Powers died in combat. Many men who returned experienced “shell shock” from all the bombings & violence, a condition psychologists today refer to as posttraumatic stress disorder. Historians label the generation that lived through the Great War the Lost Generation because of the death & social trauma caused by the war. People became disillusioned with the concept of humanity because they realized just what “humanity” was capable of doing. Cynicism and nihilism began to replace the progressive spirit of the early 1900s.

Postwar German ExpressionismWorld War I exerted a profound influence on all Europe. Germany experienced some of the most traumatic

effects. As one of the main belligerents, it sent many men to the fronts to fight for the fatherland. By the end of the war, Germany was sending boys as young as 14 to fight. Meanwhile, the British navy maintained a blockade of Germany, which included keeping out supplies of food. The German government needed to continue producing weapons and began to use nitrates, usually used for fertilizing crops, for bomb making. Consequently, Germany experienced a famine. Workers and intellectuals revolted against the Kaiser in Berlin, and sailors mutinied against the German admiralty. Germany was in chaos.

In November 1918, Germany signed an armistice (cease-fire) with the Allied Powers. As part of the Treaty of Versailles, signed in 1919, the Allies forced Germany to accept a war guilt clause (claiming total responsibility for starting the war) and to pay heavy reparations. The German people thus suffered even more after the war.

AP ART HISTORY Mrs. LawsonChapter 28 – Comparative Analysis Assignment 100 Points TotalHyperinflation, economic depression, and temporary occupation by French troops along the border (a response to Germany’s failure to make reparations) humiliated the Germans even more.

German artists found Expressionism to be a good vehicle to convey the mood of the country after the war. Max Beckmann is one of the most famous postwar German Expressionist. Influenced by the effects of WWI and the rising threat of Nazism German Expressionists conveyed the misery and humiliation of WWI. If the AP Art History test includes a slide and you think it might be German Expressionist, look for scenes of war (German-style helmets, gas masks, explosions) and scenes of misery (a mother holding a dead child, common people being exploited by the warmongers of government).

The Third Reich & German ExpressionismAdolf Hitler became chancellor of Germany in 1933. Because he was an artist in his earlier years (he was

rejected from the School of Fine Arts in Vienna twice), he believed himself capable of judging the quality of art. He labeled German avant-garde art as “degenerate” and organized an infamous exhibition called the Degenerate Art Exhibit. Approximately 2,000 people visited the exhibit daily. They were encouraged to mock and defile the art.

This exhibition exacted a major toll on the German Expressionist. Kirchner, one of the founders of Die Brucke, burned many of his woodcuts and prints. In 1939, he committed suicide. The day that the exhibit opened, Beckmann and his wife fled to the Netherlands, never returning to Germany.

Dada – 1916-1920Dada artists believed that the traditional supports of society—law, faith, culture, language, economy—failed

to prevent the war and its unprecedented effects. Declaring war on tradition, Dadaists often lambasted formal institutions in their art and disdained conventional notions of art as well. Instead, they artistically expressed absurdity, spontaneity, and free will.

They chose the name for their movement, Dada, at random from a French dictionary. Dada, the French word for “rocking horse,” satisfied the Dadaists’ desire for something irrational and nonsensical. Dada artists often incorporated the world into their compositions, like a calling card or a modern-day advertising logo. In addition, many Dadaists incorporated the word into their signatures. Dada eventually became part of the world’s vocabulary.

The values on which Dadaism was based were entirely unique. In addition to their novel objectives, Dada artists used innovative approaches to crating art, including the use of new materials, methods, and technologies. Dada artists expanded the use of collage, photomontage, and assemblage. Dada artists also made sound recordings and short films. These new methods influenced artist throughout the 20 th century.

DeStijl -- 1917-1930sDeStijl was a movement that was symbolized by the Dutch painter Mondrian, and reached its height

between 1917-1930s. At its purest, DeStijl paintings are completely abstract, even the titles make to reference to nature. They are painted on a white background and use black lines to shape the rectangular spaces. Only the three primary colors are used: red, yellow, & blue, and they are painted without modulation. Lines can only be placed perpendicularly—diagonals are forbidden.

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