This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
2. The canon: the great narrative of
modernism in art
Systematically
accounting for
modern
developments by
emphasizing formal
characteristics of
paintings as
especially revealing
to construct a
particular history of
modern art.
3. Most of these theories share much in common:
• all were youth movements
• all were radical experiments with FORM
• most rejected realism/naturalism
• all explored alternative MODES of perception
• most blur traditional artistic boundaries
• most were influenced by scientific and/or
technological advances
Avant-garde
Gustave Courbet
The Stone Breakers
1849 (destroyed during World War II)
4. Isms are ideologies. To call an art movement
an ism is to imply that instead of depicting
the world in a commonsense way, the artists
make an argument, propose a theory.
Van Gogh
Field with Poppies
(1890)
5. This lecture will:
• Examine how artists sought to find a language that would
adequately express the changes and disruptions associated
with modern life
• Attempt to capture the dialectical relationship between
each movement and its predecessors
• Make connections between historical events and art genres
• Encouraged you to think of styles as useful tools for
exploration and analysis, rather than as hard and fast
academic definitions, and to relate to the art itself rather
than to a merely conceptual idea
6. The Rise of the ISMS
Neoclassicism (1750-1850)
Romanticism (1780-1850)
MODERNISM
Realism (1848-1900)
Impressionism (1865-1885)
Post-Impressionism (1885-1910)
Fauvism & Expressionism (1900-1935)
Cubism, Futurism, Supremativism, Constructivism & De Stijl (1905-1920)
Dada & Surrealism (1917-1950)
Abstract Expressionism (1940s-1950s)
Pop Art (1960s)
Postmodernism (1970s-)
Claude Monet
Haystacks, (sunset)
(1890–1891)
Georges
Seurat
Sunday
Afternoon on
the Island of
La Grande
Jatte
(1884-1886)
7. • broad cultural trend
• artist defined movement
• retroactively applied label
• trend within the visual arts
A process of
compartmentalising
the Western canon
12. 1800-1848 Industrial Revolution I
• Migration from rural to
urban areas
• Independent, skilled
workers replaced by
semi-skilled laborers
• Large corporations
were established,
devaluing the personal
relationship between
management and
workers or company and
customers
13. Romanticism in England
John Constable
The Hay Wain
(1821)
Joseph Mallord William Turner
Rain, Steam and Speed
The Great Western Railway
(1856)
15. 1848-1907 Industrial Revolution II
John Everett Millais
Ophelia
(1851)
Raphael
The Crucified Christ with the Virgin
Mary, Saints and Angels (The Mond
Crucifixion)
(c. 1502-1503)
16. Late Victorian
Sir Lawrence Alma-Tadema
A Reading from Homer
(1885)
Lord Frederick Leighton
Elijah in the Wilderness
(c.1878)
John Singer Sargent
The Daughters of Edward Darley Boit
(1882)
18. Realism
Images are of the “real”
world, seeable by the artist.
The style is free from fable
and fantasy.
Courbet
Poor Woman of the Village
(1866)
19. French Realism
Daumier
The Burden (The Laundress)
(1850-53)
Redefining Reality: Realists focused
attention on the experiences and sights of
everyday contemporary life
Not only a style of art and literature which
presented life as it was, but also a
philosophy committed to contemporary
social issues
22. Impressionism
Impressionism is a
derivative of Realism,
but was primarily
concerned with how
the artist saw an
object, rather than
what is seen.
Monet
The Cliff at Étretat after the Storm (1885)
23. Symbolism & Art Nouveau
Gustav Klimt
The Three Ages of Woman
(1905)
Fernand Khnopff
The Sphinx
(1896)
Franz Von Stuck
Ringeltanz
(1905)
26. Cubism
Compositions no longer just
represented natural objects,
new shapes and forms were
created to show more that
one viewpoint
27. Dada & Surrealism
• Optical illusions that mix reality and
dreamlike images together
• Emphasis on imagination and the
world of the subconscious
• Objects often float defying the laws
of gravity
• Haunting and mysterious
expressions that are a balance
between the real and the unreal
Marcel Duchamp
Fountain
(1917)
31. MOMA was part and parcel of the CIA’s
efforts to combat Communism with
American culture
The Abstract Expressionists were
overwhelmingly men, previously
Marxists and then disillusioned Marxists
Their art exemplified a worldview that
could be construed as the ultimate
antithesis to Communism
They were individualistic, autonomous,
exuding despair and anxiety
Jackson Pollock, in particular, became
the icon of alienation
The CIA latched onto Abstract
Expressionism for its purported anti-
communism
The rise of Abstract Expressionism after the Second World
War and the cultural cold was politics, and the role of MOMA
32. 1960
Against this backdrop,
a generation of artists
in the 1960s would
explode the concepts
of modern art,
proliferating an
intoxicating range of
different practices and
approaches to making
art
33. “In the art world, the idea of
postmodernism first began to surface in
the 1960s, with the emergence of trends
like Pop art, Minimalism, Conceptualism
and performance. (In retrospect, nascent
examples of postmodernism could be
detected much earlier in works by artists
such as Duchamp, whose readymades
spoofed the preciousness of the art object,
late De Chirico, who laid waste to the idea
of the uniqueness of the artwork by
cannibalising his own work, and even
Picasso, whose abrupt stylistic changes
made a mockery of the notion of signature
style).
Heartney, E. (2001) Movements in Modern Art:
Postmodernism. London, Tate Gallery
Publishing Ltd. pp.6-12
34. Pop Art
Richard Hamilton. Just
What Is It That Makes
Today's Home So Different,
So Appealing? 1956
Collage
Warhol
Brillo Boxes
(1969)
The art
practices of the
1960s reflected
a broader
questioning of
the values
underpinning
society
35. The philosophical revolution in art:
You can’t tell art just by looking.
The revolution Danto is talking about
is that the difference between art and
non-art is no longer visible (even
though it is still there).
The difference must be conceptual, not visible. The
work raises a philosophical question about the
difference between art and non-art.
38. Minimalism
Donald Judd (1966) Untitled.
Stainless Steal and Yellow
PlexiGlass
Donald Judd (1974) Untitled [six boxes]
39. Conceptual Art
Abandonment of
that unique,
permanent yet
portable (and thus
infinitely saleable)
luxury item, the
traditional art object.
The rise of an
unprecedented
emphasis on ideas:
ideas in, around and
about art and
everything else.
40. Postmodernism
“We are well past the age when we can
merely accept or reject this new ‘ism’; it is
too omnipresent and important for either
approach. Rather we have to ask about its
emergent possibilities, ask ‘What is it?, and
then decide selectively to support and
criticise aspects of the movement.”
Charles Jencks, What is Post-Modernism? p6
41. ‘Postmodernity is a style
of thought which is
suspicious of classical
notions of truth, reason,
identity and objectivity, of
the idea of universal
progress or emancipation,
of single frameworks,
grand narratives or
ultimate grounds of
explanation.’
-Terry Eagleton, from The
Illusions of
Postmodernism
(1996)
Yinka Shonibare Gallantry and Criminal
Conversation (2002)
42. These approaches inspired various movements
within the overall, loosely defined suite of ‘pomo’
approaches that established the plurality of voice
and points of view within societies.
Postcolonialism, feminism, and queer theory, are
all part and parcel of postmodern critique.
43. Postmodern art...
• Is ironic;
• Self aware;
• Intellectually rigorous;
• Is concerned with ‘spectacle’;
• Challenges disciplinary purity;
• Encourages multi-media;
• Often foregrounds the body;
• Questions constructions of ‘gender’;
• Is involved in overtly
political/institutional critique;
• Questions the commodification of
the material world;
• Challenges grand narratives and class
structures by referencing mass
culture and everyday life.
44. In his rejection of the distinction between low and high art, Koons is a typically
‘post-modern’ artist. ‘Post-modern art’ is a reaction to the ‘consumerism’ that
has been made possible by the fact that manufacturing of products,
distribution and dissemination have become very cheap. However, instead of
criticizing the ordinariness and commonness of all these products, post-
modern art just accepts them, and in Koons' case somehow both celebrates
and ironicizes them.
Notes de l'éditeur
DESCRIBE AND
ANALYZE
INTERPRET
E
What is this man doing? He is cutting wheat.
How do we know? He holds a scythe and there is cut wheat around him.
E
Call students’ attention to the light and shadows on the man. Where is the sun?
It is high and to his right.
How do you think the man feels in this sun? He probably is hot and tired.
How do we know? He’s working so hard in the sun that he has taken his jacket off and laid it on the ground in the right foreground.
E|M|S
Describe how Homer divided the scene in this painting.
He divided it into three strips of color with a band of sky, a wider band of standing wheat, and another band of cut wheat
in the foreground.
In what bands are the man’s feet? They are buried in cut wheat.
In what band is his body? It is in the standing wheat.
Where is the top of his head? It is in the sky.
M|S
Of what war was this man a veteran?
He was a veteran of the Civil War.
How does Homer show us this?
His military uniform jacket and canteen lie in the lower right corner.
What might laying aside his uniform represent?
He has set aside soldiering and returned to regular life.
Why is this a new field for him?
It may be literally a new field of grain, but it is also a new field of work for him after fighting for years.
M|S
If this man had been in a grain field the previous year, what would he probably have been doing?
Probably fighting a battle, since a number of Civil War battles were fought in grain fields.
What subjects had Winslow Homer been sketching for the past few years?
He had been sketching Civil War soldiers.
S
What does a figure carrying a scythe usually symbolize?
He symbolizes the grim reaper or death.
Whose deaths might Homer be alluding to?
He is alluding to dead soldiers and/or President Lincoln, who had been assassinated earlier that year. Previously, the veteran cut
down soldiers in a field; now he cuts wheat.
S
What might a bountiful field of wheat represent?
It could symbolize hope, bounty, and the renewal of life.
Because a seemingly dead seed buried in the ground rises as a new plant, grain can be a symbol of rebirth or new
beginnings. What might this suggest about the country after the Civil War?
It could suggest that the country will recover and flourish.
Impressionism
Impressionism is both a style, and the name of a group of artists who did something radical—in 1874 they banded together and held their own independent exhibition. These artists described, in fleeting sensations of light, the new leisure pastimes of the city and its suburbs It’s hard to imagine, but at this time in France, the only place of consequence that artists could exhibit their work was the official government-sanctioned exhibitions (called salons), held just once a year, and controlled by a conservative jury. The Impressionists painted modern Paris and landscapes with a loose open brushstrokes, bright colors, and unconventional compositions—none of which was appreciated by the salon jury!
‘Impressionism’ was coined after a scathing attack on Monet’s Impression, Sunrise by critic Louis Leroy who dismissed the work as mere "impressions", not finished pieces.
Impressionism was an attack on the routines of perception. The Impressionists claimed to be representing the world as they saw it, as everyone sees it.
Concerned with effect of sunlight on subjects
Applied the paint very heavy showing brush strokes, creating texture
Used pure dazzling colours
Painted outdoors
Viewer’s eye blended the colors from a distance
Symbolism & Art Nouveau
The 1880s saw a shift away from the modern-life focus of Impressionism, as artists turned toward the interior self, to dreams, and myth. There was a sense that Impressionism had been too tied up with the materialism of middle-class culture. In some ways, van Gogh and Gauguin can also be seen as Symbolists. Many Symbolist belonged to groups of artists who broke away (or seceded) from the art establishment in their respective countries, to hold their own exhibitions. For example, Klimt belonged to the Vienna Secession (he was its first president), Khnopff to a similar group in Belgium called Lex XX (The Twenty), and Stuck co-founded the Munich Secession.
1907-1960 Age of Global Conflict
Europe in 1907 was powerful, wealthy and stable. The British Empire was unmatched with huge territories that stretched across the globe. The Austrian-Hungarian and Ottoman Empires remained intact, and the Italians, Germans, Dutch, Spanish and Portuguese retained colonies. Nevertheless, the old order would soon collapse, a result of the Great War in 1914. But this trauma was only the beginning. A global financial collapse precipitated by the stock market crash of 1929 allowed Mussolini, Franco and Hitler to seize power. The violence only worsened with the Holocaust, Japanese Imperial expansion, and the Second World War. At the same time, this was a period of radical advances in music (Stravinsky, Bartok, etc.), in dance (Duncan, Graham, etc.) in literature (Joyce, Pound, etc.), science (Einstein, Heisenberg, etc.), and of course, in art (Matisse, Picasso, etc.). In the years between the wars artists explored abstraction and the irrational. After the war, and with Europe in ruins, the focus of the art world shifted from Paris to New York where Abstract Expressionism was born.
Expressionism
Wild Beasts! Les Fauve (wild beasts) is what one critic called the brilliant expressive canvases of Matisse and other artists who exhibited together in 1905. This tutorial traces the work of Henri Matisse from his early Fauvist work with its jarringly bright colors to the stricter geometries he introduced during the First World War. It also tracks Expressionist developments in Germany and Austria with videos on Kirchner, Kandinsky and Jawlensky, artists who adopted a rough, “primitive” style, and on Egon Schiele’s taut, sexually charged paintings from Vienna.
‘Fauvism’ was unintentionally coined by the critic Albert Marque’s dismissal of the group as ‘fauves’: wild beasts.
Cubism and its impact
The Spaniard Picasso changed the way we see the world. He could draw with academic perfection at a very young age but he gave it up in order to create a language of representation suited to the modern world. Together with the French artist George Braque, Picasso undertook an analysis of form and vision that would inspire radical new visual forms across Europe and in America.
The art critic, Louis Vauxcelles, laughed Braque’s early work off as "full of little cubes", giving rise to the term ‘Cubism’.
Compositions no longer just represented natural objects, new shapes and forms were created to show more that one viewpoint
Showing different planes and viewpoints all at once.
-Subject split into fragments.
-Compositions no longer just represented
natural objects but created new shapes and forms
Cubist paintings create an ambiguous sense of space through geometric shapes that flatten and simplify form, spatial planes that are broken into fragments, and forms that overlap and penetrate one another
Dada & Surrealism
Do we know who we really are? What parts of our mind do we know and what parts are hidden from us? Should art only focus on the rational, the conscious, or should we also pay attention to the irrational, the uncanny, the powerful impulses that remain unarticulated and just beyond the reach of our awareness. Dada was born during WWI when poets, artists, and actors, sickened by the violence around them, chose to celebrate the irrational. They created an anti-art that challenged the cultural assumptions that they felt supported the ruling elite that had, in turn, caused the war. The Dadaist response to the horrors of war was a profound disillusionment with the patriotism, religion, modern education, and technology that brought about and justified the war.
Dada also deconstructed social values and conventional concepts about the arts. To go against the traditionally accepted art world, Dadaists used new art making techniques like collage in place of oil paintings, as well as conceptual art works called “ready-mades,” like Duchamp’s “Fountain.” The conscious act of breaking away from convention made Dada a vital predecessor for Surrealism and many other radical art movements to follow the early 20th century.
In the years after the war, Dada gave way to Surrealism which reinstituted traditional forms of art-making but focused on Freud’s theories of the unconscious.
Optical illusions that mix reality and dreamlike images together
Emphasis on imagination and the world of the subconscious
Objects often float defying the laws of gravity
Haunting and mysterious expressions that are a balance between the real and the unreal
Art movements grew closer to political movements, publishing not just manifestos but bodies of theory. Andre Breton published the first Surrealist Manifesto in 1924. There were Surrealist journals, debates, a formal membership, schisms, expulsions. It was only a short step to stop painting and sculpting, to abolish the difference between art and language.
American Modernism
Art had never been especially important in America. Before the Civil War, many of America’s best artists went to Europe and stayed. Even after the war, American artists found little enthusiasm for their work unless it was directly informed by European precedents. By the first years of the 20th Century, a small group of American artists began to paint the gritty streets of New York and were called the Ashcan School for their portrayal of life in the tenements. In 1913 however, the Armory Show exhibited advanced American and European art and helped to create a market for the work of Georgia O’Keeffe and other members of modern galleries like Alfred Steiglitz’s 291 and Peggy Guggenheim’s Art of This Century. During the Great Depression artists such as Grant Wood portrayed rural life in the south and midwest and became known as regionalists while other realists such as Edward Hopper rendered the alienation of the modern city. Meanwhile, Surrealist ideas infused a younger generation of artists’ work in Mexico and the US which would result, by the end of WWII, in the first internationally important American art movement, Abstract Expressionism.
The movement can be more or less divided into two groups: Action Painting, typified by artists such as Pollock, de Kooning, Franz Kline, and Philip Guston, stressed the physical action involved in painting;