2. I N THE LAST CHAPTER WE
DETERMINED …
Nature is:
Emotion and Imagination
The physical environment
The Self, the Soul
Nature is found:
Color and loose brushwork—the visual arts
Tonal Painting—the musical arts
Landscapes (void of human dominion)
In humanity and its exploration of soul
3. G UIDING
Q UESTION ( S )
How should we
respond to technology?
How do we define
technology?
Should we embrace it
or reject/escape it?
Gustave Eiffel, Eiffel Tower, Paris, 1889
4.
5. R EFLECTIONS OF THE A GE
SCIENCE LITERATURE/PHILOSOPHY
Authors
Einstein’s Theory of Relativity Henrik Ibsen’s A Doll House
redefine in 1905 says Time and Space
Nature, the are NOT absolute, they change Main character, Nora, leaves
according to context her husband and children to
Individual,
go find herself
Civilization, Thomson’s discovery of the
electron in 1897
and From Friedrich Nietzsche’s
Beyond Good and Evil
Morality Sigmund Freud’s Civilization
and Its Discontents
Outlines a morality that is not
Elucidates that neuroses dependent on God, but
are inherent in culture. rather on the individual
Human sexuality is cause
of anxiety when hindered
by social constructs.
6. G UIDING H ISTORICAL E VENTS
The Belle époque
American Expansion creates is contact with
non-western peoples, and ultimately creates a
mythology of the primal, the “savage” untainted
by technology
into California, Texas and New Mexico in
the Mexican-American War of 1845-8
Hawaii in 1898
Puerto Rico and Cuba in 1898-9
Guam in 1898
7. P SYCHE AS T ECHNOLOGY
Psyche is layered
ID
EGO
SUPEREGO
8. I MPRESSIONISM
An Interest in how light affects forms
An Interest in capturing moments
(which are fleeting) of industrialization
and city life, so uses
Open compositions
Serializations
Spontaneous Brushwork
9. R ENOIR ’ S D ANCE AT THE M OULIN
DE LA G ALETTE , 1876
10. D EGAS ’ T HE
D ANCING C LASS ,
CA . 1874
Does not
eroticize ballet
dancers
Interested in
movement, the
world in flux
12. M ONET ’ S S ERIALIZATION OF R OUEN
C ATHEDRAL , R OUEN , F RANCE
W HY SERIALIZE ? B ECAUSE THERE IS NO SINGLE TRUTH OF THE
R OUEN C ATHEDRAL . T HE TRUTH OF THE ARTIST ’ S PERCEPTION
CHANGES ACCORDING TO TIME OF DAY, WEATHER , LIGHT
CONDITIONS .
13. D EBUSSEY ’ S C LAIRE D E L UNE
(M OONLIGHT )
We hear
Captures a fleeting and changing moment in
this in musical form
music of
the day,
as well.
14. P OST - IMPRESSIONISM
Interested in the vulnerability of
art as an expression
Arbitrary coloring, often used to
express emotion
Emphasis on complete subjectivity
Based in the science of color and
sight
15.
16. S EURAT ’ S A S UNDAY A FTERNOON
ON I SLAND J ATTE , 1884-86
Vision of
the Belle
Epoque,
as Seurat
sees it
Painted
within
the
context
of the
science
of color
19. J APONISME
Influence comes
when US
forcibly opens
Japan to
Western trade
in 1853
Style is flat with
asymmetrical
Compositions
and no shadows
or dimension
Van Gogh’s Flowering Plum Hiroshige, Plum Estate,
Tree, 1887 1857
20. A RT N OUVEAU
Rejects urban revolution
Industrial lines and shapes
will be more organic
21. H ORTA’ S S TAIRCASE AT D R .
TASSEL’ S H OUSE , B RUSSELS , 1893
Plant life
brought to
industrial
forms
Curvaceous
rather than
linear
22. G AUDI ’ S C ASA M ILA A PARTMENT
B UILDING , B ARCELONA , 1905—07
Much of Gaudi’s work lacks any angularity or straight
lines; Gaudi works largely for the upper classes of
Barcelona society who seek to escape the “vulgar”
urbanity of life
23. facade Gaudi’s
Casa Battlo
Naturally
Ventilated Attic
24. I N S UBSEQUENT P RESENTATIONS ,
YOU WILL L EARN MORE ABOUT:
Editor's Notes
PresentationModernismLanguageLight and color not existingWhen we think of impressionism and Moent, we think of soft pastel colors, very loose brushworks to protray anehtereal glimpse of lili ponds and haystacks
Artist:Frederick Law Olmsted and Calvert VauxTitle: Map of Central Park, New York CityMedium: n/aSize: n/aDate:1858–1880 Revised and extended park layout as shown in a map of 1873Source/ Museum: n/a
