The document discusses Cubist artists Pablo Picasso and Georges Braque and their attempts to depict multiple perspectives and a more realistic "truth" in one moment through their works. It focuses on how Cubism built upon past artistic movements by further pushing conventions through manipulating perspectives and composition. The main idea behind Cubism was finding a more real "truth" by depicting various perspectives in a single moment.

1. In the next phase of our journey through art history we will observe the
Cubist works of Pablo Picasso and George Brauque. We will focus on the
attempts of these artists to depict the passing time and the idea that
multiple perspectives that can exist in one moment. The main idea behind
their work is to find a more real “truth”

2. IDEAS ARE BUILT UPON IDEAS
• Movements in Art and literature are visibly and conceptually noticeable as a progression
of thought.
• Artists and writers are often REACTING to the concepts, ideas and methods that have
come before them.
• Artists “build” from the rules and guidelines of past movements with the goal to either:
Push current conventions further
• OR
• React against conventions to create a new mode of expression.
• Art is never created in a void! Internal (personal experience, health and culture) and
external (war, money and technological advancements etc) realities impact all creation.

3. Caravaggio painted his reality, his version of the TRUTH

4. AMERICAN NATURALISM
• Prior to the impressionist art movement painters were highly trained and skilled masters
of their craft.
• They most often would paint commissioned portraits of the elite
• OR
• Still lives that were used to show wealth as well.
• Art in American began to focus on the wild landscape, resources and change. But all in all
are still based in Imitationism or Realism
• Realism (or naturalism) in the arts is the attempt to represent subject matter truthfully,
without artificiality and avoiding artistic conventions, implausible, exotic and supernatural
elements.

5. STILL LIFE'S AND PORTRAITS

8. AMERICAN NATURALISM
• In fine art panting, "naturalism" describes a true-to-life style which involves the
representation or depiction of nature (including people) with the least possible distortion
or interpretation.

11. • LIFE= A series of “fleeting moments” (move or pass quickly, lasting a very short time)
• Attempted to capture these moments and forever freeze them in time.
• RADICALS in their time, early impressionists violated the rules of academic painting.
• FREE BRUSH STROKES Short and Broken.
• Scenes of modern life and often painted outside.

12. HOW IMPRESSIONISTS PAINTED THEIR REALITY
• LIGHT. REAL SUNLIGHT is the most important factor for Impressionist painters.
• Focused on How sunlight illuminates, fades and reflects.
• Simple subjects such as a landscape or simple ordinary movements or moment of daily
life.
• Formal Qualities:
• Big Smushy brush strokes.
• Blending
• Undefined lines
• NO BLACK
• Color Harmonies
Why did they focus on LIGHT?
They focused on light to illustrate the passing of time. Claude Monet: 1908

13. • Claude Monet once wrote ““when you go out to paint, try to forget what objects you
have before you- a tree, a house, a field, or whatever, merely think, Here is a little
square of blue, here an oblong of pink, here a streak of yellow and paint it just as it
looks to you, the exact color and shape, until it give your own naïve impression of the
scene before you.”
• He said he wishes he was born blind and then suddenly gained his sight so that he
could have begun to paint this way without knowing what the objects were that he
saw before him. He held that the first real look at the motif was likely to truest and
most unprejudiced one.
What do you think he meant by
this statement?

14. LITERATURE AND MUSIC FOLLOW AND
INFLUENCE ARTISTIC MOVEMENTS.
• For writers: Pages = Canvas
• Verbs and adjectives = Colors on their pallet.
• Literary Devices = Painter's Technique
• Authors of this time used literary devices to SLOW the passing of time,
allowing us to linger on every image of a FLEETING scene.
• Examples: Catching someone’s eye from across a crowded room.
• The moment before a long anticipated kiss.
• A sunset.
• The split second before the light fades from a stage.
• “The lights grow brighter as the earth lurches away from the sun, and now
the orchestra is playing yellow cocktail music and the opera of voices pitches
a key higher.” Great Gatsby by F. Scott Fitzgerald
• Expanded the sentence to slow the syntax so the reader can linger on every
image and involve their senses. He attempts to bring the reading into the
scene, to see, to hear, to feel and to be a part of the moment.

15. POST IMPRESSIONISM TAKING THE
FLEETING MOMENT A BIT FURTHER
• Building and expanding from IMPRESSIONISM, POST-
IMPRESSIONISM opened the door for artist to become
more experimental with technique and imbed personal
and emotional elements into their work.
• Take Risks and push painting to the outermost limits to
see what they could get away with.
• How did they do this?
Cropping/Composition
Color Harmonies
Multiple Light Sources
Reintroduction of black outlines
Henri de Toulouse-Lautrec
(1864-1901) Moulin Rouge 1893

16. • Also in this movement, artists begin to manipulate the depth and
balance of their compositions, distort proportions and balance
and manipulate and exaggerate the use of color.
Clockwise from top left:
Cezanne
Cezanne
Degas
Seurat
Van Gogh

18. VINCENT VAN GOGH

22. HENRI TOULOUSE LAUTREC

26. PAUL CEZANNE

28. • 706 × 588 - aliexpress.com

32. PAUL GAUGUIN

33. EDWARD DEGAS

37. EXPRESSIONISM…
• "Everyone who renders directly and honestly
whatever drives him to create is one of us."
• E. L. Kirchner
• Expressionism was a MODERNIST movement, initially in poetry and painting, originating
in Germany at the beginning of the 20th century. Its typical trait is to present the world
solely from a subjective perspective, distorting it radically for emotional effect in
order to evoke moods or ideas. Expressionist artists sought to express meaning or
emotional experience rather than physical reality.

38. EXPRESSIONISM HISTORY
• WHERE: Expressionism emerged simultaneously in various cities across Germany as a
response to a widespread anxiety about humanity's increasingly discordant relationship
with the world and accompanying lost feelings of authenticity and spirituality.
• WHY: In part a reaction against Impressionism and academic art, Expressionism was
inspired most heavily by the Symbolist currents in late nineteenth-century art. Vincent van
Gogh, Edvard Munch, and James Ensor proved particularly influential to the
Expressionists, encouraging the distortion of form and the deployment of strong colors to
convey a variety of anxieties and yearnings.
• WHEN: The classic phase of the Expressionist movement lasted from approximately 1905
to 1920 and spread throughout Europe. Its example would later inform Abstract
Expressionism, and its influence would be felt throughout the remainder of the century in
German art. It was also a critical precursor to the Neo-Expressionist artists of the 1980s.

39. EXPRESSIONISM…..KEY CONCEPTS
• WHY IS THIS DIFFERENT:The arrival of Expressionism announced new standards in the
creation and judgment of art. Art was now meant to come forth from within the artist, rather than
from a depiction of the external visual world, and the standard for assessing the quality of a
work of art became the character of the artist's feelings rather than an analysis of the
composition.
• HOW THEY PAINTED DIFFERENTLY: Expressionist artists often employed swirling, swaying,
and exaggeratedly executed brushstrokes in the depiction of their subjects. These techniques
were meant to convey the turgid emotional state of the artist reacting to the anxieties of the
modern world.
• WHAT THEY ARE TRYING TO COMMUNICATE: Through their confrontation with the urban
world of the early twentieth century, Expressionist artists developed a powerful mode of social
criticism in their serpentine figural renderings and bold colors. Their representations of the
modern city included alienated individuals - a psychological by-product of recent urbanization -
as well as prostitutes, who were used to comment on capitalism's role in the emotional
distancing of individuals within cities.
•

40. BEFORE WE MEET THE ARTISTS…
• As before Art moves forward but not necessarily in the same direction.
• Pablo Picasso and Georges Braque took the composition and painting techniques to a
new level of inturpitation and began the CUBIST MOVEMENT

41. LETS MEET THE ARTISTS

42. EDWARD MUNCH

43. THE SICK CHILD

44. THE MADONNA

45. E.L.KIRCHNER
THE STREET

46. SELF PORTRAIT
AS SOLDIER

47. NOLLENDORFPLATZ

48. EMELINE
NOLDE
• Masks

49. MOTHER AND CHILD

50. EGON SHIELE

54. MAX BECKMAN