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modern art transition period g10.pptx

  1. IMPRESSIONISM art movement that emerged in the second half of the 19th century. a group of Paris- based artists.
  2. IMPRESSIONISM The name impressionism was coined from the title of a work by French painter Claude Monet, Impression, soleil levant (in English, Impression, Sunrise).
  4. IMPRESSIONISM The term precisely captured what this group of artists sought to represent in their works: the viewer’s momentary “impression” of an image.
  5. IMPRESSIONISM It was not intended to be clear or precise, but more like a fleeting fragment of reality caught on canvas, sometimes in mid-motion, at other times awkwardly positioned—just as it would be in real life.
  7. THE INFLUENCE OF DELACROIX his expressive brush strokes his emphasis on movement rather than on clarity of form and most of all his study of the optical effects of color.
  8. When studied closely, it seen that four different unmixed pigment
  9. Yellow, green, red and white- create the image of each
  10. Drop and its shadow.
  12. ARTS PRONUNCIATION GUIDE Cezanne Delacroix Manet Monet Renoir Van Gogh – say-ZAHN – deh-lah-KRWAH – mah-NAY – moe-NAY – ruhn-WAR – van-GO
  13. group of French Painter- Edouard Manet, Claude Monet & Auguste Renoir
  14. •was one of the founders of the impressionist movement •He was the most prominent of the group; and is considered the most influential figure in the movement. •Monet is best known for his landscape paintings, particularly those depicting his beloved flower gardens and water lily ponds at his home in Giverny.
  15. was one of the central figures of the impressionist movement. His early works were snapshots of real life, full of sparkling color and light. By the mid- 1880s, however, Renoir broke away from the impressionist movement to apply a more disciplined, formal technique to portraits of actual people and figure paintings.
  16. •was one of the first 19th century artists to depict modern-life subjects. •He was a key figure in the transition from realism to impressionism, with a number of his works considered as marking the birth of modern art.
  17. POST-IMPRESSIONISM: Impressionism (the vivid colors, heavy brush strokes, and true- to-life subjects)
  18. POST-IMPRESSIONISM: like using a geometric approach, fragmenting objects and distorting people’s faces and body parts, and applying colors that were not necessarily realistic or natural.
  19. was a French artist and post- impressionist painter. his work exemplified the transition from late 19th-century impressionism to a new and radically different world of art in the 20th century—paving the way for the next revolutionary art movement known as expressionism.
  20. was a post-impressionist painter from the Netherlands. His works were remarkable for their strong, heavy brush strokes, intense emotions, and colors that appeared to almost pulsate with energy. Van Gogh’s striking style was to have a far-reaching influence on 20th century art, with his works becoming among the most recognized in the world.
  21. EXPRESSIONISM In the early 1900s, there arose in the Western art world a movement that came to be known as expressionism. Expressionist artists created works with more emotional force, rather than with realistic or natural images.
  22. EXPRESSIONISM To achieve this, they distorted outlines, applied strong colors, and exaggerated forms. They worked more with their imagination and feelings, rather than with what their eyes saw in the physical world.
  23. an art style that incorporated elements from the native arts of the South Sea Islanders and the wood carvings of African tribes which suddenly became popular at that time. Among the Western artists who adapted these elements was Amedeo Modigliani, who used the oval faces and elongated shapes of African art in both his sculptures and paintings.
  24. Head, Amedeo Modigliani (1913) Stone
  25. Yellow Sweater –Oil canvas Amedeo Modigliani (1919)
  26. was a style that used bold, vibrant colors and visual distortions. Its name was derived from les fauves (“wild beasts”), referring to the group of French expressionist painters who painted in this style. Perhaps the most known among them was Henri Matisse.
  27. Blue Window (1911)
  28. Woman with Hat (1905) Oil on canvas
  29. Dadaism was a style characterized by dream fantasies, memory images, and visual tricks and surprises—as in the paintings of Marc Chagall and Giorgio de Chirico.
  30. Although the works appeared playful, the movement arose from the pain that a group of European artists felt after the suffering brought by World War I. They chose the child’s term for hobbyhorse, dada, to refer to their new “non-style.”
  31. Melancholy and Mystery of a Street Giorgio de Chirico, 1914, Oil on canvas
  32. I and the Village Marc Chagall, 1911, Oil on canvas
  33. was a style that depicted an illogical, subconscious dream world beyond the logical, conscious, physical one. Its name came from the term “super realism,” with its artworks clearly expressing a departure from reality—as though the artists were dreaming, seeing illusions, or experiencing an altered mental state.
  34. Diana Paul Klee, 1932 Oil on wood Personages with Star Joan Miro, 1933, Oil on canvas
  35. was a style of painting devised by the French painter George Seurat. He applied colors in small dots, called POINTILISM rather than by means of the usual brush
  36. The movement known as social realism expressed the artist’s role in social reform. Here, artists used their works to protest against the injustices, inequalities, immorality, and ugliness of the human condition.
  37. In different periods of history, social realists have addressed different issues: war, poverty, corruption, industrial and environmental hazards, and more—in the hope of raising people’s awareness and pushing society to seek reforms.
  38. Miners’ Wives Ben Shahn, 1948 Egg tempera on board
  39. Ben Shahn’s Miners’ Wives, for example, spoke out against the hazardous conditions faced by coal miners, after a tragic accident killed 111 workers in Illinois in 1947, leaving their wives and children in mourning.
  40. Guernica, Pablo Picasso, 1937 Oil on canvas (Size: 11’ 5 1/2” x 25’ 5 3/4”)
  41. Pablo Picasso’s Guernica has been recognized as the most monumental and comprehensive statement of social realism against the brutality of war. Filling one wall of the Spanish Pavilion at the 1937 World’s Fair in Paris, it was Picasso’s outcry against the German air raid of the town of Guernica in his native
  42. Created in the mid-1900s, Guernica combined artistic elements developed in the earlier decades with those still to come. It made use of the exaggeration, distortion, and shock technique of expressionism. At the same time, it had elements of the emerging style that would later be known as cubism.
  43. The cubist style derived its name from the cube, a three- dimensional geometric figure composed of strictly measured lines, planes, and angles. Cubist artworks were, therefore, a play of planes and angles on a flat surface. Foremost among the cubists was Spanish painter/sculptor Pablo Picasso
  44. In earlier styles, subjects were depicted in a three-dimensional manner, formed by light and shadow. In contrast, the cubists analyzed their subjects’ basic geometrical forms, and broke them up into a series of planes. Then they re-assembled these planes, tilting and interlocking them in different ways.
  45. In addition, the art of the past centuries had depicted a scene from a single, stationary point of view. In contrast, cubism took the contemporary view that things are actually seen hastily in fragments and from different points of view at the same time. This was reflected in the depiction of objects from more than one visual angle in the same painting (e.g., the bull’s head in Picasso’s Guernica
  46. Human figures as well were often represented with facial features and body parts shown both frontally and from a side angle at once. This gave a sense of imbalance and misplacement that created immediate visual impact. It also gave cubism its characteristic feeling of dynamism and energy. To this day, variations of cubism continue to appear in many contemporary artworks.
  47. The movement known as futurism began in Italy in the early 1900s. As the name implies, the futurists created art for a fast-paced, machine-propelled age. They admired the motion, force, speed, and strength of mechanical forms. Thus, their works depicted the dynamic sensation of all these—as can be seen in the works of Italian painter Gino Severini.
  48. Armored Train Gino Severini, 1915 Oil on canvas
  49. The City Fernand Léger, 1919 Oil on canvas
  50. As a result of the futurist movement, what became known as the mechanical style emerged. In this style, basic forms such as planes, cones, spheres, and cylinders all fit together precisely and neatly in their appointed places
  51. This can be seen in the works of Fernand Léger. Mechanical parts such as crankshafts, cylinder blocks, and pistons are brightened only by the use of primary colors. Otherwise, they are lifeless. Even human figures are mere outlines, rendered purposely without expression.
  52. The logical geometrical conclusion of abstractionism came in the style known as non objectivism. From the very term “non-object,” works in this style did not make use of figures or even representations of figures. They did not refer to recognizable objects or forms in the outside world.
  53. Lines, shapes, and colors were used in a cool, impersonal approach that aimed for balance, unity, and stability. Colors were mainly black, white, and the primaries (red, yellow, and blue). Foremost among the nonobjectivists was Dutch painter Piet Mondrian. New York City Piet Mondrian, 1942 Oil on canvas