Early Twentieth Century Art

Andre Derain, 1906, London Bridge,

broad flat areas of contrasting color.

Fauvism

Pablo Picasso,

Guernica, 1937, Oil

on Canvas

Expressionism Inspired by Fauve movement

The first two expressionist groups was formed in

1905 and was called Die Brucke (the bridge)

because it was intended to be the bridge between

the past and the future. It was led by Germans

artists Ernst Ludwing Kirchner and Emil Nolde, who

sought to show their displeasure with the effects of

industrialization on Germany.

The other group was called Der Blaue Reiter (The

Blue Raider) and was formed in 1911. Led by

Russian artist Vassily Kandinsky and German artist

Franz marc, they sought to express inner truths

through color and abstraction.

Vassily Kandinsky, Improvisation

28,1912, oil on canvas

Movement toward abstraction, representational objects suggested rather than depicted

Title derived from musical composition

Strongly use of black lines

Colors seen to shade around line forms

Kandinsky,

Expressionism

Abstract

Franc Marc, Large

Blue Horses, 1911,

Oil on canvas

Franz Marc,

Expressionism

Ernst Kirchner, Street, Dresden,

1908

Kirchner,

Expressionism

This architectural

movement was created

by American architect

Frank Lloyd Wright, who

worked with louis Sullivan

(the inventor of

skyscraper).

Wright was inspired by

large horizontal expanses

of the American midwest

Designs that blend with

their surroundings

Designs that allow

freedom of movement

and incorporate outdoor

spaces

A hearth at the center of

the home

The use of cantilevered

construction

Frank Lloyd Wright

Is characterized by:

The use of fragmented

forms and multiple

viewpoints influenced by

Cubism

A preocupation with the

idea of speed

An attempt to depict

motion through repetition

Futurism

This movement was led by Russian artist Vladimir Tatlin, who sought to make a new art form free from all of the traditions of the past.

Highly influenced by the Russian Revolution, he wanted to turn away from bourgeoisie ideas about art

Its characterized by:

The use of new industrial materials such as steel and plastic

Complete abstraction

Universal meaning

Vladimir Tatlin,

Constructivism

Suprematism

Existentialism

NEOPLASTICISM / DE STIJL 1915

This movement was led by Dutch artists Piet

Mondrain and The Van Doesburg, who

sought to create a rational utopian society

through the use of geometric abstraction.

The style applied to architecture, industrial

design, furniture design, and fine art.

When it became popular across Europe,

especially as an architectural style, it

became known as the INTERNATIONAL

STYLE

Characteristics The desire to create a new

reality based on principle of vertical and horizontal lines

The use of geometric forms, particularly squares and rectangles

The use of black vertical and horizontal lines of varied thickness combined with blocks

Architecture that was functional and efficient

Piet Mondrian, Composition in Black and white

and red, 1936 Oil in canvas

Gerrit Rietveld,

Schroder House,

1924, Netherlands

Le Corbusier, Villa Savoye, 1929, France

Le corbusier Three bedroom villa with

servants quarters

Boxlike horizontal quality and abstraction of house

Main part of house lifted off the ground by narrows piltis, thin freestanding posts

Turning circle on bottom floor is carport, family members enter directly from their car

All space is utilized including the roof, as patio

Inspired by Russian

Constructivism and De

Stijl, German architect

Walter Gropius created a

school in Germany that

had a huge impact on art

and architecture.

Bauhaus

He Published “The Proclamation of

the Bauhaus” in which he

described his vision for:

A guildlike school that combined

architecture, furniture design,

industrial design, textile design,

typography, and fine arts.

A crafts based curriculum that

would allow the creation of

beautiful functional objects.

Classes taught mostly by avant

garde fine artists

Characteristics Bauhaus

A desire to create beautiful objects for mass production

A desire to create rational works that were the exact opposite of the highly emotional German Expressionist works

The use of simplified forms

Architecture that uses steel frame construction and glass

Asymmetrical architecture

Bauhaus

During the years of World

War II, all of the key

figures of the Bauhaus

left Germany for Britain,

the United States and

Palestine, where their

work and their modernist

philosophy influenced

numerous young

architects and designers

SURREALISM 1924

Inspired by the

psychological studies of

Freud and Jung

Sought to represent an

unseen world of dreams and

subconscious thoughts and

unspoken communication

Meant to puzzle, challenge,

fascinate

Sources of mysticism,

psychology and symbolic

Not meant to be understood

Salvador Dali, The persistence of

Memory, 1931, oil on canvas

The Persistence of Memory, Dali

Huge empty spaces suggested by vast landscapes

Drooping watches tell different times

Only life is the fly on the watch and the ants on the closed watch

Hallucinatory

Barren and uninhabited landscape

Bonelike hand seems to caricature Dali´s face

Visual ironies, tree grows from a block, clock hags from dead tree branch

Joan Miro, Dutch Interior I, 1928 oil on canvas

Joan Miro

Used simple forms

Built compositions first

with random washes

and then added

substance to the shape

the forms inspired

Amoeba like shapes

Spontaneous,

mysterious, serene

Color harmonies are

softly modeled

Meret Oppenheim, Object, 1936 Said to have been done in response to Picassos

claim that anything looks good in fur

Combination of unlike objects

Erotic overtones

Frida Kahlo, The Two Fridas, 1939

Frida Kahlo, The Two portraits, 1939

Juxtaposition of 2 self portraits

Left: Kahlo dressed as a Mexican peasant the

stiffness and provincial quality of Mexican folk art

serves as a direct inspiration for artist

Her two hearts are twined together by veins that

are cut by scissors at one end and lead to a

portrait of her husband.

Barren landscape, two figures sit against a wildly

active sky

Kahlo rejected the label of surrealism to her work