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Post-impressionism
Post-Impressionism, also known as Synthetism, is a French art movement that
began in the late nineteen century. “It is almost absurd to call it Post-
Impressionism for two reasons: because it diverged so strongly away from its
predecessors - Impressionists, with all the admiration and due respect paid, and
because "Post-Impressionism" started in early '80s while impressionism was still
gaining speed.” One could argue it hardly is a movement, keeping in one's mind
all the diversity and brightness of artistic individuality it embraced. Struggle to
regain solidity of color and form unites it more than anything, that's where the
Synthetism as a name comes in. These artists showed a greater concern for
expression, structure and form than did the Impressionist artists.
Title: Seated Dancer in Pink Tights. (1890)
Artist: Henri de Toulouse-Lautrec (24
November 1864 – 9 September 1901).
Technique: Oil and ink on cardboard.
Location: Unknown.
Dimensions: 52.3 x 46.5 cm.
The painting is composed of a ballerina in her dancing hear that is composed of a
white-greyish camisole, a petticoat, ballet slippers and pink tights. She has her
hair in a lose ponytail and her legs are open and is in a slouchy position. She is
looking at someone thing cannot be seen in the painting. The background was
unfinished by the painter. There is no apparent movement. She is in a still
position as if sheʼs taking a break from her dancing class which would explain her
posture; lazy, manly as opposed to what ballerina should present herself as:
feminine and elegant. The colors that compose the artwork are very realistic. The
pink of the tights adds a touch of fantasy, feminity and playfulness. The
atmosphere reflects the dancerʼs mood. She seems tired and interestingly
enough, the painting is unfinished. Is there a link between the two? The painting
seems calm however the red lines in the background add some dynamism and
perhaps masculinity. It is composed mainly of organic shapes apart from the red
lines in the background which creates a contrast between the background and
the foreground; a contrast between strong primary colors and soft pastel colors.
Title: Portrait of Vincent Van Gogh. (1887)
Artist: Henri de Toulouse-Lautrec (24
November 1864 – 9 September 1901).
Technique: Pastel on cardboard.
Location: Unknown.
Dimensions: 54 x 45 cm.
The painting depicts (composition) the painter Vincent Van Gogh sitting at a table
at a bar or perhaps a café, gazing at something that cannot be seen in the
painting. He is wearing a white button up with a brown blazer with red
undertones. In the background there is a long table (or perhaps to small tables)
and a window. Even though this a portrait, the obvious pastel strokes makes the
painting a little bit dynamic (movement). The artwork is composed mainly of
yellow, red, orange, blue and green. Toulouse-Lautrec manages to make it look
quite realist despite the unrealistic colors he chose for this painting. The
paintingʼs mood is quit calm however the colors and the strokes creates a subtle
effect of movement. As said earlier, the strokes are very obvious as the view is
completely aware of them. This technique blurs the details and leaves only what
is important to see. Even Van Goghʼs face isnʼt very detailed yet the view can
perfectly recognize him.
Title: In Bed the Kiss. (1892)
Artist: Henri de Toulouse-Lautrec (24
November 1864 – 9 September 1901).
Technique: Pastel on cardboard.
Location: Unknown.
Dimensions: 54 x 45 cm.
In the painting In Bed the Kiss, Toulouse-Lautrec paints two characters who
seem to be two women placed in a bed next to each other. They appear to be in
a resful position. One has both of her arms crossed above her head while the
other one has her head cradled in her own arm. Both womenʼs arms are touching
each other, but only slightly. The arm of the woman on the right is supporting the
arm of the woman on the left. They are in an unperturbed and peaceful position.
The scene appears quite natural because the pose is relaxing, nurturing and
innocently intimate. The paintings is composed of colors that seem washed out,
there is no striking colors, however everything seems to blend in like the couple
in the bed.
Fauvism
Coming from the French word fauve, meaning "wild animals," Fauvism rejected
traditional painting and sculpture ideals and emphasized modern concepts,
notably machines and motion. Inspired by the late impressionist works of Paul
Gauguin and Vincent Van Gogh who pushed the boundaries with their bold color
choices, the movement took this idea a step further to include simplified design.
The first Fauvist exhibition occurred in 1905.Pointillism and Post-impressionist
inspired the development of the Fauvist movement. More specifically, Fauvistʼs
work was derived from primitive and tribal art; also Paul Gauguinʼs color choice
and style. Although the movement was short-lived, it had a profound influence on
the development of the Expressionists. The name Fauvism was taken from the
French word the "fauves," meaning the wild beasts. This title was appropriate
because of their use of uncontrolled, abrasive, and intense colors. The Fauves
held their most significant exhibition at the Paris Salon dʼAutumne in 1905,
paving the way for Modernist movements. The primary focus of the Fauvist
movement is non-naturalistic and vibrant color. In addition to Gauguinʼs influence,
Vincent Van Goghʼs palette was inspirational to the Fauves. Their aim was to
express emotion through color choice. Fauvism died out after 1908, when the
group went separate ways, many turning to cubism.
Title: The Green Line: Portrait of Madame
Matisse. (1905)
Artist: Henri Matisse (December 21 1869 –
November 3 1954).
Technique: Oil and tempera on canvas.
Location: Royal Museum of Fine Arts,
Copenhagen.
Dimensions: 40.5 x 32.5 cm (15 7/8 x 12 7/8
in).
The composition of the work consists of a portrait of Madame Matisse in the
foreground and a background divided into several distinct areas of color. The
division in the background is apparent in the apposition of the mauve, orange and
blue green, with the foreground divided mainly by the green strip itself, which
runs down the middle of Madam Matisseʼs face and separates the painting along
a vertical line. The background and foreground, however, are almost completely
flat, so that they seem to become part of each other, and Madame Matisse
seems to become somewhat of a portrait within a portrait. The space in the
portrait is more or less two dimensional, with only a slight hint of depth illustrated
by a dark area of shading above Madame Matisseʼs left shoulder.. Color, along
with the subject of Madame Matisse, is the focus and most important element of
the work. These colors are primarily bright, striking colors such as orange, red,
yellow, mauve and bright green accompanied by the use of a cooler, calmer blue-
green and black. The combination of these colors is non-naturalistic and provides
a contrast that is readily apparent to the eye. There is no real light source in the
work. However, both sides of Madame Matisseʼs face seem to be illuminated by
the use of warm. The dark, shaded area behind her and over her left shoulder is
confusing because it also suggests a light source in front of her and to the right,
yet there is no shading on her face to accompany it. Lines and shapes play an
important role in this work because they work together to create balance. This is
achieved through the use of both geometric and organic shapes, with the organic
representing the figure of the woman and the geometric establishing the
background and its division of color. The lines in the work are both dominant
outlines on her shoulders, hair, and left neckline, and blurred lines like the details
on her clothes and the contour of her right cheek and chin.
Title: Vase with Flowers. (1907)
Artist: Henri Matisse (December 21 1869 –
November 3 1954).
Technique: Oil on canvas.
Location: Hermitage, Saint Petersburg.
Dimensions: 74 x 61.
The composition of this painting consist of a vase filled with a multitude of various
flowers on what appears to be a raspberry red table and a door/winder in the
background. The vase has artwork on itself similar to china porcelain and is
located at the very corner of the table. As it is a still life, the painting has no
movement however the colors –vivid, give life, energy and vitality to the painting.
The porcelain vase in place in the center of the painting and is very detailed
compared to the rest of it. The colors found in the painting are extremely vibrant
and colorful and reflect perfectly what the Fauvist movement was about. The
mood that the still life exudes is calm but also playfulness and femininity as well
(flowers and the strong presence of several shades of pinks).
Futurism
Is an Italian school of painting, sculpture, and literature that flourished from 1909,
when Filippo Tommaso Marinetti's first manifesto of futurism appeared, until the
end of World War I. Carlo Carrà, Gino Severini, and Giacomo Balla were the
leading painters and Umberto Boccioni the chief sculptor of the group. The
architect Antonio Sant' Elia also belonged to this school. The futurists strove to
portray the dynamic character of 20th-century life; their works glorified danger,
war, and the machine age, attacked academies, museums, and other
establishment bastions, and, in theory at least, favored the growth of fascism.
The group had a major Paris exhibition in 1912 that showed the relationship of
their work to cubism. Their approach to the rendering of movement by
simultaneously representing several aspects of forms in motion influenced many
painters, including Duchamp and Delaunay. Futurist principles and techniques
strongly influenced Russian constructivism.
Title: Speeding Automobile
(Automobile in Corsa) (1912). Artist:
Giacomo Balla (1871–1958).
Technique: Oil on wood.
Location: Museum of Modern Art,
New York.
Dimensions: 55.8 x 68.9 cm.
The painting is composed of various shapes juxtaposed on top of one another
and next each other. The overwhelming amount of lines and geometrical shapes
going is every direction creates a sort of chaos, but the fact that those lines are
straight and seem perpendicular creates a certain order. The main colors found
in the painting are green, black, white, red, yellow and blue. However, the white
is used to create light and the dark, to create shadow. Together they create
depth, a 3D effect.
Title: Form-Spirit
Transformation (1918).
Artist: Giacomo Balla.
(1871–1958)
Technique: Oil on canvas.
Location: Balla Collection,
Rome, Italy.
Dimensions: 51.1 x 65.5 cm.
The painting is composed a various geometrical shapes and certain abstract
ones mostly in the background. The lines create a visual path that enables the
eye to move within the piece and thus create movement. The colors found in the
artwork are mainly neon and pastel colors creating a very futurist dream-like
scene. The painting inspires mystery and euphoria
Cubism
Cubism started in 1908 and lasted through the 1920s. It was an innovative art
movement pioneered by Pablo Picasso and Georges Braque. In Cubism,
artists began to look at subjects in new ways in an effort to depict three-
dimensions on a flat canvas. They would break up the subject into many
different shapes and then repaint it from different angles. Cubism paved the
way for many different modern movements of art in the 20th century. There
were two main types of Cubism: analytical cubism where artists would study
(or analyze) the subject and break it up into different blocks. They would look
at the blocks from different angles. Then they would reconstruct the subject,
painting the blocks from various viewpoints. The second type of cubism was
called Synthetic cubism: it Cubism introduced the idea of adding in other
materials in a collage. Artists would use colored paper, newspapers, and
other materials to represent the different blocks of the subject. This stage also
introduced brighter colors and a lighter mood to the art.
Title: Violin and Sheet-Music on Table
(Petit Oiseau) (1913)
Artist: Georges Braque ((13 May 1882 –
31 August 1963))
Technique: Oil and charcoal on canvas
Location: Private Collection
Dimensions: 73 x 54 cm
Violin on Sheet-Music on Table is one of
those titles that describe exactly what is
found in the artwork. However, the
objects portrayed appear to have been
dissembled and reassembled in the most abstract of ways. There is no visible
separation between the foreground and the background: they are one. The
strokes of charcoal create movement as well as the non-aligned pieces of wood.
The colors are very neutral: brown, dark grey, black, beige and white. Braqueʼs
goal was to create dynamism with the objects and not the colors. As the piece is
about music, it appears very playful and energetic –filled with movement. Some
shapes are more organic (the violin) and others are more geometric (those
chopped pieced of wood). They create a beautiful contrast between textures and
shapes.
Title: Violin and Palette (1909).
Artist: Georges Braque (13 May 1882 – 31
August 1963).
Technique: Oil on canvas.
Location: Solomon R. Guggenheim Museum,
New York
Dimensions: 36 1/8 x 16 7/8 inches (91.7 x
42.8 cm)
Objects are still recognizable in the
paintings, but are fractured into
multiple pieces, as is the surrounding
space with which they fuse in. The
composition is set into motion as the
eye moves from one surface of a plane
to the other. In Violin and Palette, the segmented parts of the violin,
the sheets of music, and the artist's palette are vertically arranged,
heightening their correspondence to the two-dimensional surface. The
colors are very neutral and earthy (mainly composed of shades of
browns and greys).
Art Nouveau
Art Nouveau is the name for the artistic movement that started in Europe
around 1890 and lasted until around 1910. It took on many different
characteristics in different places, and some of the most famous designers
from the era have disparate styles, including Antoni Gaudi in Barcelona,
Josef Hoffmann in Vienna and Carlo Bugatti in Italy. What these designers
had in common was an interest in finding a new artistic vocabulary that
could best express the modern world. Let's take a look at a few iconic Art
Nouveau designs from France and Belgium, where the style was perhaps
most cohesive and identifiable. This style of art was characterized by a
belief that all of life was art, and as a result, all of life should be treated as
an art form. This flew in the face of classic art, which was reserved for the
wealthy. This new art philosophy was the art of the people.
Title: Reconstraction of the
Fouquet Boutique (1900).
Artist: Alphonse Mucha. (24
July 1860- 14 July 1939)
Technique: Unknown.
Location: Musée Carnavalet,
Paris, France.
Dimensions: Unknown
The artwork, which is an
architectural piece, is
composed of two parts: the front desk (foreground) and the peacock at the
back with the illuminated stained glass. The legs of the desk that are
direction attached to the base of it appear to have designs of their own.
The stained glass seems to be the illustration of a natural scene (trees,
plants, etc). There are in fact not one but two peacocks, however one is
perched on the tope of the artwork. This scene is a mating scene and the
peacock with the spread wings is trying to seduce the one that is on top.
The mood is quite light thanks to the colorful stained glass windows.
Abstract
Abstract art is a form of modern and post-modern art that focuses on the
power of each individual work to express compositions in a new way.
Works in this genre are often non-representational (which means that the
artistʼs forms may vary from a small degree of inaccurate representation of
images to total abstraction with no recognizable imagery). Abstract art
includes the movements of Cubism, Neoplasticism, and Abstract
Expressionism. With the Cubist works of Georges Braque and Pablo
Picasso, abstract art appeared regularly in the West by the early 1900s.
Artists often mirrored changes in science and technology in the twentieth
century with abstract art forms.
Metadata:
Title: Composition with Red, Yellow and
Blue (1927)
Artist: Piet Mondrian (March 7, 1872 –
February 1, 1944)
Technique: Oil on Canvas.
Location: unknown.
Dimensions: 14 7/8 x 13 ¾ inches
Dadaism
The Dada art movement, a brief trend in the tumultuous history of 20th
century, was and still is a paradox. It was a movement that proclaimed
itself to not be a movement. Despite being "anti-art," it produced visual art,
literature and performance art that that remains influential today. Situated
solidly within the era of modern art and sharing the Modernist attitude of
shunning all that had come before it, Dada also serves as an inspiration to
Postmodernism and contemporary art. More of a phase in artistic thought
than purely an art movement, Dada is best understood in the context of the
historical trends of modern art within which it arose. Like Futurism and
other modern art movements, Dada both rejected traditional art and took
its own ideology to an extreme. However, instead of promoting any
particular ethos, Dada was decidedly against having any ethos
whatsoever. Borne of the frustrations of artists who had fled to Zurich and
New York during World War I, Dada was their answer to the horrors of the
bloodiest conflict the world had ever witnessed. Viewing the war as a result
of "reason," "objectivity" and other cultural norms, these artists called upon
themselves and others to strike back with chaos, whimsy and anarchy
through a multitude of manifestos, demonstrations and performances.
Duchamp also exemplifies this movement with "Fountain," a urinal with "R
MUTT" inscribed on it. Rejected by the Society of Independent Artists in
1917 for not being art, Duchamp's piece was, like Dada, a bold attempt to
question and undermine the previous mores of the art world.
Metadata:
Title: Bottle-Rack (1914)
Artist: Marcel Duchamp (28 July
1887 – 2 October 1968)
Technique: Readymade.
Location: unknown
Dimensions: not recorded