2ND HALF OF CLASS 7 AND ALSO CLASS 8

Neoclassicism: Neoclassicism: Neo (new) – classicism,Neo (new) – classicism,a “new” classicism, or a “new” classicism, or the revival of classical the revival of classical (Greek or Roman) forms.(Greek or Roman) forms.

Rape of the SabinesRape of the Sabinesby Nicolas Poussinby Nicolas Poussin

(France; 17(France; 17thth century) century)

LE BRUN AND THE FRENCH ACADEMYLE BRUN AND THE FRENCH ACADEMY

Charles Le Brun byCharles Le Brun byAntoine Coysevox (1676)Antoine Coysevox (1676)

--French Academy of Painting and--French Academy of Painting and Sculpture founded in 1648;Sculpture founded in 1648;--Le Brun was named director in --Le Brun was named director in 1663.1663.--Le Brun also also helped to--Le Brun also also helped to found the Gobelins Works to found the Gobelins Works to manufacture tapestries and manufacture tapestries and furniture for the royal palaces.furniture for the royal palaces. Le Brun’s positions at the Le Brun’s positions at the Academy and Gobelins gave himAcademy and Gobelins gave him almost total control of the arts inalmost total control of the arts in France; Le Brun was officially France; Le Brun was officially named by Louis as “the greatestnamed by Louis as “the greatest French artist of all time.” French artist of all time.”

Embarkation from Cythera by J.-A. Watteau (France; 18Embarkation from Cythera by J.-A. Watteau (France; 18 thth century) century)

ROCOCO:ROCOCO:--soft, pastel colors--soft, pastel colors--soft, fluid brushwork --soft, fluid brushwork --courtly subject matter for --courtly subject matter for courtly clientelecourtly clientele--often risque --often risque --develops in 18--develops in 18thth century century France, spreads to courtsFrance, spreads to courts throughout Europethroughout Europe

ROCOCO: ROCOCO: The Swing byThe Swing byH. FragonardH. Fragonard(France; 18(France; 18thth century) century)

NEOCLASSICISM: Jacques-Louis DavidNEOCLASSICISM: Jacques-Louis David

--Born 1748 in Paris--Born 1748 in Paris--Boucher was a distant uncle,--Boucher was a distant uncle, and he trained with him and he trained with him initially; their temperaments initially; their temperaments clashed so drastically that clashed so drastically that Boucher sent him to Boucher sent him to Josephe-Marie Vien.Josephe-Marie Vien.--Attempts to win the Prix de--Attempts to win the Prix de Rome, but is rejected on Rome, but is rejected on three successive attempts;three successive attempts; after one rejection, he after one rejection, he attempts suicide by attempts suicide by starvation.starvation.

Self Portrait (1794)Self Portrait (1794)

Drawing of the TiberDrawing of the TiberRiver and CastelRiver and Castel

Sant’Angelo, Rome (1777)Sant’Angelo, Rome (1777)

Jacques-Louis David: Prix de RomeJacques-Louis David: Prix de Rome --Arrives in Rome in 1776--Arrives in Rome in 1776 --His study there leads to a --His study there leads to a determination to not justdetermination to not just revive a true, archeologicalrevive a true, archeological classical style, but also classical style, but also what he perceives as a morewhat he perceives as a more ideal classical moralityideal classical morality --Returns to France in 1781--Returns to France in 1781 --Commissioned to paint a --Commissioned to paint a scene from Roman history,scene from Roman history, the story of Horace and histhe story of Horace and his sons; he declares that “only sons; he declares that “only in Rome can I paint Romans,”in Rome can I paint Romans,” and returns to Italy. and returns to Italy. --Comes back with the --Comes back with the painting at the height of painting at the height of France’s revolutionary fervorFrance’s revolutionary fervor

Jacques-Louis David and the French Revolution Jacques-Louis David and the French Revolution

The Oath of the Horatii (1784)The Oath of the Horatii (1784)


Brutus (1789) Brutus (1789)

--By the time the painting--By the time the painting was completed, the was completed, the French Revolution hadFrench Revolution had begunbegun--The government tried to --The government tried to prohibit it from being prohibit it from being shown in the official shown in the official salon, but that decisionsalon, but that decision resulted in such a publicresulted in such a public outcry that they were outcry that they were forced to back downforced to back down--The painting was--The painting was exhibited behind a screenexhibited behind a screen of students and admirers,of students and admirers, standing as guard to standing as guard to protect it against any protect it against any possible royalist attackpossible royalist attack


The Death of Marat (1793) The Death of Marat (1793)

““Citizens, the people wereCitizens, the people wereagain calling for their friendagain calling for their friendand spokesman; their desolateand spokesman; their desolatevoice has been heard: David,voice has been heard: David,take up your brushes, avengetake up your brushes, avengeMarat. I heard the voice of theMarat. I heard the voice of thepeople. I obeyed.”people. I obeyed.”——David’s speech when David’s speech when presenting the Death of Marat presenting the Death of Marat to the National Conventionto the National Convention


The Death of Joseph Bara (1794) The Death of Joseph Bara (1794)

--A 13-year-old boy who--A 13-year-old boy who had joined the army of had joined the army of the Revolutionthe Revolution--He had been captured --He had been captured and ordered to yell and ordered to yell “ “Long live the king,” or Long live the king,” or he would be killed; he would be killed; instead he chose instead he chose death, yelling “Long death, yelling “Long live the Republic.”live the Republic.”--He was considered a--He was considered a hero to the hero to the revolutionary cause, revolutionary cause, and David painted himand David painted him as a form of as a form of propaganda, to extol propaganda, to extol his example.his example.


David’s sketch of MarieDavid’s sketch of MarieAntoinette awaiting executionAntoinette awaiting execution

(1793) (1793)

--David became a major force--David became a major force in the new Republic, in the new Republic, organizing public organizing public demonstrations and demonstrations and festivities, especially for festivities, especially for those who had died those who had died heroicallyheroically--Served as a member of the--Served as a member of the new National Convention,new National Convention, and sat on the trial of Louisand sat on the trial of Louis XVI and cast one of the XVI and cast one of the votes which sent him to thevotes which sent him to the guillotine, even though it guillotine, even though it caused his wife to leave himcaused his wife to leave him

Jacques-Louis David: Arrest and Trial Jacques-Louis David: Arrest and Trial

Self Portrait (1794)Self Portrait (1794)

--Various among the --Various among the revolutionary clique began to revolutionary clique began to exhibit paranoid and extremist exhibit paranoid and extremist tendencies; the result was tendencies; the result was known as the “Reign of known as the “Reign of Terror.”Terror.”--The leader of the clique, --The leader of the clique, Robespierre, was arrested, as Robespierre, was arrested, as was David. Robespierre waswas David. Robespierre was sent to the guillotine, Davidsent to the guillotine, David was tried and imprisoned.was tried and imprisoned.

““If you drink hemlock, I will If you drink hemlock, I will drink it with you.”—David to drink it with you.”—David to Robespierre, at their arrestRobespierre, at their arrest

Garden, painted from David’s cellGarden, painted from David’s cell

Jacques-Louis David: Arrest and Trial Jacques-Louis David: Arrest and Trial

--David’s wife --David’s wife returned to him afterreturned to him after he was arrestedhe was arrested--He was released in --He was released in an amnestyan amnesty

Intervention (Rape) of the Sabine Intervention (Rape) of the Sabine Women (1799)Women (1799)

Jacques-Louis David: Post Revolution Jacques-Louis David: Post Revolution

--Allegory of the--Allegory of the state of France,state of France, caught betweencaught between warring factions;warring factions; a plea for peacea plea for peace and unityand unity--A tribute to his --A tribute to his wife returning towife returning to him, love him, love prevailing over prevailing over conflictconflict

Napoleon Crossing the Napoleon Crossing the Alps at the St. Bernard Alps at the St. Bernard Pass (1801)Pass (1801)

Jacques-Louis David and Napoleon Jacques-Louis David and Napoleon

--Napoleon becomes --Napoleon becomes First Consul in 1799First Consul in 1799--He asks David to --He asks David to paint for himpaint for him--When Napoleon is --When Napoleon is declared emperor in declared emperor in 1804, David becomes 1804, David becomes the court painter of the court painter of the Empirethe Empire

--After the final defeat of Napoleon, the --After the final defeat of Napoleon, the Bourbon kings were restored to the Bourbon kings were restored to the throne of France.throne of France.--David was given an amnesty by Louis --David was given an amnesty by Louis XVIII, who wanted to lure him into his XVIII, who wanted to lure him into his services as his court painter.services as his court painter.--David refused the position and was--David refused the position and was exiled to Belgium; he died in Brussels exiled to Belgium; he died in Brussels in 1825 after being hit by a carriage.in 1825 after being hit by a carriage.--David had wished to be buried in --David had wished to be buried in France, but the government refused to France, but the government refused to allow it, and he was buried in Belgium allow it, and he was buried in Belgium instead. However, his friends and instead. However, his friends and supporters had his heart preserved; it supporters had his heart preserved; it was returned to France and buried in was returned to France and buried in Paris.Paris.

Jacques-Louis David: Exile Jacques-Louis David: Exile

ROMANTICISM: ROMANTICISM: Raft of the Medusa by T. Gericault (France; 19Raft of the Medusa by T. Gericault (France; 19thth century) century)

ROMANTICISM: ROMANTICISM: E. Delacroix (France; 19E. Delacroix (France; 19thth century) century)

AcademyAcademy

SalonSalon

Morocco sketch, painting

--Founded 1648; --Founded 1648; instruction was given only instruction was given only in an approved royal style, in an approved royal style, with a rigid set of rules and with a rigid set of rules and a strong emphasis on a strong emphasis on classicism. Delacroixclassicism. Delacroix quipped that “the Academyquipped that “the Academy attempts to teach beauty attempts to teach beauty as one would teach as one would teach mathematics” (i.e., bymathematics” (i.e., by formula).formula).--The “Salon” was the --The “Salon” was the official, Academy-official, Academy- sponsored art exhibit, and sponsored art exhibit, and an artist’s success and an artist’s success and standing were tied to his standing were tied to his recognition in the Salon.recognition in the Salon.

FRENCH ACADEMY AND SALON

ROMANTICISM: ROMANTICISM:

Eugene Delacroix:--1798-1863--The greatest of the French Romantic painters--Despite early success in the Salon, would battle with the Academy--Traveled to Morocco in 1832--An enormous output: after his death, over 9000 drawings paintings, and pastels were counted in his studio alone

REALISMREALISM

Gustave Courbet:Gustave Courbet:--1819-1877--1819-1877--Had a tumultuous relationship--Had a tumultuous relationship with the French Academy, whowith the French Academy, who opposed him not just on artisticopposed him not just on artistic but also social and politicalbut also social and political groundsgrounds--Considered the first communist--Considered the first communist or socialist artist, and he or socialist artist, and he heroized common peopleheroized common people--Also could be considered one--Also could be considered one of the pioneers in social of the pioneers in social realism in the visual arts realism in the visual arts

““Show me an angel and I will Show me an angel and I will paint one.”paint one.”

Edouard Manet (France; 19Edouard Manet (France; 19thth century) century)

--Born in Paris in 1832 --Born in Paris in 1832

--Achieved his first notable success as a --Achieved his first notable success as a painter with the Spanish Guitar player painter with the Spanish Guitar player (1862). The work was considered a (1862). The work was considered a promising genre painting, and Manet promising genre painting, and Manet was awarded a medal in the Academy was awarded a medal in the Academy Salon.Salon.

--Despite his Salon success in 1862, the --Despite his Salon success in 1862, the next year Manet encountered difficultiesnext year Manet encountered difficulties with the jury--he submitted a painting with the jury--he submitted a painting entitled Dejeuner sur l’herbe (Luncheon entitled Dejeuner sur l’herbe (Luncheon on the Grass) which was deemed too on the Grass) which was deemed too eccentric; the painting was rejected by eccentric; the painting was rejected by the Salon committee. the Salon committee.

Luncheon on the Grass (Dejeuner sur l’herbe)Luncheon on the Grass (Dejeuner sur l’herbe)

E. Manet (France; 19E. Manet (France; 19thth century) century)

--Thousands of other paintings--Thousands of other paintings were rejected that year andwere rejected that year and outraged artists complained outraged artists complained bitterly about the jury.bitterly about the jury. -- The Emperor Napoleon III-- The Emperor Napoleon III intervened, decreeing that theintervened, decreeing that the refused works be shown in arefused works be shown in a separate exhibition, the separate exhibition, the SALON DES REFUSES, or SALON DES REFUSES, or the Salon of Refused Artists.the Salon of Refused Artists. --The Salon des Refuses --The Salon des Refuses was met with derision and was met with derision and mockery as most people mockery as most people came simply to laugh at what came simply to laugh at what they considered badthey considered bad paintings. Manet’s painting paintings. Manet’s painting was considered the most was considered the most scandalous of all.scandalous of all.

Luncheon on the Grass Luncheon on the Grass (Dejeuner sur l’herbe)(Dejeuner sur l’herbe)

WHISTLER vs. RUSKIN (ENGLAND; 19WHISTLER vs. RUSKIN (ENGLAND; 19thth century) century)

James Abbot McNeill Whistler James Abbot McNeill Whistler Self-Portrait (USA, England;Self-Portrait (USA, England;

1919thth century) century)

John Ruskin John Ruskin by John Everett Millais by John Everett Millais (England; 19(England; 19thth century) century)

James Abbot McNeill WhistlerJames Abbot McNeill Whistler Self-Portrait (USA, England;Self-Portrait (USA, England;1919thth century) century)

--1834-1903--1834-1903--From an American military--From an American military family, but spends part offamily, but spends part of his childhood in Russiahis childhood in Russia--Flunks out of Westpoint--Flunks out of Westpoint--Moves to Europe (France,--Moves to Europe (France, and then England) and and then England) and works as an expatriate works as an expatriate artistartist--Becomes the most famous--Becomes the most famous American among the early American among the early ModernistsModernists

Symphony in White #1Symphony in White #1(The White Girl)(The White Girl)

by J.A.M. Whistler by J.A.M. Whistler (19(19thth century; USA, England) century; USA, England)

SALON DES REFUSESSALON DES REFUSES(1863) (1863)

WHISTLER vs. RUSKIN WHISTLER vs. RUSKIN

Portrait of John Ruskin Portrait of John Ruskin by John Everett Millais by John Everett Millais

NNoocctt

NOCTURNE IN NOCTURNE IN BLACK & GOLD BLACK & GOLD (Falling Rockets)(Falling Rockets)and NOCTURNEand NOCTURNEIN BLUE & GOLD IN BLUE & GOLD (Old Battersea (Old Battersea Bridge) Bridge) by by J.A.M. WhistlerJ.A.M. Whistler(USA, England;(USA, England;1919thth century) century)

WHISTLER vs. RUSKIN WHISTLER vs. RUSKIN

“ “For Mr. Whistler’s own sake, For Mr. Whistler’s own sake, no less than for the protectionno less than for the protection of the purchaser, Sir Coutts of the purchaser, Sir Coutts Lindsay ought not to have Lindsay ought not to have admitted works into the gallery admitted works into the gallery in which the ill-educated in which the ill-educated conceit of the artist so nearly conceit of the artist so nearly approached the aspect of approached the aspect of willful imposture. I have seen willful imposture. I have seen and heard much of cockney and heard much of cockney impudence before now, but impudence before now, but never expected to hear a never expected to hear a coxcomb ask 200 guineas for coxcomb ask 200 guineas for flinging a pot of paint in the flinging a pot of paint in the public’s face.”—Ruskin, on public’s face.”—Ruskin, on Whistler’s nocturnesWhistler’s nocturnes

NNoocctt


WHISTLER vs. RUSKINWHISTLER vs. RUSKIN

--Whistler sues Ruskin--Whistler sues Ruskin for libel claiming that, for libel claiming that, coming from a critic of coming from a critic of Ruskin’s reputation, Ruskin’s reputation, the comments had the comments had done him professional done him professional injury; asks for injury; asks for 1000 pounds. 1000 pounds.

--Jury asked to decide --Jury asked to decide on not just libel, but on not just libel, but issues involving the issues involving the definition and definition and parameters of art itself. parameters of art itself.

NNoocctt



Points used to support Points used to support Ruskin’s defense:Ruskin’s defense:--mimesis--mimesis--labor--labor--“finish” --“finish”

NNoocctt



Points used to support Points used to support Ruskin’s defense:Ruskin’s defense:----mimesismimesis Ruskin’s defense Ruskin’s defense attorney asks the attorney asks the jury if this is an jury if this is an “ “accurate accurate representation” ofrepresentation” of Battersea Bridge Battersea Bridge --labor--labor--“finish” --“finish”

NNoocctt

WHISTLER vs. RUSKINWHISTLER vs. RUSKINPoints used to support Points used to support Ruskin’s defense:Ruskin’s defense:--mimesis--mimesis----laborlabor--“--“finishfinish” ” Ruskin’s defense Ruskin’s defense asks Whistler how asks Whistler how long it took him to long it took him to “ “knock it off.”knock it off.”Whistler: A couple of Whistler: A couple of hours.hours.Defense: And that is what Defense: And that is what you are asking 200 guineasyou are asking 200 guineasfor, a couple hours work?for, a couple hours work?Whistler: No. The 200 Whistler: No. The 200 guineas are for the lifetime’sguineas are for the lifetime’sworth of experience that worth of experience that allowed me to be able to allowed me to be able to ““knock it off.”knock it off.”

NNoocctt

WHISTLER vs. RUSKIN:WHISTLER vs. RUSKIN:

Jury finds in favor or Whistler and Jury finds in favor or Whistler and Ruskin is guilty of libel, but the jury Ruskin is guilty of libel, but the jury awards Whistler only farthing in awards Whistler only farthing in damages damages

Impression: SunriseImpression: Sunriseby Claude Monet (1873)by Claude Monet (1873)

IMPRESSIONISMIMPRESSIONISM

--desire to capture an --desire to capture an instantaneous “impression” of a instantaneous “impression” of a scene in naturescene in nature

--interest in the play and reflection--interest in the play and reflection of light on the surface of of light on the surface of objects,objects, rather than the physical rather than the physical character of the objects character of the objects themselvesthemselves

--painting “en plein air”--painting “en plein air”

Impression: SunriseImpression: Sunriseby Claude Monet (1873)by Claude Monet (1873)

Typical of ImpressionismTypical of Impressionism--Primacy of light and color --Primacy of light and color --Attempt to capture the --Attempt to capture the spontaneity of visionspontaneity of vision--softness of line--softness of line--shapes and details implied by--shapes and details implied by areas of color, rather than areas of color, rather than meticulous reproducedmeticulous reproduced--outdoor and atmospheric --outdoor and atmospheric scenesscenes

Antithetical to Impressionism:Antithetical to Impressionism:--narrative and history painting--narrative and history painting--classical subject matter--classical subject matter--hard lines and contours--hard lines and contours

POINTILLISM:POINTILLISM:--calculate hues and --calculate hues and proportions needed to proportions needed to produce the effect of a produce the effect of a particular colorparticular color--rather than mixing them on --rather than mixing them on a palette, dots of pure color a palette, dots of pure color are set down on the canvas,are set down on the canvas, and the viewer’s eye mergesand the viewer’s eye merges them to produce the them to produce the impression of the desiredimpression of the desired colorscolors--intended to provide a more--intended to provide a more luminous and intense luminous and intense perception of colorperception of color

Sunday Afternoon on the Sunday Afternoon on the Grand JatteGrand Jatte

by G. Seurat (France; 19th by G. Seurat (France; 19th century)century)

EXPRESSIONISM:EXPRESSIONISM:--emphasis is on subjective--emphasis is on subjective emotion rather thanemotion rather than objective realityobjective reality--intensity of the artist’s --intensity of the artist’s feelings over-rides fidelityfeelings over-rides fidelity in the portrayal of in the portrayal of objects objects --objects are freely --objects are freely distorted for emotive ordistorted for emotive or expressive effect expressive effect

The Scream by E. Munch The Scream by E. Munch (Norway; 19th-20th centuries)(Norway; 19th-20th centuries)

FAUVISM:FAUVISM:--emphasis of stark--emphasis of stark juxtapositions of fields of juxtapositions of fields of vibrant color; colors are vibrant color; colors are often harsh or seeminglyoften harsh or seemingly arbitraryarbitrary--crude drawing, sketchy--crude drawing, sketchy brushworkbrushwork--“Fauve” from French term--“Fauve” from French term for “wild beast”for “wild beast”

““I dream of . . . an art . . . I dream of . . . an art . . . devoid of troubling or devoid of troubling or depressing subject matter . . .depressing subject matter . . .like a mental comforter, like a mental comforter, something like a good something like a good armchair in which to rest.”armchair in which to rest.”——Matisse Matisse

Madame Matisse by H. MatisseMadame Matisse by H. Matisse(France; 20th century) (France; 20th century)

Ambrose Vollard Ambrose Vollard by P. Picasso by P. Picasso

(Spain, France; 20(Spain, France; 20thth century) century)

CUBISM:CUBISM:--reduction of all elements of the--reduction of all elements of the painting to a tight geometricpainting to a tight geometric scheme, usually involvingscheme, usually involving small, cubic shapes which bothsmall, cubic shapes which both merge and collidemerge and collide--spatial relations and three---spatial relations and three- dimensionality collapse withindimensionality collapse within the geometric schemethe geometric scheme--the discreet identities of objects--the discreet identities of objects and people are fragmented andand people are fragmented and integrated into the wholeintegrated into the whole--Analytic Cubism: initial phase--Analytic Cubism: initial phase--Synthetic Cubism: second--Synthetic Cubism: second phasephase

The Persistence of MemoryThe Persistence of Memoryby S. Dali by S. Dali

(Spain; 20(Spain; 20thth century) century)

SURREALISM:SURREALISM:--founded by Andre Breton --founded by Andre Breton --interest in psychiatric theories --interest in psychiatric theories of Sigmund Freud, which heldof Sigmund Freud, which held that rational forces of the that rational forces of the conscious mind struggle conscious mind struggle against irrational, instinctualagainst irrational, instinctual unconscious urges, thus unconscious urges, thus creating conflictcreating conflict--desire to liberate unconscious--desire to liberate unconscious mind and repressed desiresmind and repressed desires in order to discover a in order to discover a larger reality (“Surreality”) larger reality (“Surreality”) which lay beyond rationalwhich lay beyond rational notions of what is realnotions of what is real

L.H.O.O.Q. L.H.O.O.Q. by Marcel Duchamp by Marcel Duchamp (France; 20(France; 20thth century) century)

DADA (DADAISM) DADA (DADAISM) Anti-art Anti-art

DADA DADA ““We are a furious wind, tearing the We are a furious wind, tearing the dirty linen of clouds and prayers, dirty linen of clouds and prayers, preparing the spectacle of disaster, preparing the spectacle of disaster, fire, decomposition . . . there is a great fire, decomposition . . . there is a great negative work of destruction to be negative work of destruction to be accomplished. We must sweep and accomplished. We must sweep and clean. Affirm the cleanliness of the clean. Affirm the cleanliness of the individual after the state of madness, individual after the state of madness, aggressive complete madness of a aggressive complete madness of a world abandoned to the hands of world abandoned to the hands of bandits, who rend one another and bandits, who rend one another and destroy the centuries. Dada: abolitiondestroy the centuries. Dada: abolitionof logic . . . Dada: abolition of memoryof logic . . . Dada: abolition of memory. . . Dada: abolition of the future . . . . . . Dada: abolition of the future . . . Dada: absolute and unquestionable Dada: absolute and unquestionable faith in every god that is the immediatefaith in every god that is the immediateproduct of spontaneity . . . Dada: a product of spontaneity . . . Dada: a roaring of tense colors, and interlacing roaring of tense colors, and interlacing of opposites and all contradictions, of opposites and all contradictions, grotesques, inconsistencies. grotesques, inconsistencies.

DADA: LIFE.”—Tristan TzaraDADA: LIFE.”—Tristan Tzara

DADA DADA

““Art is not the most precious Art is not the most precious manifestation of life. Art has not the manifestation of life. Art has not the celestial and universal value that celestial and universal value that people like to attribute to it. Life is far people like to attribute to it. Life is far more interesting. Dada knows the more interesting. Dada knows the correct measure that should be given correct measure that should be given to art: with subtle, perfidious methods, to art: with subtle, perfidious methods, Dada introduces it into daily life. And Dada introduces it into daily life. And vice versa.”—Tristan Tzara vice versa.”—Tristan Tzara

DADA DADA

“ “We spoke of Dada as of a crusade to We spoke of Dada as of a crusade to win back the promised land of the win back the promised land of the Creative . . . the important thing about Creative . . . the important thing about Dada is that we despised what is Dada is that we despised what is commonly regarded as art, but put thecommonly regarded as art, but put the whole universe on the lofty throne of whole universe on the lofty throne of art. We declared that everything that art. We declared that everything that comes into being or is made by man is comes into being or is made by man is art.”--Hans (Jean) Arp art.”--Hans (Jean) Arp

DADA: Cabaret Voltaire DADA: Cabaret Voltaire

DADA DADA Marcel DuchampMarcel Duchamp ““Non-retinal art”: Art directed at Non-retinal art”: Art directed at the mind, not the eye.the mind, not the eye.

Even the revolutionary modern Even the revolutionary modern movements had still been involved movements had still been involved with producing “retinal” art—with producing “retinal” art—something directed primarily at something directed primarily at the eye, at pure visual pleasure, the eye, at pure visual pleasure, and Duchamp believed that even and Duchamp believed that even the leading modernists were still the leading modernists were still ““retinals” at heart.retinals” at heart.

““Whether Mr. Mutt with his own Whether Mr. Mutt with his own hands made the fountain or not hands made the fountain or not has no importance. He CHOSE it. has no importance. He CHOSE it. He took an ordinary article of life, He took an ordinary article of life, placed it so that its useful placed it so that its useful significance disappeared under a significance disappeared under a new title and point of view—henew title and point of view—hecreated a new thought for that created a new thought for that objectobject.”—Marcel Duchamp, .”—Marcel Duchamp, arguing on behalf of the arguing on behalf of the inclusion of the “Fountain” in inclusion of the “Fountain” in 1917 group show 1917 group show

Fountain Fountain by “R. Mutt” by “R. Mutt”

(Marcel Duchamp; 1917) (Marcel Duchamp; 1917)

DADA DADA Marcel DuchampMarcel Duchamp ““Readymades”: objects Readymades”: objects promoted to the status of promoted to the status of art by the choice of the art by the choice of the artist.artist.

Date post:	21-Jan-2015
Category:	News & Politics
Upload:	bellablackadder
View:	345 times
Download:	2 times

2ND HALF OF CLASS 7 AND ALSO CLASS 8

News & Politics