Fauvism |
Introduction |
| When: |
1904-1908 |
| Where: |
France |
| Who: |
Matisse (leader),
Derain and Vlaminck |
| How: |
used pure, brilliant colour, applied straight
from the paint tubes in an aggressive, direct manner to create
a sense of an explosion on the canvas. |
| What: |
The Fauves painted directly from nature as the
Impressionists had before them, but their works were invested
with a strong expressive reaction to the subjects they painted.
Colours used are non-naturalistic. |
| What: |
Figures (Matisse: Woman with the Hat 1905, Madame
Matisse 1905, The Joy of Life 1905)
Interiors (Matisse: The Window 1905, Harmony In Red 1908)
Still Life |
|
First formally exhibited in Paris in 1905, Fauvist
paintings shocked visitors to the annual Salon d'Automne; one
of these visitors was the critic Louis Vauxcelles, who, because
of the violence of their works, dubbed the painters "Les
Fauves" (Wild Beasts). |
| |
Matisse
"Madame Matisse" or
“The Green Strip” 1905
Oil on canvas.
Statens Museum for Kunst, Copenhagen, Denmark. |
Matisse
The Joy of Life
(La Joie de Vivre) 1905-06
Oil on canvas
175 x 241 cm |
Matisse
"Portrait of Andre Derain" 1905
Oil on canvas.
Tate Gallery, London, UK |
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|
Cubism |
Introduction |
| When: |
1907-1914 |
| Where: |
France |
| Who: |
Picasso &
Braque |
| What: |
Early Cubism 1907-1909 |
| |
Aimed to: |
Sought to flatten out the picture plane. |
| |
Influenced by: |
Cezanne and
Primitive art. |
| |
Characteristics: |
extremely bright colours, hard edged forms, and
flattened space. |
| |
Though previous art movements (Impressionism and
Post Impressionism) began to evolve into flatter forms, Picasso
and Braque were more radical in their approach. |
| |
German Expressionism
and Fauvism were going on simultaneously,
and the works of those artists also tended towards flattened
pictorial space. |
| |
A primary difference between Cubism and those
movements is that Cubism is based much less on the expression
of emotion than it is an intellectual experiment with structure.
|
| |
Pablo Picasso
Les Demoiselles d'Avignon. 1907 Oil on canvas
The Museum of Modern Arts, New York, USA. |
Pablo Picasso
Bread and Fruit Dish on a Table. 1909
Oil on canvas. Kunstmuseum Basel, Basel, Switzerland. |
Georges Braque
Large Nude
Paris, spring 1908
Oil on canvas
140 x 100 cm
Collection Alex Maguy, Paris |
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Analytical Cubism 1910-1912 |
| |
Characteristics: |
n this period, they removed bright colours from
their compositions, favouring monochromatic earth tones so that
they could focus primarily on the structure. |
| |
|
The paintings of this period look as if they have
deconstructed objects and rearranged them on the canvas. |
| |
Aimed to: |
Depict different viewpoints simultaneously. |
| |
Traditionally, an object is always viewed from
one specific viewpoint and at one specific (stopped) moment
in time. |
| |
Picasso and Braque felt that this was too limiting,
and desired to represent an object as if they are viewing it
from several angles or at different moments in time. |
| |
Innovative as this was, the danger was that many
of the works of this period are completely incomprehensible
to the viewer, as they start to lose all sense of form. |
| |
Picasso
"Girl with a Mandolin" 1910
The Museum of Modern Art, New York |
Picasso
"Portrait of Ambroise Vollard"
1910 Oil on canvas
The Pushkin Museum of Fine Art, Moscow, Russia. |
Georges Braque
"Man with a Guitar"
Oil on canvas
116.2 x 80.9 cm
The Museum of Modern Art, New York |
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|
I |
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Synthetic Cubism 1912-1914 |
| |
Characteristics: |
The introduction of collaged objects into their
paintings. |
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Picasso "Guitar, Sheet Music, Glass" 1912
Papers and newsprint (Le Journal, 18 November 1912)
pasted, gouache and charcoal on paper
48 x 36.5 cm
|
Picasso "Still Life with Chair Caning"
1912 Oil and oilcloth on canvas, with rope frame
27 x 35 cm
Musee Picasso, Paris |
Georges Braque
"Bottle, Newspaper, Pipe, and Glass" 1913
Charcoal and various papers pasted on paper
48 x 64 cm
Private collection, New York |
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Expressionism |
| Where: |
Germany |
| What: |
Not to reproduce a subject accurately, but to
express the inner state of the artist. |
| |
Influenced by Symbolism, Fauvism and Cubism. |
| Groups: |
Die Brücke, Der Blaue Reiter, Die Neue Sachlichkeit
and the Bauhaus School. |
| Who: |
Wassily Kandinsky, George Grosz, Franz Marc, and
Amadeo Modigliani. |
| |
|
| Die Brücke |
| When: |
Formed In 1905, |
Edvard Munch*
The Scream 1893
91 x 73.5 cm
waxed crayon and tempera on paper
Nasjonalgalleriet, Oslo |
| Where: |
Dresden, Germany. |
| What: |
In practice they were not a cohesive group, and
their art became an angst-ridden type of Expressionism. |
| How: |
The achievement that had the most lasting value
was their revival of graphic
arts, in particular, the woodcut using bold and simplified
forms. |
| Who: |
Influenced by van Gogh, Gauguin and primitive
art, and Munch was also a strong influence, having exhibited
his art in Berlin from 1892. |
| What: |
Subjects: City scenes, portraits, figures. |
| What: |
Goal: wanted German art to be a bridge to the
future.
Kirchner insisted that the group, which included “express
inner convictions... with sincerity and spontaneity”.
|
| Who: |
Ernst Ludwig Kirchner (1880-1938), Erich Heckel
(1883-1970) and Karl Schmidt-Rottluf (1884-1976). |
| |
*Munch
does not belong to any of the German Expressionist group. |
| Paintings: |
In this bold, discomforting scene, entitled
Street, Dresden, the German Expressionist Ernst Ludwig Kirchner
attempts to render the jarring experience of modern urban
bustle. Painted in shrill and clashing colors, everything
and everyone seem to radiate tension. Pedestrians are packed
onto the sidewalks, locked into a constrictive space, their
only path out blocked by a trolley. The street is crowded,
even claustrophobic, yet each individual seems very much alone.
Notice how the women at the right, clutching purse or skirt,
hold themselves in. Their faces are expressionless, almost
mask-like, as if seeking anonymity. And a little girl, dwarfed
by a menacing hat, drifts in the middle of the picture. Kirchner
himself commented, "the more I mixed with people the
more I felt my loneliness."
Kirchner's Street, Dresden is a bold expression of the intensity,
the dissonance and anxiety associated with the modern city.
©1997 The Museum of Modern Art, New York |
Kirchner
“Street, Dresden” 1908 |
| |
Kirchner
“Girl Under Japanese Parasol” 1909 |
Nolde
“Masks Still Life III" 1911 |
Nolde
“Crucifixion” 1912 |
| Prints: |
More information about the making of prints can
be found here. |
| |
The German expressionists conducted prolific experiments
in the graphic arts, introducing new techniques, vibrant colors,
and disturbing, sometimes controversial subject matter in their
prints. |
| |
Woodcuts provided a way to confirm effects later
appearing in their canvases: compositional structure, dramatic
contrasts of light and color, the flat picture plane. |
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Heckel “Standing Child”
1910 |
Heckel “Ghent” 1916 |
Heckel “Male Nurse”
1916 |
| |
Heckel “Man In The Plains”
1917 |
Heckel “Reading Aloud”
1914 |
|
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|
| Der Blaue Reiter |
| Who: |
Founded by Wassily
Kandinsky and Franz Marc |
| When: |
1911 |
| Where: |
Munich |
| How: |
At the outbreak of World War I, the group practically
ceased to exist. |
| |
Two of its members, Franz Marc and August Macke
were called to the military.
Died in the war. |
| What: |
Influences: primitive and naive art, children's
pictures, religious paintings on glass, and their modern favourites
Cézanne and Delaunay. |
| How: |
Through the use of distorted forms and startling
color, they sought to discover spiritual truths that they felt
the impressionists had overlooked. |
| |
Less united stylistically and as a group than
the Brücke, their art ranged from the sometime pure abstractions
of Kandinsky to the romantic imagery of Marc. |
| |
Common to the artists in the group was a philosophical
spirit, an intellectual approach to technique, and great lyrical
spontaneity. |
| |
Marc “The Blue Horse I”
1911 |
Marc
“Fate of the Animals”
1913 |
Kandinsky
"Composition IV" 1911 |
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