Futurism |
Introduction |
| When: |
1909-1944 |
| Where: |
Italy |
| Who: |
Milan- Boccioni,
Carra, Russolo, Rome- Balla, & Paris- Severini. |
| What: |
Emphasized the dynamism, speed, energy, and power
of the machine and the vitality, change, and restlessness of
modern life in general. |
| Influenced by: |
Post-Impressionism & Cubism (but criticized
Cubism for being static) |
| |
|
| What: |
Futurist Manifesto 1909
by Marinetti |
| |
Glorified
- the new technology of the automobile and
- the beauty of its speed, power, and movement. |
| |
Rejected
- violence and conflict
- traditional cultural, social, and political values
- cultural institutions as museums and libraries. |
| |
“A figure is never stable in front of
us but is incessantly appearing and disappearing because images
persist on the retina, things in movement, change form, follow
one another like vibrations within the space they transverse.
Thus a horse in swift course does not have four legs: it has
twenty and their movements are triangular" |
Balla “Dynamism of a Dog on a Leash” 1913 |
| |
|
Suprematism
& Constuctivism |
Suprematism |
| When: |
1915-1918 |
| Where: |
Russia |
| Who: |
Started by Malevich (1878-1935) |
| How: |
Malevich built up pictures from geometric shapes
without reference to observed reality, producing an art that
expressed only pure aesthetic feeling rather than with a connection
to anything social, political or otherwise. (Non-objective) |
Malevich
"Suprematism" 1915 |
| |
He dispensed with subject matter (although some
painting titles refer to reality eg., 'Suprematist composition:
Airplane Flying'), perspective and traditional painting
techniques. |
| Early Works: |
Malevich
"After Snowstorm" 1912 |
Malevich
"The Woodcutter" 1912 |
Early works experimented with Cubo-Futurist style. |
| Suprematism: |
Malevich
"Black Square & Red Square" 1915 |
Malevich
Suprematist Painting 1916
|
|
| When: |
By 1918, taken over by Constructivism. |
| |
|
Constructivism |
| When: |
1918-1932 |
Tatlin
"Corner Relief" 1915 |
| What: |
Sought to construct art rather than making it. |
| How: |
Use of industrial materials like metal, glass
and plastic to produce 3D works. |
| What: |
Soviet Vs International Constructivism |
| |
Soviet Constructivism |
| Where: |
Russia |
| Who: |
Malevich, Tatlin, Rodchenko |
| What: |
Works like Malevich paintings are geometrical
and mathematical. |
| Why: |
Russia Revolution 1917 changed artist role to
create ‘functional’ art. |
| How: |
Tatlin created a workers Boiler suit and a stove,
Rodchenko newspaper stands, new typographic styles and cigarette
kiosks, using art for Soviet propoganda purposes including displays,
clothing and posters. |
| Tatlin Monument for the 3rd International 1919: |
|
|
|
| |
This would have been taller than the Eiffel Tower.
Its spiraling structure, however, was to lend the Monument a
structural dynamism lacking in Eiffel's more symmetrical (and
more stable) design.
In theory, the Monument was to house a telegraph office, and
other office space, but Tatlin, who was no architect, did not
even attempt to work out the engineering problems that would
have had to be overcome.
Instead, like so many other early Soviet projects of utopian
intent, Tatlin's tower (as it came to be called) never went
past the planning stages. |
| |
|
|
|
International Constructivism |
| Where: |
Germany |
| Who: |
Naum Gabo |
| When: |
1922 |
| Why: |
After the Revolution in 1917, it became clear
that official policy favoured the regimentation of artistic
activity in the direction of industrial design and socially
useful work (as exemplified by Tatlin), rather than the pure
abstract art. |
| How: |
Naum Gabo left Russia for Berlin in 1922 and spent
the next ten years there in contact with the artists of the
Bauhaus and the De Stijl group.
In 1922 Gabo also issued Realistic Manifesto with elder brother
Antoine, which set forth the basic principles of International
Constructivism. |
| Early: |
Studied of engineering and physical science,
Early constructions with Cubist style.
|
Gabo
"Constructed Head No.2" 1916 |
| Later: |
Later Works made extensive and serious use of
semi-transparent materials for a type of abstract sculpture
which, with apparent weightlessness. |
| His works incorporates space as a positive element
rather than displacing or enclosing it. |
| |
Gabo
"Linear Construction No. 4" 1962 |
Gabo "Construction in Space" 1938-40 |
Gabo
"Linear Construction No. 2" 1970-1 |
| |
|
Dada |
Introduction |
| When: |
1916-1920 |
| Where: |
France, Switzerland, Germany & later US. |
| What: |
[French] Child’s word for a hobby horse. |
| |
Dada is a nonsense word which
defines meaning. |
| |
"DaDa is beautiful like the night, who
cradles the young day in her arms." - Hans Arp |
| |
"DADA speaks with you, it is everything,
it envelopes everything, it belongs to every religion, can be
neither victory or defeat, it lives in space and not in time."
- Francis Picabia |
| |
"Dada is the sun, Dada is the egg. Dada
is the Police of the Police." - Richard Huelsenbeck
|
| Based on: |
The principles of deliberate irrationality, anarchy,
and cynicism and the rejection of laws of beauty and social
organization. |
| Caused by: |
Disgust for bourgeois values and despair over
World War I. Artists felt that any civilization that could tolerate
such brutality must be swept away, and all of its institutions,
including traditional art, along with it. |
| Aimed to: |
Demolish current aesthetic standards. |
| |
"Art is dead." |
| Who: |
Arp (Automatism)
Schwitters (Junk Art)
Duchamp
(Readymades) |
| |
|
Automatism |
| How: |
To Make a Dadaist poem (by Tristan Tzara) |
| |
"To make a Dadaist poem
Take a newspaper.
Take a pair of scissors.
Choose an article as long as you are planning to make your poem.
Cut out the article.
Then cut out each of the words that make up this article and
put them in a bag.
Shake it gently.
Then take out the scraps one after the other in the order in
which they left the bag.
Copy conscientiously.
The poem will be like you.
And here you are a writer, infinitely original and endowed with
a sensibility that is charming though beyond the understanding
of the vulgar." |
| Who: |
Arp (1887-1966) |
| What: |
Making collage, relief and sculpture. |
| How: |
Arp
"Arrangement According to Chaos" 1916-7 |
Arp
"Ballerina" |
Arp
" Overturned Blue Shoe with Two Heels Under a Black Vault"
c.1925 |
| |
Arp
"Constellation with Five White Forms and Two Black, Variation
III" 1932 |
Arp
"Enak's Tears (Terrestrial Forms)" 1917 |
Cutting up pieces of paper and throw into the air and paste
on the canvas as they land on it. |
| |
|
Junk Art |
| Who: |
Schwitters (1887-1948) |
| How: |
Made use of objects found in the city - tram ticket,
envelope, cheese wrapper or cigar band, old shoe soles or laces,
wire, feathers, dishcloths - and restored to an honoured place
in life through his art called Merz. |
| What: |
Partially concealed front page of the German newspaper
Hannoverischer Kurier dated February 4, 1919 and describing
the overthrow of the short-lived socialist republic of Bremen
in a bloody insurrection led by conservative forces. |
Schwitters "Merzbild 5B (Picture-Red-Heart-Church)"
1919 |
| |
Schwitters
"Merz 133" 1921 |
Schwitters
"Merz 163" 1920
|
|
| |
|
Readymades |
| Who: |
Duchamp (1887-1968) |
| What: |
"Ready-Mades" were
banal objects of every-day use such as a bottle holder, a snow-shovel,
etc., which he signed with his name after giving them titles
totally unconnected with their functional use. |
| |
A way of protesting the excessive importance attached
to works of art. |
| How: |
By selecting mass-produced, commonplace objects,
Duchamp attempted to destroy the notion of the uniqueness of
the art object. |
| What: |
The concept of the readymade lies not in the work
itself, but in the idea behind it. |
| |
Emphasis is placed upon the artist "not
as craftsman, but as gifted perceiver whose choice of an object
is seen as a creative act.” |
| |
Duchamp
"Bicycle Wheel" 1913 |
Duchamp
"Fountain" 1917 |
Duchamp
"L.H.O.O.Q." 1921 |
| |
|
Surrealism |
Introduction |
| When: |
1924-40 |
| Where: |
France and later USA |
| What: |
French “super-reality” |
| Who: |
Founded by writer, poet André Breton, after
WW1. |
| What: |
Inspired by the psychoanalytical works of Jung
and Freud.
Einstein’s Theory of Relativity suggests that the reality
that we see is only a small fragment.
‘
Reality’ is no longer real. |
| Who: |
Attracted many Dadaists including Arp.
Other artists includes Max Ernst, Man Ray, Joan Miró,
Rene Magritte and Salvador Dali. |
| |
|
| What: |
THE SURREALIST MANIFESTO 1924 |
| Who: |
Andre Breton |
| What: |
"Surrealism was a means of reuniting
conscious and unconscious realms of experience so completely
that the world of dream and fantasy would be joined to the everyday
rational world in "an absolute reality, a surreality.” |
| |
He saw the unconscious as the wellspring of the
imagination. |
| |
He defined genius in terms of accessibility to
this normally untapped realm, which, he believed, could be attained
by poets and painters alike. |
| How: |
2 branches of Surrealism: automatism
& illusionism. |
| Who: |
Juan Miro,Max
Ernst, Giorgio DeChirico (Not officially), Rene
Magritte & Salvadore Dali |
| Automatism: |
Miro
"Ciphers and Constellations, in Love with a Woman"
1941
|
Ernst
"Attirement of The Bride" 1940
|
|
| Illusionism: |
Magritte
"The Empire of Light" 1954 |
Dali
"The Persistence of Memory" 1931 |
|
| |
|
|
|
|
