the 20th century dialectic: Twentieth Century Ruptures and Continuities artistic language (techniques of representation) versus the image and its source [or] disintegration of the real versus the hallucination Fauvism and Early Matisse The Dance, 1909 ImagePage 1 of 14
Derain: Dance, 1906 Matisse: Harmony in Red, 1908-9 Matisse: Joy of Life, 1905/6 Picasso: Les Demoiselles d'avignon 1907 8' x 7'8" [before cubism] cubism, phase I: PIcasso, Ma Jolie, 1912, and Braque, The Portuguese, 1912 ImagePage 2 of 14
Picasso: Still Life with Chair Caning, 1912, oil paint, oil cloth, rope Braque: Bottle, Newspaper, Pipe, and Glass, 1913 (pasted papers; charcoal) Picasso: Violin, 1912 Guitar (El Diluvio) 1913, papier colle Guitar, Sheet Music and Glass, 1912 Guitar, 1912 Italian Futurism ImagePage 3 of 14
Giacomo Balla: Young Girl Running on a Balcony 1912 Umberto Boccioni: Dynamism of a Soccer Player 1913 Sculptural modernism in the first quarter of the 20th century Rodin: The Walking Man c.1900 Bronze 33 1/8 in. (84.1 cm) ImagePage 4 of 14
Boccioni: Unique Forms of Continuity in Space 1913, bronze, h. 44" Constantin Brancusi the part becomes the whole Male Torso, 1917, brass, 19" ht. Torso of a Girl, 1923, onyx, 13" ht. Archipenko:Woman Combing Her Hair Lehmbruck: The Fallen Man 1915/1916, cast stone, 78x240x82cm. 1915 Bronze 13 3/4 x 3 1/4 x 3 1/8" ImagePage 5 of 14
developments toward complete abstraction: Improvisation #28 (War), 1912 oil/can., 44 x 64" Kandinsky Improvisation #30 (warlike theme) Composition VII, 1913 78" x 118" oil on canvas The 0.10 Last Futurist Exhibition of Painting St. Petersburg, 1915 [Malevich and Russian Suprematism] ImagePage 6 of 14
Mondrian: Composition with Red, Blue and Yellow 1930, oil/canvas, 1'6 x 1'6 De Stijl DADA the art of being irrational Duchamp: The Fountain 1917 Hannah Hoch: Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany 1919-20 photomontage, 3'9" x 2'11" ImagePage 7 of 14
Schlichter: Phanomen- Werke (Phenomenon Works) Jean (Hans) Arp: Concrete Relief, 1916-17 painted wood, 41.2 x 60.6 cm 1920 Photomontage and collage of papers and fabric with watercolor and opaque watercolor on paper, 61.7 x 46.6 leading to Russian constructivism: Tatlin and the culture of materials counterreliefs Monument to the Third International, 1919 the challenges of constructivism: interest in materials interest in the construction interest in efficacy TENSEGRITY (dynamic balance) ACTIVATION OF THE SPECTATOR ImagePage 8 of 14
Karl Ioganson and the difference between a composition and a construction the 1921 ObMoKhu exhibition in Moscow the 1921 ObMoKhu exhibition in Moscow Gustav Klutsis: early version of the "Activist must Study" (late 1920s) model of the stage set for the 1922 production of the Magnanimous Cuckold; designer: Liubov Popova photograph from performance compared with one of Popova's untitled paintings from 1921 ImagePage 9 of 14
Klutsis illustration for a book called "One Week" 1928 model for reconstruction of theater and performance of "I Want a Child" -- designer: El LIssitsky El LIssitsky: fold-out from the catalogue for the Soviet Pavilion at the Pressa exhibition in Cologne, 1928 Surrealism automatism and dreams as the path to the unconscious key words: biomorphism and automatism Dali: The Lugubrious Game 1929 Oil and collage on card, 44 x 30 cm Joan Miro: Head of a Woman, 1938 ImagePage 10 of 14
Abstract Expressionism: Axes of Influence Stylistic sources: 1) a structural axis: cubism and geometric abstraction focus on language; rejection of perspective; incorporation of the real world ImagePage 11 of 14
2) a counter-geometric axis of the unexpected, the unplanned, and the unconscious the importance of unexpected juxtapositions connection from the collective unconscious to the real world automatism and biomorphism and the freedom to develop new techniques 3) the axis of spiritual abstraction and the challenge to the closed-form canon: Kandinsky and Hofmann the gesamtkunstwerk realism = abstraction push-and-pull of color and form Untitled, Hans Hofmann 1944, mixed media on gessoed plywood Hofmann: Summer Night's Dream, 1957, o/c, 52 x 60in. politics, social relevance and the myth of "modern man" ImagePage 12 of 14
Picasso: Guernica, 1937, oil on canvas, 11'5" x 25'5" 5) the abstract sublime Vir Heroicus Sublimis 1950/51, oil on canvas 96" x 216" Untitled Mark Rothko, 1952 Jackson Pollock: One, No. 31, 1950; oil and enamel paint on canvas, 8'10 x 17'5 oil on canvas 81 x 68 in. ImagePage 13 of 14
Abstract expressionism: the art work becomes an environment and the presence of the artist becomes central as the artist "lives" in the act of painting De Kooning: Woman No. 1, 1950-52 6'3 x 4'10 ImagePage 14 of 14