Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Artists like Henri Matisse and a group known
as the Fauves pushed the use of brilliant colour and
impasto texture further than van Gogh had dared
and Pablo Picasso took Cezanne's experiments with
perspective to the next level.
PICASSO AND CUBISM
Post Impressionists like van Gogh and Cezanne
set the stage for a new generation of artists to push
the boundaries of art even further. Young artists were
inspired by the bold approach of these artists but
wanted to go even further in the use of expressive
colour, and in the flattening of the pictorial space of
painting.
Three Musicians. 1921. 6’7””x7”33/4”. oil on canvas.
The Museum of Modern Art, New York.
The early twentieth century was a turbulent time
of industrialization and violent political upheaval and
the art of this era was suitably adventurous. We will
begin our look at this time with the development of
cubism through the work of Pablo Picasso.
Man Ray (1890-1976) © ARS, NY Pablo Picasso. 1933.
Gelatin silver print. 35.2 x 27.9 cm (13 7/8 x 11 in.).
The Metropolitan Museum of Art, Ford Motor Company
Collection, Gift of Ford Motor Company and John C.
Waddell, 1987 (1987.1100.18). Copy Photograph © The
Metropolitan Museum of Art Location :The Metropolitan
Museum of Art, New York, NY, U.S.A. Photo Credit :
Image copyright © The Metropolitan Museum of Art / Art
Resource, NY
PABLO PICASSO (1881-1973)
Picasso was the child prodigy son of Jose
Ruiz Blasco, a drawing master of Malaga Spain,
and Maria Picasso. Until 1898 Picasso included his
father’s name, Ruiz, as well as his mother’s, when
signing works, but after 1900 he dropped the name
Ruiz from his signature. More than any other artist
Picasso has become associated with the development
of the Modernist aesthetic in the period between the
two world wars.
Chapter 3: Five -Isms
Picasso first visited Paris in 1900, and alternated between Paris and Barcelona from 1900-1904.
During this early Paris period he was very much
influenced by the drawings of Toulouse Lautrec.
The subject matter of his work became the poor and
social outcasts of society, dominated by blue tones.
In 1904 Picasso took a studio the Bateau-Lavoir and
became the center of an avant-garde circle of artists.
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
The Old Guitarist, 1903/04. Oil on panel. 122.9 x 82.6 cm The
Art Institute of Chicago
THE BLUE PERIOD 1901-1904
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Module: Art Theory and History for Senior Students
From 1905-1908 Picasso’s fortunes changed
and so did his art. The subject matter of this period
was predominately acrobats, dancers and harlequins,
with an introduction of grey and pink tones to his
Course Code: AVI 4M
palette. He met Matisse in 1906, and although he
admired the work of the Fauves he continued to develop his own aesthetic.
The Family of Acrobats with Ape. 1905. oil on canvas
41”x291/2”.gouache, watercolour, pastel, India ink on
cardboard.
THE ROSE PERIOD 1904-1908
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Module: Art Theory and History for Senior Students
The years from 1907-1909 are often called
his "African" period, when he concentrated on the
simplification of forms in his work based on a study
of African sculpture and the works of Paul Cezanne.
Course Code: AVI 4M
The culmination of this work was the painting Les
Demoiselles d’Avignon a work so radical it was not
publicly displayed until 1937.
Les Demoiselles d’Avignon. 1907. 8’x7’8”. oil on canvas.
Museum of Modern Art. New York.
THE AFRICAN PERIOD 1907-1909
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Module: Art Theory and History for Senior Students
From 1910-1916 Picasso worked closely
with the artists Georges Braques and Juan Gris,
developing the various aspects of Cubism, first
Analytical Cubism, (1910-1912), and then Synthetic
Cubism, (c.1912). Analytical Cubism had begun
Course Code: AVI 4M
with Les Demoiselles d’Avignon and continued to
develop the process of fracturing the viewing plane
of the canvas. Perhaps Cubism’s most important
influence on modern art was that it insisted that art
was an object in its own right and not just a representation of the real world.
Portrait of Vollard. 1910. 361/4”x255/8”. oil on canvas.
Pushkin State Museum of Fine Art, Moscow.
THE ANALYTICAL CUBIST PERIOD 1910-1912
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Module: Art Theory and History for Senior Students
After Cubism Picasso worked in a variety
of styles including Synthetic Cubism, a monumental
Neoclassical style and his own version of Surrealism.
The culmination of this period was his epic painting
“Guernica” in 1937, which expressed his horror of
the bombing of the Basque capital and foreshadowed
the coming war in Europe.
Course Code: AVI 4M
Picasso continued to push the boundaries of art
throughout his life and expressed his genius in almost
every artistic medium with equal skill.
Still Life with Chair Caning. 1912. 101/2”x133/4”.collage
of oil, oilcloth and pasted paper simulating chair caning on
canvas. Musée Picasso. Paris.
THE SYNTHETIC CUBIST PERIOD 1912-1917
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Module: Art Theory and History for Senior Students
MATISSE AND FAUVISM
Henri Matisse and a group of young artists exhibited a collection of vibrantly coloured paintings in
Woman with the Hat. 1905. oil on canvas 32”x231/4”. Private
collection, San Francisco.
Course Code: AVI 4M
Paris in 1905. A critic reviewing the work at the time
referred to the painters as "fauves", which is French
for wild beasts, because he could not comprehend
their intense use of colour and texture. The artists
however were fine with the name given to them
and the Fauvist movement was born. Artists such
as Matisse, Derain, Dufy, de Vlaminck and Rouault
continued to create works with violent colour and
distortion.
Coburn, Alvin Langdon (1882-1966)
Henri Matisse, painter, 1913. Platinum print.
Location :Royal Photographic Society, London, Great
Britain Photo Credit : SSPL/National Media Museum / Art
Resource, NY
HENRI MATISSE (1869-1954)
Henri Matisse was born in Le Cateau in the Picardy region of France. He abandoned the study of Law
and went to Paris in 1892 to study art in the academic tradition under the painter Bouguereau, (1825-1905).
He also worked at the Academie Julien and the Ecole des Beaux-Arts were he studied with Gustave Moreau
and met many of the artists who would later form the Fauves group of painters.
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
He studied in this way much in the style and colour ranges of the realists like Corot until 1896, when
painting in Brittany he began to use the lighter palette of the Impressionists. He seems to have been mostly
influenced by Renoir during this time. By 1899 he began to experiment with Neo-Impressionist techniques
similar to those used by Seurat and the Divisionists.
The Green Stripe (Madame Matisse). 1905. 157/8”x127/8”.
oil on canvas. Statens Museum, Copenhagen.
THE FAUVE PERIOD 1905-1908
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
In 1905 together with artists such as Derain and Vlaminck he exhibited new works in a now famous
Salon d’Automne show that gave rise to the name “Fauve”. The story goes that a critic seeing a sculpture that
was like the work of Renaissance sculptor Donatello remarked, “Donatello au milieu des fauves”, (Donatello
among the wild beasts). Accuracy of the story aside the name appealed to the group of painters and stuck!
Harmony in Red. 1908-09. 711/4”x967/8”. oil on canvas.
The Hermitage Museum, Leningrad
THE POST FAUVE PERIODS 1908-1954
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
In 1906 Matisse met Picasso and shared his interest in African art, but remained distant from the cubists, preferring to develop his own aesthetic. In 1907 Matisse founded his own academie. During this period
he began to formalize his approach to painting, coming back to several themes which would continue to be a
source of inspiration throughout his career.
He continued to develop a style based on line and colour shapes with alternating periods of more
naturalistic and more abstract compositions. After the First World War, Matisse like Picasso, led the revolt
against traditional representation, defining the period known as Modernism. In later life he became known
for his “papiers collés” which he began in 1941 during a convalescence from a serious operation. His most
famous of these works were for the book “Jazz” completed in 1944.
Le Tobogan from “Jazz”. 1944 . collage.
THE COLLAGES OF MATISSE
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Module: Art Theory and History for Senior Students
Italian Futurism
Futurism was an artistic movement with
political implications, (unfortunately it was later
associated with the rise of Italian fascism) that was
founded by the Italian poet Marinetti. It is one of
the few serious art movements that began first as a
theory and was taken up by painters as a way of “il-
Course Code: AVI 4M
lustrating “ the ideas. It was the attempt of a number
of young artists to free Italy from its past and the
cultural stupor it found itself in by the early part of
the 20th century. It glorified the modern world, machinery, speed and violence. A militant faction of the
Futurists also supported destroying museums, libraries and academies as a way of wiping away the past
and starting fresh.
The painters Umberto Boccioni, Carlo Carra,
Luigi Russolo, Giacomo Balla and Gino Severini
announced their dedication to the movement in 1910
with a technical manifesto of Futurist painting, followed in 1912 with a manifesto on Futurist sculpture
by Boccioni. In 1910 the Futurists were following
the colour techniques of the Neo-Impressionists as
interpreted by Balla, but by 1912 it seemed to be an
attempt to infuse Cubism with more life and dynamism.
Street Light- Study of Light. 1909. oil on canvas 68 3/
4”x451/4”. The Museum of Modern Art, New York, (Balla)
GIACOMO BALLA 1871-1958
Their exhibition in Paris 1912 seemed to mark the culmination of theory with practice and it drew
considerable attention from the art world. The exhibit traveled from Paris to other major cities in Europe and
suddenly Futurism became a significant part of the avant garde. They attempted to bring art into closer contact with life by capturing movement with simultaneous views of the same object or by lines of force.
Balla was the oldest member of the group and a teacher to some of the others. He continued his own
experiments showing simultaneous views of the same object. Street Light is one of the earliest examples of
Futurism using V shaped brush strokes and complementary colour pairs to create the optical illusion of light
rays vibrating away from the light and into the space around it.
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Chapter 3: Five -Isms
Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Celebrating the machine and war as a way of “cleansing” the old society many Futurists eagerly
participated in the First World War. Many of course never returned including Boccioni, (perhaps the most
talented of the Futurist group), which marked the end of Futurism even though it continued to win over new
members and in turn influenced other new styles of art such as Russian Constructivism, Vorticism and the
Dadaists.
Dynamism of a Dog on a Leash. 1912. oil on canvas, 89.85 x
109.85 cm. The Albright-Knox Art Gallery, Buffalo.
THE ART OF BALLA
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Chapter 3: Five -Isms
Module: Art Theory and History for Senior Students
Course Code: AVI 4M
The Solidity of Fog. 1912. 393/8”x285/8”.oil on canvas.
Collection of Gianni Mattioli, Milan, (Russolo)
LUIGI RUSSOLO 1885-1947
Russolo was the strongest theorist if not the most creative painter. In The Solidarity of Fog he translates
the light radiating from the sun into ever increasing solid circles segmenting the figures into rhythmic patterns. He became interested in Futurist music and gave up painting for a number of years to explore the possibilities of paving the way for much of the electronic music that was produced later in the century.
THE ART OF RUSSOLO
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Riot in the Gallery. 1909. 30”x251/4”. oil on canvas.
Collection of Emilio Jesi, Milan, (Boccioni)
UMBERTO BOCCIONI 1882-1916
Boccioni was perhaps the most talented of the group but his career was cut short in 1916 when he was
killed in World War 1. His first important Futurist painting was Riot in the Gallery which combined some of
Balla’s Street Light elements with a movement and energy. This painting in a way was preparatory to his later
masterpiece The City Rises. Perhaps one of Boccioni’s greatest accomplishments was the creation of Futurist
sculpture which revitalized the medium and influenced many new styles of art, such as Constructivism, Vorticism and the very influential Dada movement.
Boccioni was perhaps the most talented of the group but his career was cut short in 1916 when he was
killed in World War 1. His first important Futurist painting was Riot in the Gallery which combined some of
Balla’s Street Light elements with a movement and energy. This painting in a way was preparatory to his later
masterpiece The City Rises. Perhaps one of Boccioni’s greatest accomplishments was the creation of Futurist
sculpture which revitalized the medium and influenced many new styles of art, such as Constructivism, Vorticism and the very influential Dada movement.
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Chapter 3: Five -Isms
Module: Art Theory and History for Senior Students
Course Code: AVI 4M
The City Rises is a masterpiece of Futurism integrating labour, light and movement. The composition is
dominated by the large, surging figure of the horse in the foreground which pushes aside the people. It encapsulates one of the credos of Futurism which was to capture the dynamism of work and labour in the modern
industrial society. Solid objects appear to dissolve into light and movement and are reintegrated into the composition as energetic brush strokes of pure colour.
The City Rises. 1910-11. 6’6”x9’10”. oil on canvas.
The Museum of Modern Art, New York
THE ART OF BOCCIONI
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Module: Art Theory and History for Senior Students
FOUR PAINTERS OF THE UNCONSCIOUS MIND
Surrealism was a movement that began in the
early part of the 20th century. It began primarily as
a philosophical movement after Andre Breton wrote
the Surrealist Manifesto in 1924.
The Persistence of Memory. 1931. oil on canvas 24.1”x / 3cm.
The Museum of Modern Art, New York.
Course Code: AVI 4M
The ideas of surrealism developed out of the
Dada art movement of the 1916 - 1920 period which
rejected logic and embraced chaos as a reaction to
the society that had led to the horrors of the First
World War. Many of the artists
Sigmund Freud's work with free association,
dream analysis and the hidden unconscious became
very important to the Surrealists who worked to develop methods to liberate imagination.
Salvador Dali, ca. 1960. Location : Photo Credit : Bildarchiv
Preussischer Kulturbesitz / Art Resource, NY
SALVADOR DALI 1904-1989
Salvador Dali was a gifted and imaginative painter from Spain who developed an interest in the subconscious and Freudian psychology. As a young artist Dali revered his fellow countryman Picasso. Later
he became associated with artists of the surrealist movement in Paris and Madrid and in 1929 developed his
"Paranoiac Critical" method of painting, (juxtapositions of seemingly unrelated objects from which the mind
could intuit links or relationships), in the early 1930's.
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Chapter 3: Five -Isms
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Course Code: AVI 4M
Salvador Dali experimented with photography and film as well as traditional art techniques to explore
his approach to surrealism including famous collaborations with Alfred Hitchcock and Walt Disney. Often
his outrageous personal behaviour eclipsed his art.
Soft Construction with Boiled Beans, (Premonition of Civil
War). 1936. oil on canvas 100 x 99 cm. The Philadelphia
Museum of Art, Philadelphia.
Dali's later art experimented with different technical approaches including optical illusions and holography. The subject matter of his art tended to include a mix of science and Christian symbolism in a style he
called Nuclear Mysticism.
Chapter 3: Five -Isms
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
The Accommodations of Desire. 1929. oil on cardboard 22.2 x
34.9 cm. The Metropolitan Museum of Art, New York.
THE ART OF DALI
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Chapter 3: Five -Isms
Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Ariadne. 1913. 135.6 cm x 180.3 cm. oil and graphite on
canvas. Metropolitan Museum of Art, New York
GIORGIO de CHIRICO 1888-1978
De Chirico was a Greek born Italian painter who studied art in Athens, Florence and Munich. He spent
most of his mature period in Paris and Rome where he gained fame for an approach he called the Metaphysical School of art which featured odd, moody city-scapes populated by statues and shadows, and cluttered
store rooms with mannequin-like figures.
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
The Menaced Assassin. 1926. 59 1/4”x 76 7/8”. oil on canvas.
Museum of Modern Art, New York.
RENE MAGRITTE 1888-1967
Magritte was a Belgian artist who studied art from an early age. He produced his first surrealist painting
in 1926 which did not meet with critical success. He later moved to Paris and became involved with the surrealist group of artists working there. He made his money early on as a graphic designer for a large firm and
then later with is own agency which he formed with his brother.
His work often contained ordinary objects in odd or unusual contexts which gave them new meaning.
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Object. 1936.fur covered cup, saucer and spoon. The Museum
of Modern Art, New York
MÉRET OPPENHEIM 1913-1985
Oppenheim was a German born Swiss artist who was associated with the Dada art movement and
Surrealism. At the age of 18 she travelled to Paris where she met many of the artists involved with the Surrealist movement and exhibited with them in 1933.
She continued to exhibit with Surrealist artists until 1960 with her work often focusing on female sexuality and feminist concerns. Her sculpture "Object" may be one of the most notorious Surrealist "found
objects.
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Module: Art Theory and History for Senior Students
PAINTING THE HUMAN EXPERIENCE
It is important to understand that although it
is often used as a term of reference for artwork produced in Germany in the very early part of the 20th
century there never was a specific movement known
as expressionism at that time.
Course Code: AVI 4M
There were actually two distinct groups of artists working in Germany and Austria that are considered to be expressionists; Der Blaue Reiter, (the
Blue Rider) and Die Brücke, (the Bridge). These
artists were influenced by the philosopher Nietzsche
breaking with academic tradition by making use
of bold colours and distorted forms often without
perspective to conveying an aesthetic experience
beyond merely imitating the real world.
Die Brücke was a movement that was founded
in 1905 by art students in Dresden which they hoped
would form a bridge between the art of the past
and that of the new century. Der Blaue Reiter was
established in Munich between 1911 and 1914 by
artists wishing to express spiritual truths through
their art.
The term expressionism itself was coined by
the art historian Antonin Matĕjček in 1910 to describe artists whose work rejected simple representation and worked at a more complex psychic level.
Street, Berlin. 1913. oil on canvas 120.6 x 91.1 cm. The
Museum of Modern Art, New York.
ERNST KIRCHNER 1880-1938
Kirchner was a student of architecture in Dresden when he became interested in pursuing a career
as a painter. Together with fellow students Fritz
Bleyl, Karl Schmidt-Rottluff and Erich Heckel he
formed an artists' movement called Die Brücke.
44
These artists admired earlier German artists
such as Dürer, Grünewald and Cranach the Elder
as well as European avant-garde movements and they
saw themselves as a link between the two. Kirchner
established an individual reputation as an artist outside the Die Brücke group in 1913-14 with his paintings of Berlin street life.
Chapter 3: Five -Isms
Module: Art Theory and History for Senior Students
Kirchner served briefly in the First World War
but suffered a nervous breakdown and was discharged in 1915. He recovered over the next two
years in sanatoriums in Switzerland.
Course Code: AVI 4M
He spent the rest of his life in Switzerland
where he became associated with the Rott-Blau
group of artists. The Nazi party labelled him a
degenerate artist in 1933 confiscating his work from
museums and galleries to have them destroyed. The
trauma of this and the German occupation of Austria
prior to the Second World War led to his suicide.
Self Portrait as Soldier. 1915. oil on canvas 27 1/4" x 24" The
Allen Memorial Art Museum, Oberlin Ohio.
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Just before his move to Munich he saw an
exhibition of works by Monet which had a powerful effect on him. He became particularly interested
in colour and what he perceived as its symbolic and
psychological power.
Kandinsky was also greatly influenced by music, Wagner in particular, and the religion/philosophy
of Theosophy. His early work shows the influence of
both Pointillism and Fauvism and often concentrated
on the landscape.
Church of St. Ursula. 1908. oil on canvas 68.8 x 49 cm.
Städtische Galerie im Lenbachhaus, Munich.
WASSILY KANDINSKY 1866-1944
Kandinsky was a Russian painter and printmaker who began by studying law and economics at the
university of Moscow.
He was quite successful in this career and did
not start to study drawing and painting until he was
30. He soon decided to give up a promising position
teaching law at a university and instead moved to
Munich in 1896 and studied at the Academy of Fine
Arts.
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The paintings of the Blaue Reiter period were
often large free form compositions of line and colour
that did not try to illustrate anything other that a
direct expression of the "inner feelings of the human
soul".
Course Code: AVI 4M
Kandinsky was also a writer and art theorist and
wrote his treatise "On the Spiritual in Art" at this
time.
Composition VII. 1913. oil on canvas 200 x 300 cm. Tretyakov Gallery, Moscow.
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Module: Art Theory and History for Senior Students
FRANZ MARC 1880-1916
Marc was a German artist whose father was a
landscape painter. He studied painting at the Academy of Fine Arts in Munich then spent time in Paris
where he was greatly influenced by the work of van
Gogh.
Course Code: AVI 4M
He helped to form the Blaue Reiter group in
1911 and exhibited with them in 1911 and 1912. He
was on a list of artists to be withdrawn from active combat during the First World War but he was
killed in the Battle of Verdun before his orders came
through.
Fighting Forms. 1914. oil on canvas. 91 x 131 cm. Staatsgalerie moderner Kunst, Munich.
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OSKAR KOKOSCHKA 1886-1980
Kokoschka was an Austrian painter, poet and
playwright. His early work were mostly portraits
done of important people in Vienna. He served in
the First World War until he was wounded.
Course Code: AVI 4M
He had a passionate love affair with Alma
Mahler, the widow of composer Gustav Mahler and
his early masterpiece "The Tempest" was a tribute to
her.
He fled Austria in 1934 when the Nazis branded
him a degenerate artist and eventually settled in
England.
The Tempest, Bride of the Wind. 1914. oil on canvas. 71 1/4" x 86 5/8". Kunstmuseun, Basel.
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Module: Art Theory and History for Senior Students
Course Code: AVI 4M
Feeling that an Impressionistic style did not allow him to adequately express emotional content he
continued to develop his style of painting
His work did not receive critical acceptance in
Norway and he left for Paris. There he was greatly
influenced by the work of Gauguin, van Gogh and
Lautrec.
After Paris Munch travelled to Berlin where his
work caused a public commotion.
The Scream. 1893. oil and tempera on cardboard. 91 x 73.5
cm. National Gallery, Oslo.
EDVARD MUNCH 1863-1944
Munch was a Norwegian painter and printmaker
in the Symbolist style who work is seen as an important forerunner to the expressionist work of the early
20th century.
His father was an important doctor in Oslo. A
defining event in Munch's childhood was the death
of his mother and sister as a result of contracting tuberculosis. Munch was a sickly child often confined
to his home in the winters.
He enrolled in a technical school to study engineering where he excelled but he later left to study at
the Royal School of Art in Oslo.
He experimented with many styles of art including Impressionism and many of his early portraits
are similar to Manet's.
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The Sick Child. 1907. oil on canvas. 118.7x121cm. The Tate
Modern, London.
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Course Code: AVI 4M
The Dance of Life. 1899-1900. oil on canvas. 49 1/2" x 75". The National Gallery, Oslo.
THE ART OF MUNCH
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