Tuesday, March 12, 2013

12/2/13 - 12/3/13 Study Sets

Independent Research (12/2/13, 14/2/13, 19/2/13)
Selected Topic: The Fall of the Experiments in Art and Technology (E.A.T.)

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Cubism (21/2/13)
(no lecture guide provided, refer to 21/2/13 notes)

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 Futurism in Italy: From Manifestos to Noise Machines (26/2/13)
(in correspondence with lecture guide/notes)

Gino Severini, 1883 - 1966
Dynamic Hieroglyphic of the Bal Tabarin, 1912
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Antonio Giulio Bragaglia, 1889 - 1963
The Cellist, 1913
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Giacomo Balla, 1871 - 1958
The Streetlight, 1909

Dynamism of a Dog on a Leash, 1912
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Umberto Boccioni, 1882 - 1914
Dynamism of a Soccer Player, 1913

Development of a Bottle in Space, 1912

 Unique Forms of Continuity in Space, 1913
Quotes:


Excerpt from the Futurist Manifesto, Le Figaro, 1909:
"We will glorify war - the world's only hygiene..."
"We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice."
"The oldest of us is thirty: so we have at least a decade for finishing our work."
Excerpt from Pratella's Musica Futurista, 1912:
According to Balilla Pratella, in his manifesto, Musica Futurista, the goal of Futurist music was "to present the musical soul of the masses, of the great factories, of the railways, of the transatlantic liners, of the battleships, of the automobiles and airplanes. To add to the great central themes of the musical poem the domain of machines and the victorious kingdom of Electricity."
Excerpt from Luigi Russolo's manifesto, The Art of Noise, 1913:
"Let us break out since we cannot much longer restrain our desire to create finally a new musical reality, with a generous distribution of resonant slaps in the face, discarding violins, pianos, double-basses and plaintive organs. Let us break out!"

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Research Proposals/Presentations (28/2/13, 2/3/13, 4/3/13)

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Art in Russia (7/4/13)
(no lecture guide provided, refer to notes)

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Exam I Review, Art in Russia cont., Dada (7/4/13)
(no lecture guide provided, refer to notes)

Tuesday, February 12, 2013

7/2/13 Study Set (IV)

German Expressionism Cont.
(in correspondence with lecture guide/notes)

Emil Nolde, 1867-1956
   The Prophet, 1912

Tuesday, February 5, 2013

5/2/13 Study Set (III)


German Expressionism
(in correspondence with lecture guide/notes)

Terms:
Worpswede
  -  Artist's Colony
  -  Northern Germany, near the town of Bremen
Die Brücke
  -  "The Bridge"
  -  Dresden and Berlin, Germany
  -  Edvard Munch's "influence"
  -  Erich Heckel, Karl  Schmidt-Rottluff, Fritz Bleyl, Otto Müller, Max Pechstein
Carl Einstein
  -  Negerplastik (African Sculpture), 1915
Der Blaue Reiter
  -  "The Blue Rider"
  -  Munich, Germany
Thannhauser Gallery
Gabriel Munter, 1877-1962
Wassily Kandinsky
  -  Concerning the Spiritual in Art, 1911
Arnold Schonberg
  -  Atonal music
Synthestesia
Murnau and hinterglasmalerei (painting behind glass)
  -  Bavarian glass painting technique
Theosophy and Madame Blavatsky

Artists and Works:

Paula Modersohn-Becker, 1876-1907
Self-Portrait with an Amber Necklace, 1906
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Käthe Kollwitz, 1867-1945
Rest in the Peace of His Hands, 1936
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Max Beckmann, 1884-1950
 Departure, 1932-1933
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Ernst Barlach, 1870-1938
 Singing Man, 1928
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Ernst Ludwig Kirchner, 1880-1938
 Self-Portrait with Model, 1910-1926

Street, Berlin, 1913
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Emil Nolde, 1867-1956
The Last Supper, 1909
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Wassily Kandinsky, 1866-1944
 Composition IV, 1911

Black Lines, 1913
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Franz Marc, 1880-1916
Blue Horses, 1911

Animal's Fate, 1913

Quotes:

Excerpts from a letter to Herma Becker by Paula Modersohn-Becker, 21/4/1905
"As soon as I had Otto over the border the iron band that had clamped around his sad and grieving heart broke in two. He was very jealous of Paris, French art, French nonchalance, the Boulevard Michel, the Bulgarians, etc. He imagined that I only preferred to stay in Paris and though nothing at all of Worpswede... I think that you and I will someday want to go back to Paris again together. Have you already seen the Salon? Please do send me a catalog, the illustrated one if they have it. And, then please find out about the prices of the following magazines; I very much want to have some of them.
     1. Noa-Noa by Gauguin, Edition La Plume.
     2. The Biography of Gauguin, 1903.
     3. Study about Gauguin in the Revue Encyclopedique, 1904,..."
Programme of the Brücke Artists, printed as a woodcut broadsheet in 1906
"With faith in progress and in a new generation of creators and spectators we call together all youth. As youth, we carry the future and want to create for ourselves freedom of life and of movement against the long-established older forces. Everyone who reproduces that which drives him to creation with directness and authenticity belongs to us."
Emil Nolde
"Primordial peoples live in their nature, are one with it and are a part of the entire universe."
Wassily Kandinsky in referece to his fascination with Russian and Bavarian folk art
"I learned not to look at a picture from outside, but to move within the picture, to live in the picture."
Wassily Kandinsky
"One thing became clear to me - that objectiveness, the depiction of objects, needed no place in my paintings and was indeed harmful to them."
"The harmony of color and form must be based solely upon the principle of the proper contact with the human soul."

31/1/13 Study Set (II)


Fauvism: Matisse and Les Fauves
(in correspondence with lecture guide/notes)

Terms:
Exposition Universelle, Paris, 1900
Salon d'Automne, 1905
Donatello
Les Fauves [Wild Beasts]
Louis Vauxcelles
Henri Rousseau
Gertrude Stein
Color Theory
Collioure, France
The Barnes Foundation

Artists and Works:

Henri Matisse, 1869-1954
The Serf, 1900-1903

 Luxe Calme et Volupté, 1904-1905

 Woman with the Hat, 1905

Open Window, Collioure, 1905

The Green Stripe, 1905

Joy of Life, 1905-1906

Blue Nude, Souvenir of Biskra, 1907

The Red Studio, 1911

Dance, 1910
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André Derain, 1880-1954
Westminster Bridge, 1906
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Maurice de Vlamin, 1880-1954
Dancer at the "Rat Mort," 1906

Quotes:

Excerpts from Notes of a Painter by Henri Matisse, 1908
"The chief aim of color should be to serve expression as well as possible. I put down my colors without a preconceived plan... I discover the quality of color sin a purely instinctive way. To paint an autumn landscape I will not try to remember what colors suit this season, I will be inspired only by the sensation that the seson gives me... My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the very nature of experience."
 "What I dream of is an art of balance, of purity and sensitivity devoid of troubling or depressing subject matter, an art which might be fore every mental worker, be he businessman or writer, like an appeasing influence, like a mental soother, something like a good armchair in which to rest from physical fatigue."

Tuesday, January 29, 2013

29/1/13 Study Set (I)

19th Century Artists Who Influenced the 20th Century
(in correspondence with lecture notes)

 Courbet, The Painters Studio, 1854-1855

Courbet, Burial at Ornans, 1849-1850

Manet, Luncheon on the Grass, 1863

Manet, Olympia, 1863

Turner, Burning Houses of Parliament, 1834-1835

Monet, Impression Sunrise, 1874

Monet, Boulevard des Capucines, 1873

Morisot, The Cradle, 1872

Cassatt, The Bath, 1892

Van Gogh, Self-Portrait, 1888

Van Gogh, Potato Eaters, 1885

Gauguin, Self Portrait, 1889-1890

Cezanne, Mont Sainte-Victoire, 1904-1906

Ensor, Self-Portrait with Masks, 1899

Ensor, Entry of Chris into Brussels in 1889, 1888

Van de Velde, Poster for Food Concentrate (Tropon Company), 1899