Presentation on theme: "Art Deco + Colonialism. Adrian Allinson, 1931. Jules Isnard Dransy, Visit the International Colonial Exhibition, 1931."— Presentation transcript:
Art Deco + Colonialism
Adrian Allinson, 1931.
Jules Isnard Dransy, Visit the International Colonial Exhibition, 1931.
De Stijl - “The Style” Common aim and utopian vision. Universal harmony. Response to the trauma of World War I. Influenced by Cubism and geometric abstraction. Rejection of the decorative arts of Art Nouveau and over-emotional Expressionism. Favored a simple, logical style that emphasized construction and function. Appropriate for every aspect of modern life. Key Players - Founded in 1917 by a group of artists and architects 1.Theo Van Doesburg 2.Piet Mondrian 3.Bart van der Leck 4.Gerrit Rietveld
Piet Mondrian, Tablueau 2, 1922.
Theo Van Doesburg and Vilmos Huszar, De Stijl, 1919 Theo Van Doesburg
Theo Van Doesburg, NB De Stijl, 1921.
Bart Van Der Leck, Rotterdam-London, 1915.
Theo Van Doesburg and Kurt Schwitters, Kleine Dada Soiree, Small Dada Evening!),1922. De Stijl and Dada
Russian and the Revolution
Suprematism - Fine art medium. Direct emotional appeal to viewer. Kasimir Malevich, Suprematist composition; Airplaine Flying,
Dmitri Moor, Have you enrolled as a volunteer?, 1920.
Alfred Leete, Your Country Needs You!, 1914.
Suprematism - Fine art medium. Direct emotional appeal to viewer. El Lissitzky, Beat the Whites with the Red Wedge (1920)
The Constructivists declared themselves for the revolution.
Alexander Rodchenko, Dobrolet, Constructivism - Coined in 1921, rejection of self-expression combined with a commitment to industrial materials that made it a natural fit with the ideological goals of new communist regime.
Rodchenko and Stepanova
Alexander Rodchenko, Kakao, “Comrades, don’t argue! Soviet citizens will become stronger in sport. In our might is our right. And where is strength? In this cocoa.”
Gustav Klustis, Under the Banner for Lenin for Socialist Construction, USSR, Photomontage - composite image made up of a variety of photographic source materials.
Alexander Rodchenko, Kino Glanz (Film Eye), 1924.
Franz Ferdinand's cover was inspired by Rodchenko's Poster (1924) and his photograph of "Lilya Brik" (1924).
Stenberg Brothers, The Man with the Movie Camera, 1929.