1. European Art Movements of the 20th Century
Presented by: Cameron M. and Laura H.
Sophomore EHAP Ms. Pojer Horace Greeley High School Chappaqua, NY
June 9, 2006

2. Essential Question…
How Did Cubism, Dada, & Surrealism reflect the Anti-War Attitudes of 20th Century Europe?

3. Cubism
1900’s – 1920’s

4. Cubism
Goals:
To devalue previous art movements through a dramatic change
To separate their art from the conventional understanding of perspective
Picasso and Braque worked next to each other in the same studio during their cubist period with almost identical styles
Unlike Expressionism or Fauvism, after the Blue Period, Cubism was based more on experimenting with structure and less on expressing emotion
One of the most influential art movements of 20th century
Along with this, viewpoint is important throughout all the different types of Cubism
Abstract

5. Paul Cézanne ( )
Known as the artist who acted as a bridge between Impressionism and Cubism
Used repeated, regular brush strokes and depth perception
Paintings were said to resist the logic of space and gravity
Lower Left, Apples, Peaches, Pears, and Grapes, Paul Cezanne ( )
Upper Right, Card Players and Girl, Paul Cezanne ( )
Questioned the techniques of painting in the 19th century
Nickname: the father of modern painting
Born in the south of France friends with Emile Zola (Dreyfus Affair)

6. Paul Cézanne ( )
Middle, Montagne Sainte Victoire, Paul Cezanne (1885) (2nd of the series)
Illustrates small regular brush strokes and bright colors to show light and shadows

7. Georges Braque ( )
Painted with bright colors and unassembled forms until 1908, but changed styles after he was injured in WWI
Switched to a more cubist technique using light and perspective
Worked with Picasso
Analytic Cubism
Used a collage technique
Left, Viaduct Near L'Estaque, Georges Braque (1908)
Born in Argenteuil in 1882 and raised in Le Havre
Painted with a more logical technique
First to use collages
Added real elements to his paintings (sand)
Enlisted in French Army head wound and couldn't paint
Began to work with Pablo Picasso in developed similar techniques collage and papier colle

8. Georges Braque ( )
Wanted to create the sense of being able to move around within the painting
Focused on different viewpoints
Still life paintings from
Lower Left, Still Life Pitchers, Georges Braque (1932)
Right, Violin and Candlestick, Georges Braque (1910)
Paris, (San Francisco Museum of Modern Art)
Example of collage technique/geometric shapes to create depth
Injured in WW1 and moved away from harsh cubism to a more synthetic form (most abstract cubism)

9. Georges Braque ( )
Left, Fruit Dish With Cards, Georges Braque (1908)
collage
Right, Large Nude, Georges Braque (1908)
introduced real elements into work- sand and commercial lettering. Add real aspects of life to the “illusory”
Proved that painting doesn’t have to have a connection to reality - can be completely abstract

10. Juan Gris Analytical cubism Papier collé Bright colors
Left, Breakfast, Juan Gris (1914)
Right, Portrait of Picasso, Juan Gris (1912)
Worked with Picasso until WW1

11. Pablo Picasso (1881-1973) Considered greatest artist of 20th century
Created more than 20,000 pieces of art
Three phases of his career:
Blue Period
Rose Period
Protocubism
Some of his paintings take on a surrealist quality
Left, Three Musicians, Pablo Picasso (1921)
Born in Spain child prodigy
All three phases of his career occurred before he changed to cubism

12. Pablo Picasso’s Self-Portraits
Left, Self-Portrait, Pablo Picasso (1899) (age 18)
Middle, Self-Portrait, Pablo Picasso (1907) (age 26)
Right, Self-Portrait, Pablo Picasso (1972) (age 91)
Shows transformation of styles

13. Picasso’s Blue Period Left, The Old Guitarist, Pablo Picasso (1903)
Right, Le Gourmet, Pablo Picasso (1901)
Focused on outcasts, misfits and beggars
Creates somber atmosphere

14. Picasso’s Blue Period, cont’d.
Left, La Vie, Pablo Picasso (1903)
Middle, La Celestina, Pablo Picasso (1904)
Right, The Tragedy, Pablo Picasso (1903)
Casagemas, Picasso’s friend, committed suicide - start of the period
Picasso in late teens and living away from home for first time – considered another factor of the Blue Period

15. Characteristics of Picasso’s Blue Period
Color used to express emotion
Reflected Picasso’s mourning over the loss of a friend and stress of financial troubles
Mysterious
Right, Woman With Crossed Arms, Pablo Picasso (1901)
Sold for $55 million in NY
Picasso living in very poor conditions
Always something “misty” and depressing about Blue Period works

16. Picasso’s Rose Period
After his “Blue Period”, Picasso settled in Paris and began his exciting relationship with Fernande Olivier
His happier mood influenced his works which began to include more reds and pinks, ending his Blue Period
His art was also beginning to be sold so he was no longer in a financial crisis
Carnival subjects were a favorite, as he visited the circus several times a week
Upper Right, Harlequin’s Family With An Ape, Pablo Picasso, (1905)
Lower Right, Lady With A Fan, Pablo Picasso (1905)
Out of the depression!
more earth tones
usually circus people not in motion

17. Picasso’s Rose Period
Left, Family of Saltimbanques, Pablo Picasso (1905)
Right, The Girl with a Goat, Pablo Picasso (1906)
Friendship with Fernande Olivier may be a factor which influenced his change of style from the Blue Period

18. Early Cubist Period Les Demoiselles de Avignon, 1907:
Portrayed female prostitution in Paris, featuring women who appear to be wearing masks
Shows Picasso’s deep influence by the power shown in African and Oceanic tribal arts and culture
In 1907, Picasso and Braque began a collaboration with a radical outlook and advance
Both artists used bright colors, distortion, hard edges and flattened space
Upper Right, Houses at L'Estaque, Georges Braque (1908)
Lower Right, African and Oceanic Tribal masks
Major transition from Rose Period -much more focus on perspective and shapes

19. Les Demoiselles de Avignon
Middle, Les Demoiselles de Avignon, Pablo Picasso (1907)
Women in a brothel
"first exorcism painting“
Picasso placing attention on the fear of sexual disease which was spreading through Paris
Not traditional in composition - break away

20. The Neo-Classical Period
Occurred between WWI and WWII
Relationship with Braque faded after WWI and changed to more classic methods of painting
Represented a reaction to society's disappointment in and shock from the violence of the war
Showed his mental stability and peace at the end of the Great War
Upper Right, The Lovers, Pablo Picasso (1923)
Reassurance of peace

21. Analytical Cubism Objects broken down into their components
Different viewpoints
Conceptual over perceptual
The height of the period involved paintings becoming too abstract to the point where they were not comprehensible
Simplified painting methods through:
Shape
Color
Line
Right, The Guitar Player, Pablo Picasso (1910)
Objects divided into small things in which put together make a whole
Often used collage

22. Synthetic Cubism Brighter colors used Collages
Easier to interpret than analytical cubism
More decorative and more visually pleasing
Left, Woman in an Armchair, Pablo Picasso (1913)
Oil cloth placed on canvas
Real world on canvas

23. Later Cubist Period
Used more colors and patterns than in earlier works
Began his ‘friendly rivalry’ with Matisse
Created many paintings reflecting the horrors of war and his response to the devastating realizations of concentration camps during WWII
Upper Left, Dream, Pablo Picasso (1942)
Lower Left, Girl Before A Mirror, Pablo Picasso (1932)
Matisse developed Fauvism (expressive style) with Andre Derain

24. Picasso and War ( )
Guernica depicts the massacre after German planes bombed the city and 1,600 civilians on April 26, 1937, during the Spanish Civil War
Used symbolism and the monochromatic colors to represent the desolation after the tragedy
Bottom, Guernica, Pablo Picasso (1937)
The Spanish general Francisco Franco allowed the Nazis to bomb the city in return for military aid
16 miles surrounding the entire city were destroyed
Picasso declared that he wanted this work to return to Spain when the tyrant Franco was out of power, as it did in the 1970s after Franco died
The Museum of Modern Art, grudgingly returned one of it’s most famous paintings to Spain as a result of Picasso’s will

25. Dadaism
1910’s – 1920’s

26. Dadaism Began in 1916 and ended in 1922
An international movement that claimed it was “against art” and was used to respond to the violence and irrationality of war
Meant to attack and anger the bourgeoisie because of belief that it was the mentality and actions of this class that allowed war to occur
Wanted art to reflect the upsetting and violent world as they saw it
Art viewed as ridiculous and irrelevant
Began in Zurich Switzerland (neutral during war) during WW1
Rejected standard art values

27. Dadaism
Believed that art had become meaningless and purposeless because of war and violence. One rule: Don’t follow any rules.
Main Themes:
Element of Chance
Irony
Nihilistic nature
Turning utilitarian into an aesthetic
Right, Dada Conquers, Raoul Hausmann (1920)
Other themes: irrationality, cynicism and randomness
Contradicted all of the historical characteristics of “art”

28. Dadaism Major centers in: Zurich Paris Berlin Cologne New York City
The word “Dada” was supposedly randomly picked from the dictionary to reflect the sense of chance and absurdity that is reflected in this art movement
Left, Conversation II, Francis Picabia (1922)
Logic led people to wars
Dada was breaking away from logic in order to ridicule and prevent wars

29. Jean Arp (1886-1966) The Artist… Born in Alsace, Germany
Developed a method of creating collages by dropping torn paper on the floor and basically leaving them as they fell
He wanted to create art that was closer to nature and free from “the life of the hand”
Collage with Squares Arranged According to the Laws of Chance ( )
Born in Alsace 1886
Created many 3D sculptures

30. Raoul Hausmann (1886-1971) The Artist… Born in Vienna, Austria
Moved to Berlin in 1900 and became one of the most important artists of the avant-garde art movements in the 1900s
The orange background of The Art Critic is believed to be from one of his phonetic poem posters that were planned to be pasted on walls throughout Berlin.
Left, The Art Critic, Raoul Hausmann ( )
Born in 1886 in Vienna, Austria
Cofounder of the Berlin Dada movement in 1917

31. Raoul Hausmann (1886-1971) The Artist…
Used new means of expression including “phonetic poems” and photo-montages
Founded Dada Berlin in 1918 with Richard Hulsenbeck and Frantz Jung
Gave up painting in 1923 and experimented with other artistic ideas
Right, Mechanical Head: The Spirit of Our Time, Raoul Hausmann (1919)
Photomontage - collage with cut photos or wrappers glued down

32. Marcel DuChamp (1887-1968) The Artist…
Wanted to introduce an indifferent reaction and looked for objects which he believed would do so
His Mona Lisa was the ultimate insult to previously accepted art values, as he added a moustache and goatee to the former Da Vinci classic
Left, Mona Lisa: LHOOQ, Marcel DuChamp (1919)
Shocking to society…very radical

33. DuChamp’s Ready-Mades
The Artist…
Tried to negate and insult previous art styles
Ready-Mades:
The process of taking everyday and often mass-produced objects and adding DuChamp’s signature
These works are valued as ‘high art’ today
Left, Bicycle Wheel, Marcel DuChamp (1913)
Ridiculed and eliminated the “uniqueness of art”

34. DuChamp’s Ready-Mades
Did this new type of art make all art appear better in contrast or cause all objects to be considered as art?
His Fountain, one of the most famous ready-mades is a simple urinal on its back signed under the false name, 'R. Mutt 1917‘
One of the recreations sold for $1,762,500
Right, Fountain, Marcel DuChamp (1917)
Art does not only have aesthetic worth
After original was lost, 8 were recreated with DuChamp’s permission in 1964

35. Francis Picabia ( )
Left, L'Oeil Cacodylate, Francis Picabia (1921)
Right, Hera, Francis Picabia (1929)
Born in Paris (1879)
Proto-Dada with mostly mechanical pictures ( )
Fun Fact: Owned 150 cars

36. Francis Picabia ( )
Left, Take Me There (M'amenez-y), Francis Picabia ( )
Right, Parade Amoureuse, Francis Picabia (1917)
Picabia’s paintings have sold for as much as $1.6 mill

37. Decline of Dadaism
By claiming that they were against art, they ended up creating their own form of art and this contradiction caused the eventual downfall of the entire Movement.
Some say it declined because it was in danger of being accepted as art, which would oppose the entire reason behind the Movement.
1922: The Movement collapsed after increasing tension between different Dadaist centers.
Going against original purpose
Many contradictions

38. Decline of Dadaism
Provided a base for Surrealism, which developed later
Not solely pessimistic:
Supported freeing the world of traditional views
Wanted to create new forms of principles and rationality that clashed with the accepted art style of the Bourgeoisie class
Perfect segue into surrealism

39. Surrealism
1920’s – 1950’s

40. Surrealism
Movement toward the liberation of the mind by placing emphasis on the unconscious
Gained momentum after the Dada Art Movement
Led by Andre Breton
Two types:
Automatism
Veristic Surrealism
Lower Right, A Couple with Their Heads Full of Clouds, Salvador Dali (1936)
Division originated from two different interpretations of Freud and Jung

41. Sigmund Freud His Influence:
Like his theories of psychoanalysis, surrealistic painting and writing explores the depths of the unconscious mind
His ideas provided new subject matter upon which authors and artists could extend and elaborate
Critics often analyze art and literature in Freudian terms
Freudian psychology
Dreams
Sexual drive/unconscious

42. Carl Jung His Influence: Automatism
Should not judge, but instead accept the subconscious images as they come into consciousness, allowing them to be analyzed
The unconscious has important messages for the conscious, but the unconscious speaks through images and symbols while the conscious speaks through language
Surrealists tried to portray the idea of ‘psyche’ through their art
People experience unconscious through
Dreams
Religious beliefs
Art
Friendships
Romance, etc.

43. The Automatists
Began with Paris Surrealists and then gained popularity in New York City and Montreal
Abstract
Focused more on feeling rather than analysis
A method by which images of the subconscious reach the conscious
Rejection of traditional art represented the rejection of social conformity
Lines came from emotions embedded in the unconscious
Follower: Carl Jung

44. Veristic Surrealists
Make sense of their subconscious and paint with influence from the conscious state of mind
Object was a metaphor of the reality in their subconscious mind
Academic discipline
Follower: Sigmund Freud

45. “The day I went to visit Sigmund Freud in his London exile, on the eve of his death…He said to me, ‘In classic paintings I look for the subconscious - in a surrealist painting, for the conscious’.’’
- Salvador Dalí
Connection to Freudian psychology

46. Salvador Dalí ( )
“Each morning when I awake, I experience again a supreme pleasure - that of being Salvador Dalí.” Dalí
Lower Left, Birth of A Divinity, Salvador Dali (1960)
Upper Right, The Madonna of Port Lligat, Salvador Dali (1949)
Born in Figueres in Catalonia, Spain (1904)
Known for his unusual, dreamlike paintings

47. Salvador Dalí ( )
Middle, The Persistence of Memory, Salvador Dali (1931)

48. Salvador Dalí ( )
Full Name: Salvador Domenec Felip Jacint Dalí Domenech
Left, Self Portrait
Lower Right, Apparition of A Face and Fruit Dish on a Beach, Salvador Dali (1938)
Many images include optical illusions

49. Soft Construction with Boiled Beans - Premonition of Civil War
Salvador Dalí ( )
Middle, Soft Construction with Boiled Beans - Premonition of Civil War, Salvador Dali (1936)
Influenced pop art
Soft Construction with Boiled Beans - Premonition of Civil War

50. Salvador Dalí ( )
Middle, Sacrament of the Last Supper, Salvador Dali (1955)
Participated in The International Surrealist Exhibition and gave a speech in a scuba suit

51. Dalí’s Paranoiac Critical Method
A method of understanding the irrational by arranging it in a way that made sense
"... A spontaneous method of irrational knowledge based on the systematic objectification of associations and delirious interpretations..."
– Dalí
Tricked himself into going insane in order to create a certain quality of art
Salvador Dali picture
Method used to bring out the imagination and creativity

52. Dalí’s Paranoiac Critical Method, cont’d.
His use of paranoiac-critical rationalization led him to become a celebrity who occasionally painted
Actually went insane and stated,
I don't take drugs. I am drugs!
Idiosyncratic
Right, Young Virgin Autosodomized by Her Own Chastity, Salvador Dali (1954)
Stayed neutral during Spanish Civil War & fled
“The only difference between me and the surrealists is that I am a surrealist”
Insane!?!?

53. Marc Chagall (1887-1985) Subjects in a vein of humor or fantasy
Distinctive color and form from Russian expressionism and French Cubism
Imagery has poetic inspiration
Upper Left, The Flying Carriage, Marc Chagall (1913)
Right, Adam and Eve, Marc Chagall (1912)
Born in Belarus
Many paintings have reflections of Judaism

54. The Cattle Dealer, Marc Chagall
Marc Chagall, cont’d.
Middle, The Cattle Dealer, Marc Chagall (1912)
Rejected as a child
Many of his paintings reflect his feelings about his childhood
The Cattle Dealer, Marc Chagall

55. Stained Glass Window at United Nations
Marc Chagall, cont’d.
Stained Glass Window at United Nations, Marc Chagall
Works in the First National Bank Plaza (Illinois) and The Metropolitan Opera
Stained Glass Window at United Nations

56. Rene Magritte ( )
My painting is visible images which conceal nothing; It does not mean anything, because mystery means nothing either, it is unknowable" Rene Magritte
Tried to create art containing a juxtaposition of objects or an unusual mix, trying to give a new meaning to otherwise familiar possessions
Left, Picture of Rene Magritte
Born in Lessines Belgium (1898)
Consummate technician

57. Rene Magritte (1898-1967) Belgian artist
Work portrays fantasy mixed with a surreal reality
Left, The Lovers, Rene Magritte (1928)
Right, Collective Invention, Rene Magritte (1934)
Witty and smart paintings

58. Rene Magritte ( )
Upper Left, The False Mirror, Rene Magritte (1928)
Lower Left, Betrayal of Images, Rene Magritte ( )
Translation: “This Is Not A Pipe”
Right, The Son of Man, Rene Magritte (1964)

59. - Rousseau to Pablo Picasso
Henri Rousseau ( )
Left, Portrait of Joseph Brummer, Henri Rousseau (1909)
Right, The Sleeping Gypsy, Henri Rousseau (1897)
Born in Laval
”no teacher other than nature”…taught himself
Famous for jungle paintings (but never actually saw a jungle..lived in France)
  “We are the two great painters of this era; you are in the Egyptian style, I in the modern style.”
- Rousseau to Pablo Picasso

60. Giorgio DeChirico ( )
"To become truly immortal, a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken, it will enter the realms of childhood visions and dreams."
- Italian Surrealist Painter, Giorgio DeChirico
Left, The Archeologists, Giorgio DeChirico (1927)
Leaving logical and realistic thoughts

61. Joan Miró (1893-1983) Left, Dutch Interior II, Joan Miro (1928)
Right, Nocturne, Joan Miro (1940)
Born in Barcelona, Spain 1893
Grattage technique: put pigment and ink onto his artwork
Not “official” member of surrealists: free to experiment with different techniques and styles

62. Joan Miró ( )
André Breton called him “the most surrealist of us all“, and his work is considered among the most original of the 20th century.
Painted and sculpted images reflecting the turmoil of both the Spanish Civil War, war in general, and the breakdown of Europe
Middle, self portrait of Miro
Right, Portrait of A Young Girl, Joan Miro (1935)

63. Max Ernst (1891-1976) Invented the method ‘Frottage’
Similar technique: ‘Decalcomania’
Both allowed the subconscious mind to see into a random pattern and bring out the imagination
Created one of the first paintings that combined 3-D elements within a 2-D space
Created directly after WWII
Upper Left, Two Children Frightened By a Nightingale, Max Ernst (1924)
Lower Left, The Temptation of St. Anthony, Max Ernst (1945)
Was reflective of the horrors of war
Decalcomania: technique where engravings are put on other materials

64. André Breton’s Surrealist Manifesto of 1924
“We are still living under the reign of logic, but the logical processes of our time apply only to the solution of problems of secondary interest. The absolute rationalism which remains in fashion allows for the consideration of only those facts narrowly relevant to our experience…. It revolves in a cage from which release is becoming increasingly difficult… Perhaps the imagination is on the verge of recovering its rights.”
Foundation for surrealism
Against logic which led to war
IMAGINATION
Surrealist Manifesto
– Excerpt from Breton’s Surrealist Manifesto

65. Surrealist Literature
First “Automatic Book”: Les Champs Magnétiques, by Philippe Soupault and Breton
Expressed negative feelings about literal meanings given to certain objects
Not very clear or thoughtful writing
Famous authors who were believed to be precursors of the Surrealist movement include:
Isidore Duccasse, writer of “Le Comte de Lautréamont”
Arthur Rimbaud
By Automatic book, the authors meant that it was spontaneously written
Alice In Wonderland Cartoon, Surrealist Literature by Lewis Carroll
Writing: similar to art in breaking away from logic and coherent thoughts

66. The Split from Dada
Breton’s Manifesto and the introduction of the La Révolution surréaliste magazine clearly marked the separation.
Split from the more Dada focused group who gathered around Tristan Tzara.
Bureau of Surrealist Research started in Paris.
Le Paysan de Paris, by Louis Aragon in 1926, contained famous works including poems, theoretical text and automatic works, of many Surrealists.
Tristan Tzara:
Wrote the first Dada texts
In Paris he participated in activities with Breton, Aragon and Soupault to shock the public and disintegrate society’s structure

67. Surrealism: A Response
Surrealists believed that the rational mind was responsible for the tragedies of WW1 and the Industrial Revolution.
Expressions must not only be ordinary but also have a full range of imagination according to the Hegelian Dialect.
Freud and Marx contributed to Surrealism.
Andre Breton stated that the aim of Surrealism is “long live the social revolution, and it alone!”
Surrealism has been connected to communism and anarchism.
Was used to influence political or social change
Walter Benjamin and Herbert Marcuse also played a role in Surrealism and Marxism
Society not liberating or free enough: too conventional with strict standards

68. Women In Surrealism
Women were portrayed as artificial, especially in photography
Artists used unnatural lighting and developing techniques to distort the image
Toyed with sexual undertones
Right, Lee Miller, Man Ray (1930)
Active in surrealist movement
Against racism, sexism, or any social distinctions

69. Man Ray (1890-1976) Left, Le Violin D’Ingres, Man Ray (1924)
Upper Middle, Observatory Time, Man Ray (1936)
Lower Middle, Noir et Blanche, Man Ray (1926)
Right, Anatomies, Man Ray (1929)
Invented photo method called solarization

70. Photography & Surrealism: Man Ray (1890 -1976)
Right, Tears, Man Ray (1932)
Directed many small films
Invented method with photograms for photography

71. The Road Ahead…Art After WWII
Middle, Convergence, Jackson Pollock (1952)
The art movements after the 1950s brought together the confusion, disorder and terror of the Anti-War movements of the early 1900s
Convergence: to meet and come together
Convergence, Jackson Pollock (1952)

72. The End
YAYY!