Presentation is loading. Please wait.

Presentation is loading. Please wait.

A story from Modernity Modernism, flatness and form.

Similar presentations

Presentation on theme: "A story from Modernity Modernism, flatness and form."— Presentation transcript:

1 A story from Modernity Modernism, flatness and form

2 Semester 2 CCS Assessment 6 readings underpin the CCS Programme, Sem 2 In Week 8 (Paris /other city), find a cultural artefact (e.g. artwork, design object, building, commercial image etc) and critically analyse it, writing about its significance and meaning using ideas from at least one of the readings. Approx 1500 words in length. Word processed. Must include: images; quotations from readings. Must include: footnotes for all quotations; images labelled and listed, Bibliography of sources consulted

3 Readings for Seminar 1 Groups 1: 10am Group 2: 11am Wed 6 Feb. Groups 3: 10am Group 4: 11am Wed 13 Feb Lecture 1: Clement Greenberg. Modernist Painting Lecture 2: Le Corbusier. Towards a New Architecture (Extracts) Lecture Handout. See Bibliography for source.

4 Modernist Painting. C Greenberg Frascina F, Harrison C, editors. Modern art and Modernism. A critical anthology. London: Paul Chapman Publishing Ltd; 1982, pp (Greenberg) Frascina F, Harris J, editors. Art in modern culture. An anthology of critical texts. London: Phaidon Press Limited; 1992, pp (Greenberg) Further reading: Wood P, Frascina F, Harris J, Harrison, C. Modernism in dispute. Art since the forties. London: Yale University Press; 1993, pp Harrison C. Modernism. London: Tate Gallery Publishing Ltd; 1997, pp.6-21 and pp Meecham P, Sheldon J. Modern art: a critical introduction. London: Routledge; 2000, pp1-15.

5 Le Corbusier. Towards a New Architecture. Marcus, G. Functionalist Design – An Ongoing History, Prestel, 1995 Weston, C. Modernism, Phaidon, London, 2001 Wilk, C (ed). Modernism – Designing a New World , V&A Publications, London, From Here to Modernity – Open University Website detailing story of modern movement and architecture ondationic_us.htm The Le Corbusier Foundation

6 Preparation for Seminar 1 Read both extracts - ie Greenberg and Le Corbusier Choose one thing you can connect to ideas from one of the readings. This could be a work of art or a design object. Bring an image. Come prepared to discuss the connections you have made (highlight sentences and paragraphs) You can agree or disagree with ideas in the readings through the thing you have selected.

7 When was Modernism? Mid 19 th Century France to American Abstract Expressionism and Post Painterly Abstraction in the 1960s ?? c 1850 ? c 1965 ? Post-modernism ? Modernism

8 This is modernism Something happened to art at the turn of the century and in the decades that followed, and the world has never been the same. The excitement in the air then was intense: all Europe (and eventually America) was breathless with the new directions and the wild risks artists were taking. Painters, poets, sculptors, architects, novelists, and composers were drastically changing the look, the sound, the very meaning of art.

9 Artists were no longer merely skillful delineators of the visible world, they were now the creators of, and guides to, a completely new realm. This mystical role of the artist was echoed by the Dadaist Hugo Ball in his diaries written between 1910 and 1921: "When we said Kandinsky and Picasso, we meant not painters, but priests; not craftsmen, but creators of new worlds and new paradises."

10 Make it new Ezra Pound

11 Are such interpretations correct or incorrect? Is one more correct than another? Is a later interpretation always more correct than an earlier? ARNOLD HAUSER. The Philosophy of Art History

12 Clement Greenberg. Modernist Painting Modernist Painting oriented itself to flatness as it did to nothing else

13 Modernism: progress towards abstraction ? Edouard Manet. Bar at the Folie Bergeres Courtauld Institute. Oil on Canvas. 96 x 130cm

14 Henri Matisse. The Dessert (Harmony in red) Oil on canvas. The Hermitage cm

15 Wassily Kandinsky. Study for composition No

16 Gustav Klimt Elisabeth Bachofen-Echt c1914 Geneva Oil on canvas 180 x 128cm

17 Pablo Picasso. Seated Nude Oil on canvas. Tate Britain cm

18 Mondrian, Piet. Composition with Yellow, Blue, and Red Tate Gallery. Oil on canvas x 69 cm

19 Jackson Pollock. One: Number MOMA New York. Oil and enamel on canvas.

20 Morris Louis. Number Cleveland Museum of Art. Acrylic on canvas.251 x 360cm

21 Kenneth Noland. Bloom Dusseldorf. Acrylic on canvas x 171cm.

22 Abstraction and Flatness ? Edouard Manet. Olympia Musee dOrsay Paris. Oil on canvas Titian. Venus of Urbino. 1538

23 Georges Grosz The Pillars of Society 1926 Berlin Oil on canvas 200 x 108cm

24 Salvador Dali. Metamorphosis of Narcissus Oil on canvas. Tate Britain. 510 x 780cm

25 L.H.O.O.Q. Rectified Ready Made. Pencil on Postcard Marcel Duchamp

26 Progress towards abstraction Alfred J Barr (Drct. Of M.O.M.A. New York)

27 Greenbergs Modernist Painting is a dominant account of modernism, which builds on the formalist theories of key 19 th and 20 th century writers, who believed that aesthetic experience was arts predominant aim and value, and explained the development of modern art as a progression towards an increasingly pure abstraction, characterised by a focus on form

28 Modernisms terminology Modernism Form Formalism Self criticism (self referential) Abstraction Aesthetic experience

29 The self-criticism of Modernism Clement Greenberg The essence of Modernism lies, as I see it, in the use of the characteristic methods of a discipline, to criticise the discipline itself

30 The use of the characteristic methods of a discipline, to criticise the discipline itself Paul Cezanne. Mont Sainte-Victoire

31 The self-criticism of Modernism The traditional notion of dance as the enactment of a story set to a musical score; …. was purged in preference for purely functional movement Brecht, concentrated on theatre as theatre, and employed techniques to remind audiences that they were watching an illusion Meecham P, Sheldon J. Modern art: a critical introduction. P.2ff

32 This… To an early twentieth century composer, nausea is praise. A retch proved the power of the music; it declared the ability of the composer to overcome a centurys worth of stale rewrites and flaccid additions to the musical canon. The music of Arthur Schoenberg ….made his audience ill.

33 By dispensing with established musical structures and replacing them with an impenetrable assortment of dissonance, atonality, and finally twelve-tone theory, Schoenberg uprooted classical music dern-and-Postmodern-Music

34 Away! 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 Luigi Russolo The Art of Noises 1913

35 What is formalism ? Formalism is a particular method of analysis It refers to an approach that a writer might take an abstract painting is perhaps the most impressive manifestation of pure form (Panofsky, 1940)

36 What is Form in painting ? Is not content Is the artists visual language: line, shape, colour, tone, shade (light and dark) Is the source of a Kantian aesthetic response

37 Form in painting? Colour Line Space Tone Shade Depth Paint Frame Canvas Surface plane (the flat surface)

38 Aesthetic pleasure Ever so many factors thought to be essential to the making of art have been shown to be so by the fact that Modernist art has been able to dispense with them and yet continue to provide the experience of art in all its essentials

39 The experience of art in all its essentials Immanuel Kant Beauty … a feeling of delight…what simply pleases Flowers, free patterns, lines aimlessly intertwining technically termed foliage have no signification, depend upon no definite concept, and yet please Kant. The Critique of Judgement Section 1. Book 1. SS4.

40 So what should painting be? Realistic, illusionist art had dissembled the medium, using art to conceal art. Modernism used art to call attention to art. The limitations that constitute the medium of painting – the flat surface, the shape of the support, the properties of pigment – were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Modernist painting has come to regard these same limitations as positive factors that are to be acknowledged openly.

41 Clement Greenberg What had to be exhibited and made explicit was that which was unique and irreducible not only in art in general, but also in each particular art. Each art had to determine through the operations peculiar to itself, the effects peculiar and exclusive to itself Modernist Painting. 1960

42 What distinguishes painting from sculpture, photography….? Colour Line Space Tone Shade Depth Paint ? Frame Canvas Surface plane (the flat surface)

43 ….Flatness, two dimensionality was the only condition painting shared with no other art Greenberg 1960

44 Kenneth Noland Bloom Morris Louis Number

45 A tradition of art criticism Immanuel Kant Philosopher. Wrote The Critique of Judgement A founder of modern aesthetics Roger E. Fry Art critic, aesthetic philosopher and painter. A.Clive H. Bell Critic; English literature and art. Clement Greenberg American art critic.

46 Roger Fry Let us see how the artist passes from the stage of merely gratifying our demand for sensuous order and variety to that where he arouses our emotions.....rhythm of and shade.....colour...the inclination to the eye of a plane An Essay in Aesthetics. 1909

47 Clive Bell The starting point for all systems of aesthetics must be the personal experience of a peculiar emotion. The objects that provoke this emotion, we call works of art The Aesthetic Hypothesis. 1914

48 Formalist criticism Emphasises form Emphasises the aesthetic response to the visual as the core value in art Renders content subordinate to all of the above. Is arguing for and supporting, a particular kind of painting (and sculpture) specifically that which involves a focus on form; abstraction

49 Greenbergs Modernism Is valid in that a clear focus on form during the period known as Modernism is characteristic of many paintings Expresses valid insights – e.g. the self critical tendencies of modernist painting Is limited in that the work of the period is vastly diverse and formalism as a method of analysis, is not universally appropriate Conveniently ignores different and distinct concerns in paintings to foreground his own theoretical imperatives Imposes a characteristically historical progression on the art of the period Privileges painting and particularly French painting, in a summary history of Modernism Is limited in its clear set of personal preferences for a particular kind of contemporary American painting

Download ppt "A story from Modernity Modernism, flatness and form."

Similar presentations

Ads by Google