 The first half of the 20 th century saw  Russian Revolution  World War 1  The Great Depression  World War th Century

 Rapid changes in styles that sometimes merged.  PARIS  PARIS is the center of the Western Art World NYC  By WW11 artists and Art flees Paris and lands in NYC. 20 th Century Art

African Art  After the influence of Japanese art, Primitive African Art comes into vogue.  Artists are interested geometric in the geometric abstraction. abstraction. 20 th Century Art

Spanish  , Spanish  Picasso was a prodigy. He was the son of an art teacher, he showed incredible talent at an early age. Manet, CourbetLautrec  His was first influenced by Manet, Courbet, and Lautrec. Picasso

 Picasso gained great fame during and after his lifetime.  No other artist comes close to the fame he achieved. Picasso

Picasso evolved  He constantly evolved  He is had a Blue Period, Rose Period, Classical Period, and African Period. Surrealism Cubism  He worked in Surrealism and Cubism.  Picasso and Braques created the Cubist movement.

Picasso, Blue Period Blue Period His first style was the Blue Period ( ) The term “blue” reflected both subject matter and color choice. The paintings he made were generally somber and melancholy. Subjects included prostitutes, beggars, harlequins, blind people, and artists.

Picasso, Blue Period The figure seems to be blind and decrepit, Emaciated, and somber. There is a ghostly figure under the subject. colors add to the somber mood The blue and grey colors add to the somber mood

Picasso, Blue Period Self Portrait with a Cape, 1901

Picasso, Blue Period The Tragedy, 1901 proportions are elongated. (think El Greco) Monochromatic

Picasso, Blue Period The Tragedy, 1901 details are eliminated adding to the mood of empty coldness His poverty? Or his sympathy for the human condition?

Picasso Rose Period His Rose Period follows the Blue. works were dominated by pinkish hues. Subject matter is upbeat circus scenes.

Picasso Much more on Picasso in the next chapter

Henri Matisse  French painter  Studied law in Paris for most of his life  began painting while recovering from appendicitis  In 1891 he decided to study in Paris Self Portrait, 1906

Matisse  first exhibition 1901, first solo exhibition in 1904  Lived on the French Riviera from 1917 until his death in 1954  Often compared to his younger rival, Picasso paper collages  Having cancer later in life, he created paper collages in stead of painting

Fauvism  Matisse belonged to the Fauvist Movement Fauvist Movement, (French for ‘wild beasts’).  Matisse was the leading painter.  Was a short movement

Fauvism colors simplified lines exaggerated perspective  deep, vivid colors, simplified lines and exaggerated perspective unusual color combinations  Vigorous patterns and unusual color combinations led to different effects/feelings The Green Line (Madame Matisse) 1905

Fauvism Cheerful…

Matisse after Fauvism  He continued with many characteristics of the movement, but developed with the times  He said: “Fauvism is not everything, but it is the beginning of everything.”

Matisse  Subject matter was primarily still-lifes and portraits Harmony in Red, 1909

Harmony in Red  1909  Perspective seems irrelevant Perspective only visible in the chair and window  Dark outlines  Items and the woman shown with volume, despite the flattened appearance of the surroundings

Harmony in Red arabesques  Landscape seen through the window relates to the wallpaper -black curves, he called “ arabesques ”  The title echoes the painting:  Flat planes “harmonize” the wall and table  There seems to be movement among the black “arabesques”

The Dance I  1901  Black outlines define the dancers, who twist, turn, jump and stretch  Background composed of flat colors, simple blue and green

Blue Nude 1952 The Sorrows of the King, 1952 Icarus, 1950

Expressionism  In Germany, the artists interested in the expressive possibilities of color were called Expressionists

Expressionism Fauves work was lighthearted- Expressionists were brooding and moody  Similar to the Fauves in France, but the Fauves work was lighthearted- The Expressionists were brooding and moody

Expressionism  2  2 groups of Expressionists  1. The Bridge  1. The Bridge (much gloomier)  2. The Blue Rider  2. The Blue Rider (the brighter side of Expressionism

The Bridge  Woodcut prints were popular because they were inexpensive and quick. Kathe Kollwitz

Kirchner, The Bridge The Bridge  Founding artist of The Bridge  The Bridge was a link between traditional old and modern new  Influenced by African and Oceanian woodcarving seen in his distortions The Street, 1907 …attempt to show isolation of urban life

Kirchner  Kirchner was an architect turned painter  Later in life his artwork became more abstract  Soon after Nazis captured 600 of his pieces Kirchner committed suicide Self Portrait as a Soldier – 1915

Franz Marc, Blue Rider Large Blue Horses, 1911

 Born in Moscow in  He studied law and economics  He studied art in Munich.  He taught at the art school which he co- founded.  Well traveled. Kandinsky, The Blue Rider

 To elevate mankind and free people from materialism, he created nonobjective art. Kandinsky, The Blue Rider

 He taught at the Bauhaus in Germany  The Nazi government closed the Bauhaus in  He moved to France and acquired French citizenship.  Fifty-seven of his works were confiscated by the Nazis in the 1937 purge of “degenerate art.” Kandinsky

music  Kandinsky was fascinated by music 's ability to give the listener an emotional response.  He wanted to do the same with his painting.  Free association with color and music...

Kandinsky He abandoned realism in Composition 8 He experimented with 2 types of painting. Compositions Compositions in which he arranged geometric shapes.

Kandinsky Small Pleasures Improvisations And Improvisations : paintings which he applied paint spontaneously (organic)

Kandinsky Composition 5, 1911 Resurrection of the Dead. Theme is Resurrection of the Dead. Angels blowing trumpets. Towers of a city are visible. Out of this void, the viewer can sense the rising of the dead.

Kandinsky Several Circles, No.323, ”x50”