1. AN INTRODUCTION TO MODERN ART.

2. THE PRE-INDUSTRIAL LIFESTYLE.

3. THE ARTISTS: - “THE HAYWAIN” - “THE GLEANERS” BY BY JOHN CONSTABLE
JEAN- FRANCOIS MILLET
(1857).
- “THE HAYWAIN” BY
JOHN CONSTABLE
(1821).
- “MR AND MRS ANDREWS”
THOMAS GAINSBOROUGH (1750).

4. WHY WERE THESE IMAGES PAINTED?
- MILLET WANTED TO SHOW THE HARDSHIP OF THE COUNTRY WAY OF LIFE. - THE ARTIST WANTED TO SHOW HOW IMPORTANT AND PICTURESQUE THE CHURCH WAS.
- CONSTABLE WANTED TO PAINT NATURE AS HE SAW IT.
- GAINSBOROUGH WAS COMMISSIONED TO SHOW THE WEALTH AND STATUS OF HIS CLIENTS.

5. PRE-INDUSTRIAL SOCIETY.
A LARGE RURAL POPULATION.
- AGRICULTURE WAS IMPORTANT ECONOMICALLY AND AS A WAY OF LIFE.
THE ARISTOCRACY AND LANDOWNERS HELD THE POWER.
THE CHURCH WAS A MAJOR INFLUENCE.

6. BEFORE MODERN ART.

7. THE ARTISTS: - “THE LIGHT OF THE WORLD” - “THE LAST DAY OF POMPEII” BY
WILIAM HOLMAN HUNT (1854).
- “MADONNA AND CHILD WITH SAINTS”
GIANBATTISTA TIEPOLO (1740).
- CLAUDE LORRAIN.
LANDSCAPE
(1600’s).
- “THE LAST DAY OF POMPEII” BY
KARL BRIULLOU (1833).
- “ROMANS IN THE DECADENCE OF THE EMPIRE”
THOMAS COUTOURE (1847).

8. WHY WERE THESE IMAGES CREATED?
- HUNT WANTED TO DEPICT AN EMOTIONALLY POWERFUL RELIGIOUS IMAGE.
- TIEPOLO WAS COMMISSIONED BY A RELIGIOUS ORGANISATION TO DEPICT A RELIGIOUS SCENE IN A DRAMATIC AND POWERFUL WAY.
- CLAUDE WANTED TO SHOW THE GRANDURE AND PICTURESQUE NATURE OF LANDSCAPE.
- BRIULLOU WANTED TO IMPRESS THE UPPER AND MIDDLE CLASSES WITH THE DRAMA OF AN IMPORTANT HISTORICAL EVENT. - COUTOURE WANTED TO IMPRESS THE UPPER AND MIDDLE CLASSES WITH A MORAL MESSAGE ABOUT AN IMPORTANT HISTORICAL ERA.

9. THEMES IN ART BEFORE THE MODERN ERA:
RELIGIOUS SUBJECTS.
PORTRAITS.
CLASSICAL AND MYTHOLOGICAL SUBJECTS.
PASTORAL AND LANDSCAPE SCENES.

10. THE DEVELOPMENT OF MODERNITY:THE AGE OF REVOLUTIONS.
THE AMERICAN WAR OF INDEPENDENCE
( ).
THE FRENCH REVOLUTION
( ).
- THE RIGHTS OF INDIVIDUAL CITIZENS.

11. WHY WAS THIS IMAGE PAINTED?
- DELACROIX WANTED TO DEPICT FRENCH REVOLUTIONARIES IN AN EMOTIONALLY MOVING WAY.

12. THE AGE OF REVOLUTIONS: THE INFLUENCE OF SCIENCE (1700’s).

13. THE INFLUENCE OF SCIENCE.
“THE EXPERIMENT ON A BIRD IN THE AIR PUMP”.
PAINTED BY:
JOSEPH WRIGHT OF DERBY IN 1768.
- THE USE OF SCIENCE AND TECHNOLOGY.
INTEREST IN THE SCIENCE OF OPTICS AND
THE USE OF OPTICAL TECHNOLOGY SUCH AS TELESCOPES.
LOOKING AT THE WORLD OBJECTIVELY.
THE CONTROL AND EXPLOITATION OF NATURE.

14. WHY WERE THESE IMAGES MADE?
- THE ARTIST WANTED TO DEPICT A NEW AND POWERFUL WAY OF LOOKING AT THE WORLD. WHO WAS HIS AUDIENCE?
- WRIGHT WANTED TO DEPICT THE DRAMA OF A NEW AND POWERFUL WAY OF LOOKING AT THE WORLD. WHO WAS HIS AUDIENCE?

15. THE AGE OF REVOLUTIONS: THE WATT STEAM ENGINE (1777).

16. THE ROMANTIC MOVEMENT.

17. THE ARTISTS: GUSTAV DORE - SALVATORE ROSA (1850’s). LANDSCAPE
THOMAS JONES
“ THE BARD”
(1770’s).
- SALVATORE ROSA
LANDSCAPE
(1600’s).
RICHARD WILSON
“CEYX AND ALCYONE”
(1768).

18. WHY DID THE ARTISTS MAKE THESE IMAGES?
- ROSA WANTED TO SHOW A DRAMATIC AND MOVING IMAGE FROM HISTORY.
- DORE WANTED TO EXPRESS A DRAMATIC AND EMOTIONAL IDEA.
- JONES WANTED TO EXPRESS A DRAMATIC AND EMOTIONAL SCENE FROM AN HISTORICAL PERIOD.
- WILSON WANTED TO EXPRESS A DRAMATIC AND EMOTIONAL SCENE FROM AN HISTORICAL PERIOD.

19. NEW THEMES IN ART: LOOKING OBJECTIVELY AT THE WORLD.
- PORTRAYING REALITY.
USING ART TO SHOW ARTISTS’ EXPRESSION.
LOOKING AT NATURE INTUITIVELY AND EMOTIONALLY.
APPRECIATION OF THE DYNAMIC FORCES OF NATURE.

20. THE SOURCES OF MODERN ART.

21. TWO IMPORTANT BRITISH ARTISTS:
“RAIN,STEAM AND SPEED” (1844) BY
J.M.W. TURNER
( ).
“FLATFORD MILL” (1821)
BY JOHN CONSTABLE ( ).

22. WHY DID THESE ARTISTS PAINT THESE IMAGES?
- TURNER WANTED TO SHOW THE DYNAMISM AND DRAMA OF RAIL TRAVEL THROUGH THE LANDSCAPE.
- CONSTABLE WANTED TO PAINT THE LANDSCAPE OBJECTIVELY.

23. THE DEVELOPMENT OF THE MODERN WORLD.

24. ISSUES IN THE MODERNISING WORLD:
THE GROWTH OF CITIES.
THE GROWTH OF URBAN POPULATION VERSUS THE RURAL POPULATION.
THE CONQUEST AND EXPLOITATION OF NATURE.
THE LOSS OF RELIGION.
THE SEARCH FOR A NEW SPIRITUAL MEANING.
THE INFLUENCE OF SCIENCE AND TECHNOLOGY.
THE GROWTH OF INDUSTRY.

25. THE IMPRESSIONISTS : LOOKING AT THE WORLD OBJECTIVELY.

26. THE ARTISTS: “SAINT LAZARE TRAIN STATION, PARIS” (1877).
EDOUARD MANET
( ).
- “BAR AT THE FOLIE BERGERES” (1882).
- CLAUDE MONET
-“RUE MONTORGUEIL” (1878).
“HAYSTACK”

27. WHY DID THE ARTISTS PAINT THESE IMAGES?
- MONET WANTED TO PAINT THE VISUAL IMPRESSIONS OF THE NEW URBAN LIFESTYLE.
- MONET WANTED TO SHOW NEW WAYS OF LOOKING AT THE WORLD OBJECTIVELY.
- MONET WANTED TO SHOW THE VISUAL IMPRESSIONS OF THE NEW URBAN ENVIRONMENT.
- MANET WANTED TO SHOW A “REALITY” OF URBAN LIFE.

28. POST IMPRESSIONISM. - GEORGES SEURAT (1859-1891).
- “A SUNDAY AFTERNOON ON THE ISLAND OF LA GRANDE JATTE” (1899).
DETAIL OF
“LA PARADE”.

29. WHY DID SEURAT PAINT THIS WAY?
- SEURAT WANTED TO PAINT IN AN OBJECTIVE WAY.
(A PAINTING IS PATCHES OF COLOUR ON A FLAT SURFACE).

30. 3 IMPORTANT FIGURES IN THE DEVELOPMENT OF MODERN ART: VAN GOGH, GAUGIN AND CEZANNE.

31. THE ARTISTS: - VAN GOGH (1853-1890). - PAUL CEZANNE (1839-1906).
- PAUL GAUGIN
( ).
- PAUL CEZANNE
( ).

32. WHY DID THE ARTISTS PAINT IN THESE WAYS?
- VAN GOGH WANTED TO SHOW HIS OWN CHARACTER IN A VIBRANT AND EMOTIONAL WAY.
- GAUGIN WANTED TO EXPRESS HIS OWN CHARACTER IN A VIVID AND MOVING WAY.
- CEZANNE WANTED TO DEPICT THE LANDSCAPE IN A NEW, PURPOSEFUL AND OBJECTIVE WAY.

33. MAJOR IDEAS IN MODERN ART: EXPRESSIONISM.

34. THE ARTISTS: - “SELF PORTRAIT WITH MASKS” BY JAMES ENSOR -“THE SCREAM”
(1899).
- KATHE KOLLWITZ
( ).
-“THE SCREAM”
BY EDVARD MUNCH
(1893).

35. WHY DID THE ARTISTS MAKE THESE IMAGES?
- ENSOR WANTED TO EXPRESS HIS PERSONALITY IN AN IMAGINATIVE, CREATIVE AND DISORIENTATING WAY.
- KOLLWITZ WANTED TO EXPRESS AN EMOTIONAL EMPATHY WITH PEOPLES’ SUFFERING.
- MUNCH WANTED TO EXPRESS THE DEEP EMOTION DISTURBANCE HE FELT.

36. CUBISM.

37. THE ARTISTS: - “WOMAN PLAYING A MANDOLIN” BY PABLO PICASSO (1909).
- “STILL LIFE WITH A VIOLIN AND PALETTE”
BY GEORGES BRAQUE
(1910).

38. WHY DID THE ARTISTS PAINT IN THIS WAY?
- PICASSO WANTED TO EXPERIMENT WITH A NEW WAY OF DEPICTING THE WORLD.
- BRAQUE WANTED TO FIND A NEW WAY OF DEPICTING THE WORLD.

39. THE NEW PSYCHOLOGY: FREUD AND JUNG.

40. THE FOUNDERS OF MODERN PSYCHOANALYSIS:
- SIGMUND FREUD ( ).
CARL JUNG
( ).

41. MORE UPHEAVELS IN THE MODERN WORLD .

42. THE
FIRST WORLD WAR
- THE RUSSIAN REVOLUTION
1918
-THE WALL STREET CRASH
1929.

43. THE BEGINNING OF ABSTRACT ART: WASSILY KANDINSKY AND KASIMIR MALEVICH
-”COMPOSITION IV” “BLACK SQUARE ON
(1911) A WHITE GROUND”
(1915).

44. WHY DID THE ARTISTS MAKE THESE IMAGES?
- MALEVICH WANTED TO RE-INVENT PAINTING AS A PURE DEPICTION OF FEELING.
- KANDINSKY WANTED TO MAKE IMAGES THAT WERE NOT DEPENDENT ON THE APPEARANCE OF EXTERIOR REALITY.

45. CONSTRUCTIVISM

46. THE ARTISTS - “MONUMENT TO THE THIRD INTERNATIONAL” BY VLADIMIR TATLIN
(1920).
- “COLUMN” BY
NAUM GABO.
1920’S

47. WHY WERE THESE WORKS MADE?
- TATLIN WANTED TO MAKE A REVOLUTIONARY NEW ART FORM FOR A MONUMENT.
- GABO WANTED TO CREATE A RADICAL AND REVOLUTIONARY NEW FORM OF EXPRESSION.

48. DADAISM AND SURREALISM.

49. THE ARTISTS: - “DADA TRIUMPHS” BY RAOUL HAUSMANN (1920).
- “THE METAMORPHOSIS OF NARCISSUS”
BY SALVADOR DALI
(1937).
- “OVERTURNED BLUE SHOE WITH TWO HEELS UNDER A BLACK VAULT”
BYJEAN ARP
(1925).
- “THE CARNIVAL OF HARLEQUIN”
BY JOAN MIRO
(1924).

50. WHY DID THE ARTISTS MAKE THESE IMAGES?
- HAUSMANN WANTED TO MAKE A RADICAL, IMAGINATIVE AND DISORIENTATING IMAGE.
- DALI WANTED TO PAINT AN IMAGINATIVE AND DISORIENTATING IMAGE.
- ARP WANTED TO USE ORGANIC AND RANDOM FORMS TO CREATE A RADICAL, IMAGINATIVE AND DISORIENTATING IMAGE.
- MIRO WANTED TO PAINT AN IMAGINATIVE AND DISORIENTATING IMAGE.

51. ABSTRACT EXPRESSIONISM.

52. THE ARTISTS: (1924). (1952). - “AUTOMATIC DRAWING” BY ANDRE MASSON
- “BLUE POLES”
BY JACKSON
POLLOCK
(1952).
- “MAGENTA, BLACK, GREEN ON ORANGE”
BY MARK ROTHKO (1949).
- “CANTICLE”
BY MARK TOBEY
(1954).

53. WHY DID THE ARTISTS MAKE THESE IMAGES?
- MASSON WAS USING SPONTANEOUS DRAWING TO PRODUCE AN IMAGE ALLIED TO THE SUBCONCIOUS.
- POLLOCK WANTED TO USE A SPONTANEOUS METHOD TO PRODUCE
PAINTINGS EXPRESSING DEEPER PSYCHOLOGICAL REALITIES.
- ROTHKO WANTED TO PRODUCE PAINTINGS EXPRESSING DEEP PSYCHOLOGICAL AND SPIRITUAL FEELINGS.
- TOBEY WANTED TO PRODUCE IMAGES EXPRESSING DEEP SPIRITUAL FEELINGS.

54. POST-PAINTERLY ABSTRACTION.

55. THE ARTISTS: - “HARRAH II” - “HOMAGE TO THE SQUARE”
BYJOSEPH ALBERS
(1965).
- “BLUE, GREEN, RED I”
BY ELLSWORTH KELLY (1965).
- “HARRAH II”
BY FRANK STELLA (1967).
- “WHO’S AFRAID OF RED YELLOW AND BLUE”
BY BARNETT NEWMAN
(1966).

56. WHY DID THE ARTISTS MAKE THESE IMAGES?
- STELLA WANTED TO EXPERIMENT OBJECTIVELY WITH THE FORM AND COLOUR OF HIS WORK.
- NEWMAN WANTED TO PRODUCE AN EMOTIONAL RESPONSE WITH PURE COLOUR.
- ALBERS WANTED TO EXPLORE THE VISUAL REALITY OF COLOURS.
- KELLY WANTED TO EXPLORE THE PERCEPTION AND SUGESTIVE QUALITY OF SHAPE AND COLOUR.

57. SEMI-ABSTRACTION, ABSTRACTION AND MINIMALISM.

58. THE ARTISTS: “MOTHER AND CHILD” BY BARBARA HEPWORTH (1934).
“EARLY ONE MORNING”
ANTONY CARO (1962).
“FOUR PIECE
COMBINATION , RECLINING FIGURE” BY
HENRY MOORE (1934).
- “UNTITLED”
BY DONALD JUDD
(1968).

59. WHY DID THESE ARTISTS MAKE THESE PIECES OF WORK?
- HEPWORTH WANTED TO USE MATERIALS TO PRODUCE SEMI-ABSTRACT FORM AND EXPRESS DEEPER PSYCOLOGICAL AND SPIRITUAL IDEAS.
- CARO WANTED TO EXPERIMENT OBJECTIVELY WITH MATERIALS TO SHOW A NEW SCULPTURAL REALITY.
- MOORE WANTED TO USE MATERIALS TO PRODUCE SEMI-ABSTRACT FORMS TO EXPRESS A NEW SCULPTURAL AND PSYCHOLOGICAL REALITY.
- JUDD EXPERIMENTED OBJECTIVELY WITH MATERIALS TO CREATE A NEW SET OF SCULPTURAL OBJECTS.

60. MODERNISM:- A REACTION TO FORCES IN THE MODERNISING WORLD:
- SCIENCE AND TECHNOLOGY;
OBJECTIVE LOOKING AND ART AS OBJECT;
- THE CONQUEST AND EXPLOITATION OF NATURE; AN INTEREST IN NATURAL AND ORGANIC FORM;
- INDUSTRIALISATION;
NEW MATERIALS AND PROCESSES; MATERIALS AS ART;
- URBANISATION; THE ALIENATION OF INDIVIDUALS;
- LOSS OF EMPIRE; THE INFLUENCE OF VARIED CULTURES;
- THE RIGHTS AND SENSIBILITIES OF INDIVIDUALS; THE EXPRESSION OF INDIVIDUALS’ FEELINGS AND IDEAS;
- A NEW VIEW OF PSYCHOLOGY AND RELIGION;
NEW SUBJECTS AND IMAGERY;
- A NEW ECONOMIC AND SOCIAL SYSTEM; NEW PATRONS OF THE ARTS.

61. KEY DATES, NAMES AND ISSUES
1777
1700’s
EARLY
1800’s
AMERICAN REVOLUTION.
THE RIGHTS OF THE
FRENCH REVOLUTION INDIVIDUAL CITIZEN.
THE INDUSTRIAL REVOLUTION.
JAMES WATT’S EFFICIENT STEAM ENGINES.
THE ROMANTIC MOVEMENT

62. J.W.M TURNER. 1775-1851 JOHN CONSTABLE. 1776-1837 1800’s 1840 1872
INCREASING TECHNOLOGY.
INCREASING INDUSTRIALISATION.
INCREASING URBANISATION.
INCREASING OBJECTIVITY IN ART.
THE INVENTION OF PHOTOGRAPHY.
THE IMPRESSIONISTS.
MANET’S “BAR AT THE FOLIES BERGERE”
MONET’S “HAYSTACKS” SERIES.
1800’s
1840
1872
1882
1890

63. POST IMPRESSIONISTS. 1859-1891 SEURAT. 1853-1890 VAN GOGH. 1848-1903 ’s
ONWARDS
1893
POST IMPRESSIONISTS.
SEURAT.
VAN GOGH.
GAUGIN.
CEZANNE.
EXPRESSIONISM.
EXPRESSION OF FEELINGS AND SUBJECTIVE IMPRESSIONS
MUNCH’S “THE SCREAM”

64. 1900’s ONWARDS FORMALISM IN ART. CUBISM. 1881-1973 PICASSO. 1882-1963
1907
1910
MORE OBJECTIVITY IN ART
FORMALISM IN ART.
CUBISM.
PICASSO’S LES DEMOISELLES D’AVIGNON.
PICASSO.
BRAQUE.
ABSTRACTION.
KANDINSKY PAINTS FIRST ABSTRACT PAINTING
KANDINSKY.
MALEVICH

65. THE RUSSIAN REVOLUTION WALL STREET CRASH.
1918
1929
( )
MODERN UPHEAVALS.
THE DEATH OF RELIGION?
A NEW PSYCHOLOGY:
FREUD.
JUNG.
WORLD WAR 1.
THE RUSSIAN REVOLUTION
WALL STREET CRASH.
(WORLD WAR 2)

66. REACTIONS TO NEW PHILOSOPHIES:
MARCEL DUCHAMP.
MARCEL DUCHAMP’S “FOUNTAIN”.
CONCEPTUAL ART.
DADA AND SURREALISM FOUNDED BY ANDRE BRETON.
JEAN ARP.
MAX ERNST.
SALVADOR DALI.
ACTION PAINTING.
ANDRE MASSON.
ABSTRACT EXPRESSIONISM.
JACKSON POLLOCK.
“SPIRITUAL” COLOUR FIELD PAINTINGS.
MARK ROTHKO.
1917
1919 ONWARDS
1920’s
1940’s
1950’s

67. LATE MODERNISM. 1940’s ONWARDS ART AS OBJECT. 1950’S ONWARDS 1905-1970
1924-
1939-
LATE MODERNISM.
ART AS OBJECT.
POST-PAINTERLY ABSTRACTION.
BARNETT NEWMAN.
SEMI-ABSTRACTION/
ABSTRACTION.
BARBARA HEPWORTH.
HENRY MOORE.
ANTONY CARO.
DONALD JUDD.
RICHARD SERRA.