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| Edouard Manet, At the Cafe, 1878 |
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| Georges Braque, The Clarinet, 1913 |
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| Developed by Pablo Picasso and Georges Braque who discovered that throught the repetition of "analytic" signs, their work became more generalized, more geometically simplified, and flatter. Real pieces of paper replaced drawn depictions of paper, scores of music replaces drawn notation and so forth. The artists tried to achieve a total interpenetrtion of life and art. |
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| Lorenzo Lotto, Portrait of Andrea Odini, 1527 |
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| David Teniers the Younger, View of Gallery of Archduke Leopold Wilhelm, 1640 |
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| Willem Kalf, Still Life with Chinese Bowl and Nautilus Cup, 1662 |
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| Rachel Ruysch, Flower Still life, after 1700 |
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| Frans Hals, The Jolly Toper, c. 1628-30 |
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| Pieter de Hooch, Courtyard of a House in Delft, 1658 |
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| Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, c. 1670 |
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| Paul Delaroche, The Execution of Lady Jane Grey, 1833 |
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| Edouard Manet, Luncheon on the Grass, 1863 |
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| Pierre-Auguste Renoir, Le Pont des Arts, 1867-68 |
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| Edouard Manet, Concert in the Tuileries, 1862 |
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| Norman Rockwell, Shuffleton’s Barber Shop, 1950 |
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| Taras Gaponenko, To Mother for the Next Feed, 1935 |
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| Max Ernst, A Week of Kindness, 1934 |
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| Surrealism originated in the late 1910s and early '20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious |
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the idea of writing in a trance.
The same thing was applied to drawing- without preconception. Its not about a conscious expression of your feelings rather a visible thought process of the mind seen through art |
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| Roberto Matta, The Vertigo of Eros, 1944 |
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| Pablo Picasso, Les Demoiselles d’Avignon, |
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| Pablo Picasso, Les Demoiselles d’Avignon, 1907 |
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| Wifredo Lam, The Jungle, 1943 |
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| Joseph Cornell, Habitat Group for a Shooting Gallery, 1943 |
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A new vanguard emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a stylistically diverse body of work that introduced radical new directions in art—and shifted the art world's focus
Breaking away from accepted conventions in both technique and subject matter, the artists made monumentally scaled works that stood as reflections of their individual psyches—and in doing so, attempted to tap into universal inner sources
Wilhem DeKoonig said “it is disastrous to name ourselves” |
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| Jackson Pollock, Guardians of the Secret, 1943 |
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| Arshile Gorky, One Year the Milkweed, 1944 |
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| Piet Mondrian, Fox Trot, 1929 |
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| Jackson Pollock, Full Fathom Five, 1947 |
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| Hans Namuth, Pollock Painting, 1950 |
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| Gustave Courbet, A Burial at Ornans, 1949 |
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| Jackson Pollock, Number 1A, 1848 |
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| Pablo Picasso, Guernica, 1937 |
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| Diego Rivera, Man at the Crossroads, 1933-34 |
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| Mark Rothko, Green and Maroon, 1953 |
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| Barnett Newman, Vir Heroicus Sublimis, 1950-51 |
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| Kenneth Noland, Virginia Site, 1959 |
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| Kenneth Noland, Trans Flux, 1963 |
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| Helen Frankenthaler, Mountains and Sea, 1952 |
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| Morris Louis, Blue Veil, 1958-59 |
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| Jean Fautrier, Very Young Girl, 1945 |
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| Arno Breker, Readiness, 1939 |
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| Jean Dubuffet, View of Paris: The Life of Pleasure, 1944 |
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| Ferdinand Cheval, Ideal Palace, 1879-1912 |
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| Jean Dubuffet, Metafisyx, 1950 |
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| Georges Mathieu, The Capetians Everywhere, 1954 |
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| Willem de Kooning, Woman and Bicycle, 1952-53 |
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| Post Painterly Abstraction |
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Definition
- coined by critic Clement Greenberg
- Greenberg distinguished between Painterly abstraction—his preferred designation for what others have called Abstract Expressionism—and the artistic work that it precipitated by artists such as Helen Frankenthaler, and Morris Louis
- Some of these artists continued the painterly, loose facture of color and contour pursued by Jackson Pollock and Willem de Kooning, while others moved toward a more hard-edgedstyle.
- What they shared, according to Greenberg, was the kind of linear clarity and physical openness of design that had begun with Painterly abstraction and continued in its wake, as well as a new tendency to stress contrasts of pure hues, and a rejection of the tactile application of paint in favor of staining the canvas with diluted paint.
- Often they also sought a flat, anonymous style of execution. |
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- an artist who isn’t a risk taker and not concerned with form will create a calligraphic work)
- rather than form (signifies reason or spirit in right angle thinking) a real concern is for the material (another aspect of art Informel)
- - intro of Art Informel: originated by the French critic Michel Tapié and popularized in his 1952 book Un Art autre (Another art). A Parisian counterpart of Abstract Expressionism, Art Informel emphasized intuition and spontaneity over the Cubist tradition that had dominated School of Paris painting. The resulting abstractions took a variety of forms. For instance, Pierre Soulages’s black-on-black paintings composed of slashing strokes of velvety paint suggest the nocturnal mood of Europe immediately after the war.
- breaking down of form into matter
- can be abstract or figurative
- after the war there is a lot of geometric abstraction that still exists
- art informal is meant to be more spontaneous
- Europeans see this as an alternative to Modern Art |
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| art other than the development of modernism up until the 1940s |
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| Helen Frankenthaler, Mountains and Sea, 1952 |
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| Morris Louis, Blue Veil, 1958-59 |
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| Kenneth Noland, Virginia Site, 1959 |
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Definition
| Kenneth Noland, Trans Flux, 1963 |
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| Jean Fautrier, Very Young Girl, 1945 |
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| Arno Breker, Readiness, 1939 |
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| Jean Dubuffet, View of Paris: The Life of Pleasure, 1944 |
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| Ferdinand Cheval, Ideal Palace, 1879-1912 |
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| Jean Dubuffet, Metafisyx, 1950 |
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| Georges Mathieu, The Capetians Everywhere, 1954 |
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| Lucio Fontana, Spatial Light, 1951 |
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| Lucio Fontana, Spatial Concept, 1955 |
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| Georges Mathieu painting The Battle of Hakata in Japan, 1957 |
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| Lucio Fontana, Spatial Concept No. 2, 1960 |
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| Alberto Burri, Abstraction with Brown Burlap (Sack), 1953 |
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| Karel Appel, Questioning Children, 1948 |
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| Karel Appel, Cry of Liberty, 1948 |
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| Constant, The Little Ladder, 1949 |
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| Asger Jorn, Letter to My Son, 1956-57 |
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- an international organization of social revolutionaries, the exclusive membership of which was made up of avant-garde artists, intellectuals, and political theorists, active from its formation in 1957 to its dissolution in 1972.[2]
- by 1961 the group as a whole had agree that making art is a reactionary thing to do
- Jorn never agreed to this and was expelled early on (1961) because of this disagreement
- they decided to realize art rather than “make” art (art in its current form belonged to the old world)
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| Situationist International (SI) |
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| Guy Debord, The Naked City, 1957 |
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| Jorn, The Disquieting Duck, 1959 |
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| Constant, New Babylon Amsterdam, 1963 |
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| Constant, View of New Babylonian Sectors, 1971 |
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| Marcel Duchamp, Box in a Valise, 1941 |
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| Duchamp, Bottle Rack, 1914 (replica of lost original) |
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| Ludwig Mies van der Rohe, Farnsworth House, 1951 |
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| Robert Rauschenberg, White Painting, 1951 |
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| Kasimir Malevich, White on White, 1918 |
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| Barnett Newman, The Name II, 1950 |
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| Kurt Schwitter, The Cherry Picture, 1921 |
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| Robert Rauschenberg, Rebus, 1955 |
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