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Week 2 Lecture, 20th century
- 1. History of 20 th Century Art Week 2
- 17. Matisse, Open Window , 1905 “ What counts most with colors are relationships. Thanks to them and them alone a drawing can be intensely colored without there being any need for actual color.” - Matisse
- 19. Art is a finger up the bourgeoisie ass -Pablo Picasso
- 20. France, 1907 Picasso, Les Demoiselles d’Avignon , 1907, oil Study for Les Demoiselles Student (holding skull or book) Sailor (holding wine flask) Prostitutes http://www.moma.org/explore/multimedia/audios/3/36
- 22. From Sex Kitten to Dominatrix Marilyn Monroe , Bert Stern, 1962 Maitresse Francoise (Annick Foucault)
Notas del editor
- I’d like to begin this semester with a drawing by the American modernist painter, Ad Reinhardt, that provides instructions on looking at and understanding modern art and where it came from. As you can see, Reinhardt has depicted the lineage of modern art as if it were a family tree, complete with roots, branches, and leaves, on which are written the names of mid-century artists in America. Some of these leaves are thriving, soaking up the sun, while others have fallen or are being weighed down by an array of influences that threaten to kill the tree. At the base of the tree, its four roots support a trunk on which are written the names of the following artists: Braque, Matisse, and Picasso. These artists have sprung from their aesthetic roots, Cezanne, Seurat, Gauguin, and van Gogh. We will have briefly discussed work by all of these artists by the end of class. They are known by many to be the fathers of modernist art (their gender is not incidental), and are almost always used to introduce A history of 20th century art. They are the modernist “avant-garde.” The first exhibition at the Museum of Modern Art in New York in 1929 was on the work of these four artists. This was an exhibition which “laid a solid foundation in early European modernism.” “ Modernism…is that art that takes itself—its compositional techniques, methods of image making, physical presence, and constructive or destructive relation to the traditions of art—as its primary subject. Before modernist art is about anything else—an image, a symbol, the communication of an experience—it is about the logic and structure of the thing that carries meaning, and about how that thing came into being. In this respect, all modernist art is essentially abstract, even though only some modernist art looks it.” (Robert Storr)
- afterward, Klimt turned to profitable commissions by socialites, away from the avant-garde
- Postimpressionism: “ In the broadest sense, the theory or practice of any of several groups of painters of the early 1900's, or of these groups taken collectively, whose work and theories have in common a tendency to reaction against the scientific and naturalistic character of impressionism and neo-impressionism…They tend to, and sometimes reach, a condition in which both representation and traditional decoration are entirely abolished and a work of art becomes a purely subjective expression in an arbitrary and personal language.” 1) Seurat: optical effects (Chevreul’s ideas on color) 2) Cezanne: structure and classicism 3) Van Gogh: expressionism (feeling) 4) Gauguin: primitivism and the visionary artist (a Romantic concern)—a “vision-quest” among tribal cultures Interest in tribal art vert influencial on art of the era both formally (Picasso, Matisse) and conceptually. Some artists played the role of the primitive (retreating to country life, living among peasants (van Gogh and Gauguin), surrounding self with collected tribal artifacts) and some escaped the west altogether and lived among native, colonized peoples (Gauguin again, emil nolde, pechstein) -Like the Vienesse secession, it was an act of rebellion against authority and tradition, both against the academy and reigning avant-garde styles (impressionism and postimpressionism)
- -Griselda Pollock: Gauguin makes three moves: 1) nod to traditional subject 2) nod to avant-garde treatment of traditional subject 3) his transformation of that subject into a primitivist one
- -acc to book, Matisse understood that “the four major postimpressionists had all stressed that if color and line were to be celebrated, if their expressive function were to be enhanced, they had to become independent from the objects they depicted.” (p.71) -they had to be systematically separated (color, line, shape) and then recombined, a back to basics approach to painting. Divisionism or pointillism as it is now called gave him a method with which to begin
- Picasso, on the other hand, was not interested in conflating visual beauty and sensual pleasure, or in finding a good armchair in which to rest. There is nothing idle going on this picture, unlike those before it by Titian, Ingres, and then, Matisse. Although, having seen Matisse’s Joy of Life at Getrude and Leo Stein’s salon, he apparently made this picture in response. This is all action, and erect alertness.
- This painting labored over, worked over, 16 sketchbooks and numerous studies, these tell us much about the meaning and motivation for making it For a long time, it was seen by very few; exhibited twice in 1916, 1918, then remained in Picasso’s studio until bought by Jacques Doucet in 1924, Doucet’s widow sold to dealer in 1937, at which time it arrived at MoMA (1937) -very little writing on it, except for a few articles (Kahnweiler) -two important articles: Alfred H. Barr’s article on it in 1951 and later Leo Steinberg’s article, “The Philosophical Brothel” (based on an early title of the painting) in 1972. Your textbook uses these essays to interpret the ptg. As opposed to the tradition of Bordello pics—for male sexual gratification, Demoiselles challenges this gaze by threatening it (with the allegory removed, the painting becomes a direct address to the male viewer) Also the tradition of western painting is to physically and psychologically connect the figures and objects in the same space, a Renaissance notion of strived for unity Here is a shift from narrative (western ptg) to anti-narrative (Picasso)
- Other early 20th century movements were more revolutionary, even anarchist in their philosophy of artmaking and life. They were interested in the machinery of modern life. But, their view of it was not pessimistic. They celebrated it—the car, the machinery of war to the point of wanting to tear down/violently overthrow all remnants of a past order (museums, libraries) in a celebration of the cleansing power of war. Marinetti founder of futurism developed his own origin myth, published in his first manifesto—he recounted the moment of his awakening when, racing in his sports car, he overturned in the muddy waters of a suburban ditch—only to emerge as a Futurist poet “ We want to glorify war - the only cure for the world - militarism, patriotism, the destructive gesture of the anarchists, the beautiful ideas which kill, and contempt for woman…We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice.”-F. T. Marinetti, Futurist Manifesto, 1909
- Inspired by a number of movements including cubism, divisionism, post-impressionism, divisionism
- Futurists most innovative with their experiments with sound, yet another instance of the parallels between music and art in the early 20th cent. You could argue that the very thing the Futurists championed was what brought about their ruin, war, specifically WWI. Boccioni died accidentally falling off a horse in a battle training exercise in 1916, Saint’Elia died in battle. And Marinetti’s affiliation with fascism would only bring him problems. Carra, as your book states departed from the aesthetic and turned to de Chirico’s metaphysical paintinng which we’ll talk about later. And Severini to classicism. A general “rappel a l’ordre ensued, part of an anti-modernism which reacted against these modernist experiments.