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Early Modern Art. From Realism to Impressionism: Édouard Manet. Rejected by the Salon Manet becomes hero to nonconformist Greatly influenced Monet and others (He adopted the Impressionist approach about 1873) Impressionists emerge. Le Dejeuner sur l’Herbe. From Realism to Impressionism.

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slide1

Early

Modern

Art

from realism to impressionism douard manet
From Realism to Impressionism: Édouard Manet
  • Rejected by the Salon
  • Manet becomes hero to nonconformist
  • Greatly influenced Monet and others (He adopted the Impressionist approach about 1873)
  • Impressionists emerge

Le Dejeuner sur l’Herbe

from realism to impressionism
From Realism to Impressionism
  • The Gleaners, 1857
  • The Barbizon School
  • Realism w/o the “drama” of Romanticism
impressionism
Impressionism
  • concentration on the general impression produced by a scene or object
  • the use of unmixed primary colors and small strokes to simulate actual reflected light.
  • Principal Impressionist painters:
    • Claude Monet
    • Pierre Auguste Renoir
    • Berthe Morisot

soleil levant

impressionism5
Impressionism

Water Lillies, 1903

Monet’sTulip Fields

impressionism6
Impressionism
  • Monet’s Port at Argenteuil
    • Two common Impressionist themes
      • Leisure
      • Industrial backdrop
impressionism7
Impressionism

Renoir’s At the Concert

impressionism8
Impressionism
  • Edgar Degas (below)
  • Paul Cézanne (right) also painted in an Impressionist style for a time in the early 1870s.
slide9

Themes in Early Modern Art

  • Uncertainty/insecurity.
  • Disillusionment.
  • The subconscious.
  • Overt sexuality.
  • Violence & savagery.
slide10

Edvard Munch: The Scream (1893)

Expressionism

  • Using bright colors to express a particular emotion.
  • art that raises subjective feelings above objective observations.
slide13

Gustav Klimt: Judith I (1901)

Vienna Secessionists

  • Disrupt the conservative values of Viennese society.
  • Obsessed with the self.
  • Man is a sexual being, leaning toward despair.
  • No “doctrine”: anything goes
slide14

Gustav Klimt:

Wrogie sily (1901)

gustav klimt adele bloch bauer i
Gustav Klimt: Adele Bloch-Bauer I
  • Sold in 2006
  • $135,000,000!!
slide18

Henri Matisse:

Carmelina(1903)

FAUVE

  • The use of intense colors in a violent, and uncontrolled way.
  • “Wild Beast.”
slide19

Henri Matisse:

Open Window(1905)

slide20

Georges Braque: Violin & Candlestick (1910)

CUBISM

  • The subject matter is broken down, analyzed, and reassembled in abstract form.
  • Cezanne  The artist should treat nature in terms of the cylinder, the sphere, and the cone.
slide21

Georges Braque:

Woman with a Guitar(1913)

slide25

Pablo Picasso:

Woman with aFlower(1932)

slide28

George Grosz

Grey Day(1921)

Dadaism

  • Ridiculed contemporary culture & traditional art forms.
  • Nonsense, travesty, incongruity.
  • The collapse during WW I of social and moral values.
  • Nihilistic.
dadaism
Dadaism
  • The First Dada Manifesto (Hugo Ball)
    • July 14, 1916.
    • 1. Dada is international in perspective and seeks to bridge differences,
    • 2. Dada is antagonistic toward established society in the modern avant-garde, Bohemian tradition of the épater-le-bourgeios (“to shock the middle class”) posture, and
    • 3. Dada is a new tendency in art that seeks to change conventional attitudes and practices in aesthetics, society, and morality."
slide30

George Grosz:

Daum Marries Her Pedantic AutomatonGeorge in May, 1920, John Heartfield is Very Glad of II(1919-1920)

slide31

George Grosz

The Pillarsof Society(1926)

Bourgeois Logic and Reason Led to Destruction

slide35

Marcel Duchamp:

Nude Descending a Staircase(1912)

slide36

Salvador Dali: Soft Construction with Boiled Beans (Premonition of Civil War), 1936

Surrealism

  • Late 1920s-1940s.
  • Came from the nihilistic genre of DaDa.
  • Influenced by Freud’s theories on psychoanalysis and the subconscious.
  • Confusing & startling images like those in dreams.
the manifesto of surrealism
The Manifesto of Surrealism
  • Andre Breton, 1924
  • “based on the belief in the superior reality of certain forms of association hitherto neglected, in the omnipotence of the dream, and in the disinterested play of thought.”
salvador dali
Salvador Dali

The Accommodation of Desire

slide40

Salvador Dali

The Apparition of the Face and Fruit Dish on a Beach (1938)