ART

APPRECIATION

Ms. Ma. Corazon Constantino

GROUP 1 (LITERATURE)

Group Members:

Ardales, Rizza Mae (Leader)

Andea, John Yuri

Anonat, Stephannie

Balauro, Jocelyn

Biscocho, Ma. Nenita

Latosa, Divine

Rima, John Kobe

 FUTURISM

Futurism, Italian Futurismo, Russian Futurizm, early 20th-century artistic

movement centred in Italy that emphasized the dynamism, speed, energy, and power of
the machine and the vitality, change, and restlessness of modern life.

It was an Italian art movement of the early twentieth century that aimed to capture in art
the dynamism and energy of the modern world.

Among modernist movements futurism was exceptionally vehement in its denunciation

of the past. This was because in Italy the weight of past culture was felt as particularly
oppressive.

Futurist painting used elements of neo-impressionism and cubism to

create compositions that expressed the idea of the dynamism, the energy and
movement, of modern life.

During the second decade of the 20th century, the movement’s influence radiated
outward across most of Europe, most significantly to the Russian avant-garde. The
most-significant results of the movement were in the visual arts and poetry.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le
Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti.
Marinetti coined the word Futurism to reflect his goal of discarding the art of the past
and celebrating change, originality, and innovation in culture and society.
Marinetti’s manifesto glorified the new technology of the automobileand the beauty of its
speed, power, and movement. Exalting violenceand conflict, he called for the sweeping
repudiation of traditional values and the destruction of cultural institutions such as
museums and libraries. The manifesto’s rhetoric was passionately bombastic; its
aggressive tone was purposely intended to inspire public anger and arouse controversy.

In contrast with other early 20th-century avant-garde movements, the distinctive feature
of Futurism was its intention to become involved in all aspects of modem life. Its aim
was to effect a systematic change in society and, true to the movement's name, lead it
towards new departures into the "future". Futurism was a direction rather than a style.
Its encouragement of eccentric behaviour often prompted impetuous and sometimes
violent attempts to stage imaginative situations in the hope of provoking reactions. The
movement tried to liberate its adherents from the shackles of 19th-century' bourgeois
conventionality and urged them to cross the boundaries of traditional artistic genres in
order to claim a far more complete freedom of expression. Through a barrage of
manifestos that dealt not only with various aspects of art, such as painting, sculpture,
music, architecture, and design, but with society in general, the Futurists proclaimed the
cult of modernity and the advent of a new form of artistic expression, and put an end to
the art of the past. The entire classical tradition, especially that of Italy, was a prime
target for attack, while the worlds of technology, mechanization, and speed were
embraced as expressions of beauty and subjects worthy of the artist's interest.

Despite being the sole Italian avant-garde movement. Futurism first came to light in
Paris where the cosmopolitan atmosphere was ready to receive and promote it. Its
development coincided with that of Cubism, and the similarities and differences in the
philosophies of the two movements have often been discussed. Without doubt they
shared a common cause in making a definitive break with the traditional, objective
methods of representation. However, the static quality of Cubism is evident when
compared with the dynamism of the Futurists, as are the monochrome or subdued
colours of the former in contrast to the vibrant use of colour by the latter. The Cubists'
rational form of experimentation, and intellectual approach to the artistic process, also
contrasts with the Futurists' vociferous and emotive exhortations for the mutual
involvement of art and life, with expressions of total art and provocative demonstrations
in public. Cubists held an interest in the objective value of form, while Futurists relied on
images and the strength of perception and memory in their particularly dynamic
paintings.

The Futurists believed that physical objects had a kind of personality and vitality of their
own. revealed by "force-lines" - Boccioni referred to this as "physical
transcendentalism". These characteristic lines helped to inform the psychology and
emotions of the observer and influenced surrounding objects "not by reflections of light,
but by a real concurrence of lines and real conflicts of planes" (catalogue for the
Bernheim-Jeune exhibition, 1911). In this way, the painting could interact with the
observer who, for the first time, would be looking "at the centre of the picture" rather
than simply viewing the picture from the front. This method of looking at objects that
was based on their inherent movement - and thereby capturing the vital moment of a
phenomenon within its process of continual change - was partly influenced by a
fascination with new technology and mechanization. Of equal importance, however, was
the visual potential of the new-found but flourishing art of cinematography. Futurists felt
strongly that pictorial sensations should be shouted, not murmured. This belief was
reflected in their use of very flamboyant, dynamic colours, based on the model of Neo-
Impressionist theories of the fragmentation of light. A favourite subject among Futurist
artists was the feverish life of the metropolis: the crowds of people, the vibrant nocturnal
life of the stations and dockyards, and the violent scenes of mass movement and
emotion that tended to erupt suddenly. Some Futurists, such as Balla, chose themes
with social connotations, following the anarchic Symbolist tradition of northern Italy and
the humanitarian populism of Giovanni Cena.

The first period of Futurism was an analytical phase, involving the analysis of dynamics,
the fragmentation of objects into complementary shades of colour, and the juxtaposition
of winding, serpentine lines and perpendicular straight lines. Milan was the centre of
Futurist activity, which was led by Boccioni and supported by Carra and Russolo. These
three artists visited Paris together in 1911 as guests of Severini, who had settled there
in 1906. During their stay, they formulated a new artistic-language, which culminated in
works dealing with the "expansion of objects in space" and "states of mind" paintings. A
second period, when the Futurists adopted a Cubistic idiom, was known as the synthetic
phase, and lasted from 1913 to 1916.

At this time, Boccioni took up sculpture, developing his idea of "sculpture of the
environment" which heralded the "spatial" sculpture of Moore, Archipenko, and the
Constructivists. In Rome, Balla and Fortunato Depero (1892-1960) created "plastic
complexes", constructions of dynamic, basic silhouettes in harsh, solid colours. The
outbreak of World War I prompted many Futurist artists to enlist as volunteers. This
willingness to serve was influenced by the movement's doctrine, which maintained that
war was the world's most effective form of cleansing. Both Boccioni and the architect
Antonio Sant'Elia, who had designed an imaginary Futurist city, were killed in the war
and the movement was brought to a sudden end.

During the 1920s, some Futurists attempted to revive the movement and align it with
other European avant-garde movements, under the label of "Mechanical Art". Its
manifesto, published in 1922. showed much in common with Purism and
Constructivism. Futurism also became associated with "aeropainting" a technique
developed in 1929 by Balla, Benedetta, Dottori, Fillia, and other artists. This painting
style served as an expression of a desire for the freedom of the imagination and of
fantasy.
 Danseuse bleue by Gino Severini

Umberto Bocconi Unique Forms of Continuity in Space

(1913)
 Symbolism

Symbolism is the practice or art of using an object or a word to represent an abstract

idea. An action, person, place, word, or object can all have a symbolic meaning.

When an author wants to suggest a certain mood or emotion, he can also use
symbolism to hint at it, rather than just blatantly saying it. Let's explore some examples
of symbolism in the arts and our everyday lives.

Typically, artists want to say something with their work and symbols are a great way for
them to communicate. In this medium, symbols are often tangible items, like an animal,
object, or plant.

Symbolism can also be found in the very colors artists choose to paint with. Colors
convey various messages. Perhaps an artist will use a lot of white to emote hope or
black to indicate sadness. Let's consider two important periods in art history and see
how symbolism affected the work produced during that time.

During the Renaissance period, a lot of the art was Biblical in nature. This was done so
people who couldn't read or write could still understand the messages from the Bible.

As such, we saw a lot of serpents (representing the devil), lambs (representing peace),
gardens (representing paradise), and crosses (representing Jesus' sacrifice).

Symbolism, a loosely organized literary and artistic movement that originated with a
group of French poets in the late 19th century, spread to painting and the theatre, and
influenced the European and American literatures of the 20th century to varying
degrees. Symbolist artists sought to express individual emotional experience through
the subtle and suggestive use of highly symbolized language.

The principal Symbolist poets include the Frenchmen Stéphane Mallarmé, Paul
Verlaine, Arthur Rimbaud, Jules Laforgue, Henri de Régnier, René Ghil, and Gustave
Kahn; the Belgians Émile Verhaerenand Georges Rodenbach; the Greek-born Jean
Moréas; and Francis Viélé-Griffin and Stuart Merrill, who were American by birth. Rémy
de Gourmont was the principal Symbolist critic, while Symbolist criteriawere applied
most successfully to the novel by Joris-Karl Huysmansand to the theatre by the
Belgian Maurice Maeterlinck. The French poets Paul Valéry and Paul Claudel are
sometimes considered to be direct 20th-century heirs of the Symbolists.

Symbolism originated in the revolt of certain French poets against the rigid conventions
governing both technique and theme in traditional French poetry, as evidenced in the
precise description of Parnassian poetry. The Symbolists wished to liberate poetry from
its expository functions and its formalized oratory in order to describe instead the
fleeting, immediate sensations of man’s inner life and experience. They attempted to
evoke the ineffable intuitions and sense impressions of man’s inner life and to
communicate the underlying mystery of existence through a free and highly personal
use of metaphors and images that, though lacking in precise meaning, would
nevertheless convey the state of the poet’s mind and hint at the “dark and confused
unity” of an inexpressible reality.

Such Symbolist forerunners as Verlaine and Rimbaud were greatly influenced by the
poetry and thought of Charles Baudelaire, particularly by the poems in his Les Fleurs du
mal (1857). They adopted Baudelaire’s concept of the correspondances between the
senses and combined this with the Wagnerian ideal of a synthesis of the arts to produce
an original conception of the musical qualities of poetry. Thus, to the Symbolists, the
theme within a poem could be developed and “orchestrated” by the sensitive
manipulation of the harmonies, tones, and colours inherent in carefully chosen words.
The Symbolists’ attempt to emphasize the essential and innate qualities of the poetic
medium was based on their conviction of the supremacy of art over all other means of
expression or knowledge. This in turn was partly based on their idealistic conviction that
underlying the materiality and individuality of the physical world was another reality
whose essence could best be glimpsed through the subjective emotional responses
contributing to and generated by the work of art.
 The Dance of Life (1899-1900)

Artist: Edvard Munch

Munch presents the three stages of woman (all portraits of his lover Tulla Larsen): the
virgin symbolized by white, the carnal woman of experience in red, and the aged,
satanic woman in black. The sea is the beyond, eternity, the edge of life into the vast
unknown, and finally, death. The dance is therefore the playing out of earthly life and
the life of the senses before death, and for the time being, at least, keeps death at bay.
In the background a lone, female figure stands in front of the Freudian male phallic
symbol of the setting sun's reflection. Multiple male figures hover about another female
figure in white (or perhaps the same one at a different moment). In the right middle
ground, a male figure grabs lustily at his partner who leans away from him. This male
figure has been identified as a caricature of the playwright Gunnar Heiberg, who had
introduced Munch to Larsen and of whom he was jealous. In the foreground a couple -
Larsen and Munch, himself - is physically proximate, in fact symbolically entwined
through the shapes of the lower parts of their bodies. Their faces, however, indicate
their separation from each other. The Dance of Life is thus also a dance of death. In
this, as well as his other works, Munch was amongst the first to iterate, and through
such direct means, the modern theme of alienation and isolation that fascinated so
many writers and artists of the ensuing century.
 Realism

Realism is a movement in art, which started in the mid nineteenth century in France,
and later spread to the entire world. Realism entered literature at almost at the same
time. Its real objective was to root out what is called fantastic and romantic in literature
and art, to insert what is real.

Realism emerged in France in the 1850s. On the heels of the 1848 Revolution—an
event that established the “right to work” in the country—the movement introduced the
idea of average, working class people, contemporary settings, and day-to-day scenes
as worthy artistic subjects.

Realism, sometimes called naturalism, in the arts is generally the attempt to represent
subject matter truthfully, without artificialityand avoiding artistic conventions, or
implausible, exotic, and supernatural elements. Realism has been prevalent in the arts
at many periods, and can be in large part a matter of technique and training, and the
avoidance of stylization.
In literature, writers use realism as a literary technique to describe story elements, such
as setting, characters, themes, etc., without using elaborate imagery, or figurative
language, such as similes and metaphors. Through realism, writers explain things
without decorative language or sugar-coating the events. Realism is something opposite
to romanticism and idealism.

Broadly defined as "the faithful representation of reality,” Realism as a literary

movement was based on "objective reality." It focused on showing everyday activities
and life, primarily among the middle or lower class society, without romantic idealization
or dramatization.It may be regarded as the general attempt to depict subjects as they
are considered to exist in third person objective reality, without embellishment or
interpretation and "in accordance with secular, empirical rules." As such, the approach
inherently implies a belief that such reality is ontologically independent of human kind's
conceptual schemes, linguistic practices and beliefs, and thus can be known (or
knowable) to the artist, who can in turn represent this 'reality' faithfully. As Ian
Watt states, modern realism "begins from the position that truth can be discovered by
the individual through the senses" and as such "it has its origins
in Descartes and Locke, and received its first full formulation by Thomas Reid in the
middle of the eighteenth century."

Examples:
The Cherry Orchard (by Anton Chekhov ) VARYA.
There’s been an unpleasantness here while you were away. In the old servants’ part of
the house, as you know, only the old people live – little old Efim and Polya and
Evstigney, and Karp as well … Then I heard that they were saying that I had ordered
them to be fed on peas and nothing else; from meanness, you see. … So I call
Evstigney. … [Yawns] He comes. “What’s this,” I say, “Evstigney, you old fool.”…
[Looks at ANYA] Anya dear! [Pause] … My darling’s gone to sleep!”

This monologue looks like a rambling and an idle complaint. However, it reveals many
things about Anya, Varya, and their situation at home. It presents a perfect example of
social realism, as it exemplifies old feudal order slowly giving way to a rapidly growing
mercantile and capitalistic middle class.

A Burial at Ornans (1850) – Gustave Courbet

French Title: Un enterrement à Ornans

This painting depicts the funeral of the great-uncle of Gustave Courbet in the small town
of Ornans in France. Courbet painted the very people who had been present at the
interment, all the townspeople”. A Burial At Ornans caused astorm on first being
displayed at the 1850–51 Paris Salon. Firstly, it is an enormous work, measuring 10 by
22 feet; such an enormous scale had been traditionally reserved for the heroic or
religious scenes of history painting; and secondly itsunflattering realism without any
sentimental narrative shocked the art world. Initially denounced by critics, A Burial At
Ornans was one of the major works due to which the public moved away from
Romanticism and became interested in the new Realist approach. It is regarded as one
of the major turning points of 19th-century French art and Courbet said: “The Burial at
Ornans was in reality the burial of Romanticism.”
 Abstraction

Abstraction was created at the cusp of the 20th century. It is an art style that breaks
away from drawing art as it is represented in real life. Abstract art is about exploring
form and color. One could even venture to say that it is artists drawing how they feel.
Abstract art isn't about making perfect copies of real life. Sometimes, it isn't even about
giving the impression of real life without all the little details. In fact, depending on the
artists, abstract art became about the process itself. Representational would mean that
you draw what you see. Abstract art is far from that concept.

Abstract is art that does not attempt to represent an accurate depiction of a visual
reality but instead use shapes, colours, forms and gestural marks to achieve its effect.
Strictly speaking, the word abstract means to separate or withdraw something from
something else.The term can be applied to art that is based an object, figure or
landscape, where forms have been simplified or schematised.

It is also applied to art that uses forms, such as geometric shapes or gestural marks,
which have no source at all in an external visual reality. Some artists of this ‘pure’
abstraction have preferred terms such as concrete art or non-objective art, but in
practice the word abstract is used across the board and the distinction between the
two is not always obvious.
Abstract art is often seen as carrying a moral dimension, in that it can be seen to
stand for virtues such as order, purity, simplicity and spirituality.
Composition VII (1913) – Wassily Kandinsky

Abstract can also be presented in many ways like:

a. MANGLING – is rarely used by artist today. Here, the subject is either cut, or
mutilated.

b. ELONGATION
Elongation art refers to paintings that feature figures that are painted with their forms
elongated much more than they are in reality. Elongation is a form of abstract art that
often depicts the stretched forms of people or objects in nature.

Among the artists who created elongation art was early 20th-century artist Amedeo
Modigliani, who is renowned for his use of elongation in portraits as well as more
abstract paintings. Some other artists known for using elongation in their paintings are
modern African-American painter Ernie Barnes and Italian Renaissance artist
Parmigianino, who is noted for the painting "Madonna of the Long Neck."

FAMOUS ELONGATION ARTSIST

  AMADEO CLEMENTE MODIGLIANI (12 July 1884 – 24 January 1920)

was an Italian Jewish painter and sculptor who worked mainly in France. He is known
for portraits and nudes in a modern style characterized by elongation of faces, necks,
and figures that were not received well during his lifetime but later found acceptance.
Modigliani spent his youth in Italy, where he studied the art of antiquity and the
Renaissance. In 1906 he moved to Paris, where he came into contact with such artists
as Pablo Picasso and Constantin Brâncuși. By 1912 Modigliani was exhibiting highly
stylized sculptures with Cubists of the Section d'Or group at the Salon d'Automne.

SUMMARY OF AMEDEO MODIGLIANI

A central participant in the Ecole de Paris, Modigliani modernized two of the enduring
themes of art history: the portrait and the nude. Characterized by a sense of
melancholy, elongated proportions, and mask-like faces influenced by such sources as
Constantin Brancusi and African art, Modigliani's portraits are both specific and highly
stylized, each uniquely revealing its sitter's inner life, while at the same time
unmistakably "Modiglianized," to use the words of one critic. Modigliani's nudes
scandalized audiences with their depiction of features such as pubic hair and their frank,
unadorned sexuality. The subject of three biographical movies, Modigliani's legacy is
inextricably bound up with his tragic and bohemian life: his fragile health, which plagued
him since childhood; his perpetual pennilessness; and - most famously - his over-the-
top, self-destructive lifestyle, which included sexual debauchery and overuse of drugs
and alcohol.

c. CUBISM
Cubism is an early-20th-century avant-garde art movement that revolutionized
European painting and sculpture, and inspired related movements in music, literature
and architecture. Cubism has been considered the most influential art movement of the
20th century.The term is broadly used in association with a wide variety of art produced
in Paris (Montmartre, Montparnasse, and Puteaux) during the 1910s and throughout the
1920s.

The movement was pioneered by Pablo Picasso and Georges Braque, joined by Jean
Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger.
One primary influence that led to Cubism was the representation of three-dimensional
form in the late works of Paul Cézanne.In Cubist artwork, objects are analyzed, broken
up and reassembled in an abstracted form , the artist depicts the subject from a
multitude of viewpoints to represent the subject in a greater context instead of a aingle
viewpoint.

The impact of Cubism was far-reaching and wide-ranging. In other countries Futurism,
Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to
Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and
the present, the representation of different views of the subject pictured at the same
time,also called multiple perspective, simultaneity or multiplicity while Constructivism
was influenced by Picasso's technique of constructing sculpture from separate
elements. Other common threads between these disparate movements include the
faceting or simplification of geometric forms, and the association of mechanization and
modern life.

HISTORY

Historians have divided the history of Cubism into phases.

 First Phase : Analytic Cubism

- a phrase coined by Juan Gris a posteriori, was both radical and influential as a short
but highly significant art movement between 1910 and 1912 in France.

 Second Phase : Synthetic Cubism

- remained vital until around 1919, when the Surrealist movement gained popularity.

Douglas Cooper, an English art historian, proposed another scheme describing three
phases of Cubism in his book, The Cubist Epoch.

 First Phase: "Early Cubism" (from 1906 to 1908)

- when the movement was initially developed in the studios of Picasso and Braque

 Second Phase: "High Cubism" ( from 1909 to 1914)

- during which time Juan Gris emerged as an important exponent (after 1911)
  Third Phase : "Late Cubism" (from 1914 to 1921)

- the last phase of cubism that is a radical avant-garde movement.

Douglas Cooper's restrictive use of these terms to distinguish the work of Braque,
Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an international value
judgement.

CHARACTERISTICS OF CUBISM

 Analytical Cubism (1910 – 1912)

- Analytical Cubism was concerned with breaking down forms analytically into
simplified geometric forms across the picture. They were almost like drawings in the
lack of colour and monochromatic concentration on line and form.

- An important exhibition of work by Paul Cezanne in 1907 was a huge influence on

both Pablo Picasso and Georges Braque. Analytical Cubism was a direct development
from Cezanne’s approach to painting. Picasso took this approach forward and Braque
gave up his Fauvist style of painting to work with Picasso on the development of
Cubism.

 Synthetic Cubism (1912 – 1920)

- Synthetic Cubism is a later development of the Cubist Movement, and the first painting
representative of this style is thought to be Pablo Picasso’s ‘Still Life With Chair Caning’
of 1912. The main characteristics of Synthetic Cubism were the use of mixed media and
collage and the creation of a flatter space than with analytical cubism. Other
characteristics were a greater use of colour and greater interest in decorative effects.

- In the development of Synthetic Cubism, Picasso was the first person to use collage
and text in a fine art painting. Cubist paintings included cuttings from newspapers, sheet
music, pieces of cloth and painted text. Synthetic Cubism tended to push objects
together rather than pick them apart for analysis. Many of the devices used were
intended to flatten the picture plane and create an image with less depth than the earlier
Analytical Cubist paintings.

CUBISM ARTISTS

 Pablo Ruiz Picasso (October 1881 – 8 April 1973)

was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and
playwright who spent most of his adult life in France. Regarded as one of the most
influential artists of the 20th century, he is known for co-founding the Cubist movement,
the invention of constructed sculpture

 Georges Braque (13 May 1882 – 31 August 1963)

was a major 20th-century French painter, collagist, draughtsman, printmaker and

sculptor. His most important contributions to the history of art were in his alliance with
Fauvism from 1905, and the role he played in the development of Cubism. Braque's
work between 1908 and 1912 is closely associated with that of his colleague Pablo
Picasso. Their respective Cubist works were indistinguishable for many years, yet the
quiet nature of Braque was partially eclipsed by the fame and notoriety of Picasso.
 d. DISTORTION
 clearly manifested when the subject is in distorted condition or twisted out.
 Frequently artists use distortion or abstraction to convey feelings and a particular
mood, because often things can be expressed more successfully in forms that
are personalized, rather than through the use of realism. Ironically, by taking a
reality and changing it, artists are often able to create things that seem more real,
due largely in part because of the expressiveness allowed in distortion or
abstraction. Distortion is a change of a reality's depiction, altering it in a way that
one is able to still recognize the item itself, but notices it is changed in some
manner.
 Distortion is a change, twist, or exaggeration that makes something appear
different from the way it really is. You can distort an image, a thought, or even an
idea
 In the art world, a distortion is any change made by an artist to the size, shape or
visual character of a form to express an idea, convey a feeling or enhance visual
impact. Often referred to as "abstraction," examples of distortion include "The
Weeping Woman" by Picasso and "The Adoration of the Shepherds" by El
Greco.

DISTORTION TECHNIQUES

 JUXTAPOSITION
- is the placement of two or more unrelated things near to (or on top of) each
other. It provokes comparison and contrast and makes the viewer think more
carefully about the objects that are put together and why the artist made that
choice.
 REVERSAL
- involves flipping images or objects around to change the way that they are
viewed or perceived. Reflections and mirror images are commonly used to
create reversal.
 DISTORTION
- involves stretching, lengthening, shortening, squeezing, melting and twisting an
object from its original appearance to a new, strange, surreal appearance.

 DISPLACEMENT
 - involves relocating or transposing an object from its usual environment to one
that it does not usually belong.
 FRAGMENTATION
- involves cutting or smashing pieces of an image and/or creating an effect that
appears to segment the artwork into smaller pieces. Cubism is an effect of
fragmenting as is the appearance of broken glass.
 EXAGGERATION
- involves enlarging parts of an image to an unreal size creating unbalance,
emphasis and/or interest in parts of the artwork.
 METAMORPHOSIS
- like a caterpillar that becomes a butterfly, metamorphosis is the processing of
changing one object into another object.
 REPETITION
- is when you repeat an art element over and over to create a pattern. This can
also be referred to as a tessellation.

FAMOUS DISTORTION ARTISTS

 Vincent Willem van Gogh (30 March 1853 – 29 July 1890)

- was a Dutch post-impressionist painter who is among the most famous and
influential figures in the history of Western art. In just over a decade he created
about 2,100 artworks, including around 860 oil paintings, most of them in the last
two years of his life. They include landscapes, still lifes, portraits and self-
portraits, and are characterised by bold colours and dramatic, impulsive and
expressive brushwork that contributed to the foundations of modern art. He was
not commercially successful, and his suicide at 37 came after years of mental
illness and poverty
  Oscar-Claude Monet (14 November 1840 – 5 December 1926)

- was a French painter, a founder of French Impressionist painting and the most
consistent and practitioner of the movement's philosophy of expressing one's
perceptions before nature, especially as applied to landscape painting.The term
"Impressionism" is derived from the title of his painting Impression, soleil levant
(Impression, Sunrise), which was exhibited in 1874 in the first of the independent
exhibitions mounted by Monet and his associates.

- Monet's ambition of documenting the French countryside led him to adopt a method of
painting the same scene many times in order to capture the changing of light and the
passing of the seasons. From 1883, Monet lived in Giverny, where he purchased a
house and property and began a vast landscaping project which included lily ponds that
would become the subjects of his best-known works. In 1899, he began painting the
water lilies, first in vertical views with a Japanese bridge as a central feature and later in
the series of large-scale paintings that was to occupy him continuously for the next 20
years of his life.
ELONGATION EXAMPLES

MODIGLIANI ELONGATION REPRODUCTION by Amadeo Modigliani

CUBISM EXAMPLES
DISTORTION EXAMPLES

RED DISTORTION

WEEPING WOMAN by Pablo Piccaso

 SURREALISM

What is surrealism?

Surrealism is a cultural movement that began in the early 1920s, and is best
known for its visual artworks and writings. Artists painted unnerving, illogical scenes
with photographic precision, created strange creatures from everyday objects, and
developed painting techniques that allowed the unconscious to express itself. Its aim
was to "resolve the previously contradictory conditions of dream and reality into an
absolute reality, a super-reality".
Works of surrealism feature the element of surprise, unexpected juxtapositions
and non sequitur; however, many surrealist artists and writers regard their work as an
expression of the philosophical movement first and foremost, with the works being an
artifact. Leader André Breton was explicit in his assertion that Surrealism was, above
all, a revolutionary movement.
Surrealism developed out of the Dada activities during World War I and the most
important center of the movement was Paris. From the 1920s onward, the movement
spread around the globe, eventually affecting the visual arts, literature, film,
and music of many countries and languages, as well as political thought and practice,
philosophy, and social theory.
Founding of the Movement
Founded by Andre Breton in 1924, Surrealism swept the art world by storm.
Surrealist artists aimed to channel the unconscious in order to unlock their creativity and
imagination. Influenced by psychoanalysis, they believed that the rational mind
suppressed the power of their expression. Spanning visual arts, surrealism
photography, literature, and cinema, Surrealism proposed that artists should bypass
reason and rationality. These techniques became known as automatism or automatic
writing, encouraging chance and spontaneity in artistic practices. Guided by Freud’s
emphasis on the importance of dreams and the unconscious, they employed a variety of
motifs that rendered these notions. Each artist relied on their own symbols, but their
imagery could be often described as outlandish, perplexing, and even uncanny, jolting
the viewer out of their comforting assumptions. From Max Ernst‘s obsession with birds
and Salvador Dali’s depiction of ants or eggs to Joan Miró’s vague biomorphic imagery,
nature was the most frequent imagery.

Growing out of the Dada movement, Surrealism employed artistic influences that
came from different sources. Surrealists were influenced by bizarre imagery and
unsettling compositions of Giorgio de Chirico, but also the work of artists interested in
primitivism and fantastical imagery such as Gustave Moreau, Arnold Bocklin, Odilon
Redon, Henri Rousseau, and even Hieronymous Bosch. Beginning as a literary group
 strongly allied to Dada, the movement was articulated through Breton’s Surrealist

Figure 1The Paris Surrealists, 1933, via Rusty’s Artists; Yves Tanguy – I Await You, 1934; Salvador Dali – Sleep, via Bureau de
EstiloRenataAbranchs; Rene Magritte – Every day, 1966.

Manifesto in 1924. The group also began publishing the journal La Révolutionsurréaliste
that included writings and art by de Chirico, Max Ernst, André Masson, and Man Ray.
The same year, The Bureau for Surrealist Research or CentraleSurréaliste was
established, the institution that collected dream imagery and material related to social
life. Originating in the French art scene, strains of the movement could be identified in
art throughout the world, particularly in the 1930s and 1940s. Eventually, Abstract
Expressionism incorporated many Surrealist ideas, casting a shadow on their
dominance with new techniques for representing the unconscious. Still, movement’s
surprising imagery, deep symbolism, refined painting techniques, and disdain for
convention influenced many generations of artists.

Famous Surrealism Artists

The major Surrealist painters were Jean Arp, Max Ernst, André Masson, René
Magritte, Yves Tanguy, Salvador Dalí, Pierre Roy, Paul Delvaux, and Joan Miró. The
work of these artists is too diverse to be summarized categorically as the Surrealist
approach in the visual arts. Each artist sought his own means of self-exploration. Some
single-mindedly pursued a spontaneous revelation of the unconscious, freed from the
controls of the conscious mind; others, notably Miró, used Surrealism as a liberating
starting point for an exploration of personal fantasies, conscious or unconscious, often
through formal means of great beauty. A range of possibilities falling between the two
extremes can be distinguished. At one pole, exemplified at its purest by the works of
Arp, the viewer is confronted with images, usually biomorphic, that are suggestive but
indefinite. As the viewer’s mind works with the provocative image, unconscious
associations are liberated, and the creative imagination asserts itself in a totally open-
ended investigative process. To a greater or lesser extent, Ernst, Masson, and Miró also
followed this approach, variously called organic, emblematic, or absolute Surrealism. At
the other pole the viewer is confronted by a world that is completely defined and
minutely depicted but that makes no rational sense: fully recognizable, realistically
painted images are removed from their normal contexts and reassembled within an
ambiguous, paradoxical, or shocking framework.
 FAUVISM

What is Fauvism?

Fauvism, style of painting that flourished in France around the turn of the 20th
century. Fauve artists used pure, brilliant colour aggressively applied straight from the
paint tubes to create a sense of an explosion on the canvas.The Fauves painted directly
from nature, as the Impressionists had before them, but Fauvist works were invested
with a strong expressive reaction to the subjects portrayed. First formally exhibited in
Paris in 1905, Fauvist paintings shocked visitors to the annual Salon d’Automne; one of
these visitors was the critic Louis Vauxcelles, who, because of the violence of their
works, dubbed the painters fauves (“wild beasts”).

The leader of the group was Henri Matisse, who had arrived at the Fauve style
after experimenting with the various Post-Impressionist approaches of Paul Gauguin,
Vincent van Gogh, and Georges Seurat. Matisse’s studies led him to reject traditional
renderings of three-dimensional space and to seek instead a new picture space defined
by movement of colour. He exhibited his famous Woman with the Hat (1905) at the
1905 exhibition. In this painting, brisk strokes of colour—blues, greens, and reds—form
an energetic, expressive view of the woman. The crude paint application, which left
areas of raw canvas exposed, was appalling to viewers at the time.

The other major Fauvists were André Derain, who had attended school with
Matisse in 1898–99, and Maurice de Vlaminck, who was Derain’s friend. They shared
Matisse’s interest in the expressive function of colour in painting, and they first exhibited
together in 1905. Derain’s Fauvist paintings translate every tone of a landscape into
pure colour, which he applied with short, forceful brushstrokes. The agitated swirls of
intense colour in Vlaminck’s works are indebted to the expressive power of van Gogh.

What are the contribution of Fauvism in the history of Art?

One of Fauvism's major contributions to modern art was its radical goal of
separating color from its descriptive, representational purpose and allowing it to exist on
the canvas as an independent element. Color could project a mood and establish a
structure within the work of art without having to be true to the natural world.

Another of Fauvism's central artistic concerns was the overall balance of the
composition. The Fauves' simplified forms and saturated colors drew attention to the
inherent flatness of the canvas or paper; within that pictorial space, each element
played a specific role. The immediate visual impression of the work is to be strong and
unified.
 Above all, Fauvism valued individual expression. The artist's direct experience of
his subjects, his emotional response to nature, and his intuition were all more important
than academic theory or elevated subject matter. All elements of painting were
employed in service of this goal.

Famous Fauvism Artist

The most important Fauvist Painters were Henri Matisse and Andre Derain
(1880-1954), who had both studied together in 1897, together with Derain's close friend
Maurice de Vlaminck (1876-1958). Other members of the group - nicknamed fauvettes
by Vauxcelles - included the Dutch-born figurative painter Kees van Dongen (1877-
1968), the lyrical artist Georges Rouault (1871-1958), the painter of 'waterways' Albert
Marquet (1875-1947), the delicate colourist Raoul Dufy (1877-1953), the Cubist-in-
waiting Georges Braque (1882-1963), the Le Havre artist OthonFriesz (1879-1949), the
Neo-Impressionist Louis Valtat (1869-1952), the versatile Henri-Charles Manguin (1874-
1949), the Impressionistic Charles Camoin (1879-1964) another friend of Matisse from
Moreau's class at the Ecole des Beaux Arts, and Jean Puy (1876-1960) a participant at
the original 1905 Salon d'Automne show.
Legacy of Fauvism

Despite being superceded by Cubism and, arguably, overshadowed by

expressionism, Fauvism was the most radical trend in art for more than 30 years. And
though comparatively short-lived, it had a massive affect on the perceived value and
role of colour in painting. In particular it resonated strongly with exponents of German
Expressionism: see, for instance, works like Portrait of Gerda (1914) by Ernst Ludwig
Kirchner (1880-1938), and the 'Heads' series by Alexei von Jawlensky (1864-1941).
Fauvist paintings were exhibited alongside German expressionist works at the influential
Sturm Gallery in Berlin, founded by Herwarth Walden (1879-1941). It also exerted a
significant influence on French expressionist painters from the Paris School, inspiring
contemporary movements such as Orphism (1910-13) and Rayonism (1912-14).
Fauvism was introduced to Scotland by the Scottish Colourists, a group of four painters
- Samuel John Peploe (1871-1935), Francis Campbell BoileauCadell (1883-1937), John
Duncan Fergusson (1874-1961), and George Leslie Hunter (1877-1931) - who were
strongly influenced by Matisse and other Fauves while painting in France before the
First World War.
 DADA/DADAISM

Dadaism or Dada was a form of artistic anarchy born out of disgust for the social,
political and cultural values of the time. It embraced elements of art, music, poetry,
theatre, dance and politics. Dada was not so much a style of art like Cubism or
Fauvism; it was more a protest movement with an anti-establishment manifesto.

It is an artistic and literary movement in art formed during the First World War as a
negative response to the traditional social values and conventional artistic practices of
the different types of art at the time. Dada artists represented a protest movement with
an anti-establishment manifesto, sought to expose accepted and often repressive
conventions of order and logic by shocking people into self-awareness.

MAX ERNST (1891-1976)

'Murdering Airplane' 1920 (photomontage)

The Birth of Dada

Dada was born in Europe at a time when the horror of World War I was being played
out in what amounted to citizens' front yards. Forced out of the cities of Paris, Munich,
and St. Petersburg, a number of artists, writers, and intellectuals found themselves
congregating in the refuge that Zurich (in neutral Switzerland) offered.
By mid-1917, Geneva and Zurich were awash in the heads of the avant-garde
movement, including Hans Arp, Hugo Ball, Stefan Zweig, Tristan Tzara, Else Lasker-
Schuler, and Emil Ludwig. They were inventing what Dada would become, according to
the writer and journalist Claire Goll, out of literary and artistic discussions of
expressionism, cubism, and futurism that took place in Swiss coffeehouses. The name
they settled on for their movement, "Dada," may mean "hobby horse" in French or
perhaps is simply nonsense syllables, an appropriate name for an explicitly nonsensical
art.

Banding together in a loosely knit group, these writers and artists used any public forum
they could find to challenge nationalism, rationalism, materialism, and any other -ism
that they felt had contributed to a senseless war. If society was going in this direction,
they said, we'll have no part of it or its traditions, most particularly artistic traditions. We,
who are non-artists, will create non-art since art (and everything else in the world) has
no meaning anyway.

The Ideas of Dadaism

Three ideas were basic to the Dada movement—spontaneity, negation, and absurdity—
and those three ideas were expressed in a vast array of creative chaos.

Spontaneity was an appeal to individuality and a violent cry against the system. Even
the best art is an imitation; even the best artists are dependent on others, they said.
Tristan Tzara wrote that literature is never beautiful because beauty is dead; it should
be a private affair between the writer and himself. Only when art is spontaneous can it
be worthwhile, and then only to the artist.

To a Dadaist, negation meant sweeping and cleaning away the art establishment by
spreading demoralization. Morality, they said, has given us charity and pity; morality is
an injection of chocolate into the veins of all. Good is no better than bad; a cigarette butt
and an umbrella are as exalted as god. Everything has an illusory importance; man is
nothing, everything is of equal unimportance; everything is irrelevant, nothing is
relevant.
And in the end, everything is absurd.
Everything is paradoxical; everything
opposes harmony. Tristan Tzara's
"Dada Manifesto 1918" was a
resounding expression of that.

JOHANNES THEODOR
BAARGELD(1892 -1927)

'Typical Vertical Misrepresentation as a

Depiction

of the Dada Baargeld' 1920

(photomontage)

Dada Artists

Dada artists are hard to classify in a

genre because many of them did many
things: music, literature, sculpture,
painting, puppetry, photography, body
art, and performance art. For example,
Alexander Sacharoff was a dancer,
painter, and choreographer; Emmy Hennings was a cabaret performer and poet; Sophie
Taeuber was a dancer, choreographer, furniture and textile designer, and puppeteer.
Marcel Duchamp made paintings, sculpture, and films and was a performance artist
who played with the concepts of sexuality.

Francis Picabia was a musician, poet, and artist who played with his name (as "not
Picasso"), producing images of his name, art titled with his name, signed by his name.

Art Styles of the Dada Artists

Ready-mades (found objects reobjectified as art), photo-montages, art collages

assembled from a huge variety of materials: all of these were new forms of art
developed by Dadaists as a way to explore and explode older forms while emphasizing
found-art aspects. The Dadaists thrust mild obscenities, scatological humor, visual
puns, and everyday objects (renamed as "art") into the public eye. Marcel Duchamp
performed the most notable outrages by painting a mustache on a copy of the Mona
Lisa (and scribbling an obscenity beneath), and promoting "The Fountain," a urinal
signed R.

In an interesting twist, this art of protest—based on a serious underlying principle—is

delightful. The nonsense factor rings true. Dada art is whimsical, colorful, wittily
sarcastic, and at times, downright silly. If one wasn't aware that there was, indeed, a
rationale behind Dadaism, it would be fun to speculate as to just what these gentlemen
were up to when they created these pieces.

Key Takeaways: Dada

•The Dada movement began in Zurich in the mid-1910s, invented by refugee artists and
intellectuals from European capitals beset by World War I.

•Dada was influenced by cubism, expressionism, and futurism, but grew out of anger
over what its practitioners perceived as an unjust and senseless war.

•Dada art included music, literature, paintings, sculpture, performance art, photography,
and puppetry, all intended to provoke and offend the artistic and political elite.
 EXPRESSIONISM

Expressionism is an international artistic movement in art, architecture, literature, and

performance that flourished between 1905 and 1920, especially in Germany and
Austria, that sought to express the meaning of emotional experience rather than
physical reality. Conventions of expressionist style include distortion, exaggeration,
fantasy, and vivid, jarring, violent, or dynamic application of color in order to express the
artist’s inner feelings or ideas.

It is a term used to denote the use of distortion and exaggeration for emotional effect,
which first surfaced in the art literature of the early twentieth century. When applied in a
stylistic sense, with reference in particular to the use of intense colour, agitated
brushstrokes, and disjointed space. Rather than a single style, it was a climate that
affected not only the fine arts but also dance, cinema, literature and the theatre.

ERNST LUDWIG KIRCHNER (1880-1938)

'Davos under Snow', 1923 (oil on canvas)

The History of Expressionism

As a movement, the term 'Expressionism' usually denotes the late-19th century, early-
20th century schools of emotive or interpretive art, which emerged mainly in Germany
and Paris as a reaction to the more passive style of Impressionism. In the sense that it
was a reaction to Impressionism, we may describe expressionism as an example of
"post-Impressionism". In any event, whereas Impressionist painters sought only to
reproduce nature (notably the effects of sunlight), Expressionist painters sought to
express their feelings about what they saw. It was a more active, more subjective type
of modern art.

Pioneers of Expressionism

Van Gogh (1853-90) exemplifies expressionism. Not only were most of his pictures
autobiographical, in that they chronicled his
thoughts, feelings and mental equilibrium,
but even the composition, colours and
brushwork of his paintings were a close
reflection of his feelings as he painted. Few
artists have since equalled his genuine
intensity of self-expression. See his unique
style of expressionist painting at the Van
Gogh Museum in Amsterdam and at the
Kroller-Muller Museum in Otterlo.

VINCENT VAN GOGH (1853-1890)

'Sunflowers', 1888 (oil on canvas)

If Van Gogh distorted form and colour to

convey his inner feelings, the French artist
Paul Gauguin (1848-1903) relied on colour to
express his emotions. He also employed
symbolism, but it was his colour in painting that truly set him apart. As well as
expressionism, he also influenced the development of Synthetism as well as
Cloisonism, during his time at Pont-Aven.

The third great pioneer of expressionism was Edvard Munch (1863-1944), the neurotic
Norwegian painter and printmaker who, despite being emotionally scarred in early life,
managed to live to over 80 years of age. However, nearly all his best pictures were
painted before his nervous breakdown in 1908.
 POINTILLISM

Pointillism is a technique of painting in which small, distinct dots of color are applied
in patterns to form an image.

Georges Seurat and Paul Signac developed the technique in 1886, branching from
Impressionism. The term "Pointillism" was coined by art critics in the late 1880s to
ridicule the works of these artists, and is now used without its earlier mocking
connotation.

Technique

The technique relies on the ability of the eye and mind of the viewer to blend the
color spots into a fuller range of tones. It is related to Divisionism, a more technical
variant of the method. Divisionism is concerned with color theory, whereas pointillism is
more focused on the specific style of brushwork used to apply the paint. It is a technique
with few serious practitioners today, and is notably seen in the works of Seurat, Signac
and Cross.

Practice

The practice of Pointillism is in sharp contrast to the traditional methods of blending

pigments on a palette. Pointillism is analogous to the four-color CMYK printing process
used by some color printers and large presses that place dots of Cyan (blue), Magenta
(red), Yellow, and Key (black). Televisions and computer monitors use a similar
technique to represent image colors using Red, Green, and Blue (RGB) colors.

If red, blue, and green light (the additive primaries) are mixed, the result is
something close to white light (see Prism (optics)). Painting is inherently subtractive, but
Pointillist colors often seem brighter than typical mixed subtractive colors. This may be
partly because subtractive mixing of the pigments is avoided, and because some of the
white canvas may be showing between the applied dots.

The painting technique used for Pointillist color mixing is at the expense of the
traditional brushwork used to delineate texture.

The majority of Pointillism is done in oil paint. Anything may be used in its place,
but oils are preferred for their thickness and tendency not to run or bleed.

Common used of Pointillism

Pointillé is commonly used for intricate binding of hand-made book covers in the
seventeenth century, the decoration of metallic arms and armor, and for the decoration
of hand-finished firearms.
Notable Artists

Detail from Seurat's parade de Cirque,1889,showing the

contrasting dots of point which define pointillism

Maximilien Luce, Morning, Interior,1890, using

pointillist technique
 POP ART

Pop art is a movement that emerged in the mid-20th century in which artists
incorporated commonplace objects—comic strips, soup cans, newspapers, and more—
into their work. The Pop art movement aimed to solidify the idea that art can draw from
any source, and there is no hierarchy of culture to disrupt this.

History of Pop Art

Pop art is a movement that emerged in the mid-20th century in which artists
incorporated commonplace objects—comic strips, soup cans, newspapers, and more—
into their work. The Pop art movement aimed to solidify the idea that art can draw from
any source, and there is no hierarchy of culture to disrupt this.

Pop Art Characteristics

Pop art is easily recognizable due to its vibrancy and unique characteristics that are
present in many of the most iconic works of the movement. Below are some of the
defining characteristics of of Pop art:

Recognizable imagery: Pop art utilized images and icons from popular media and
products. This included commercial items like soup cans, road signs, photos of
celebrities, newspapers, and other items popular in the commercial world. Even brand
names and logos were incorporated.

Bright colors: Pop art is characterized by vibrant, bright colors. Primary colors red,
yellow, and blue were prominent pigments that appeared in many famous works,
particularly in Roy Lichtenstein’s body of work.

Irony and satire: Humor was one of the main components of Pop art. Artists use
the subject matter to make a statement about current events, poke fun at fads, and
challenge the status quo.

Innovative techniques: Many Pop artists engaged in printmaking processes,

which enabled them to quickly reproduce images in large quantities. Andy Warhol used
silkscreen printing, a process through which ink is transferred onto paper or canvas
through a mesh screen with a stencil. Roy Lichtenstein used lithography, or printing
from a metal plate or stone, to achieve his signature visual style. Pop artists often took
imagery from other areas of mainstream culture and incorporated it into their artworks,
either altered or in its original form. This type of Appropriation art often worked hand in
hand with repetition to break down the separation between high art and low art, which
made the distinction between advertising and media from fine art.
 Mixed media and collage: Pop artists often blended materials and utilized a
variety of different types of media. Like Robert Rauschenberg, whose works anticipated
the Pop art movement, artists Tom Wesselmann and Richard Hamilton combined
seemingly disparate images into a single canvas to create a thoroughly modern form of
narrative. Similarly, Marisol is known for sculptures that use many a variety of different
materials to represent figures.

Pop Artists who define the movement

Andy Warhol

Andy Warhol. Sold for $17,327,500 via Sotheby’s (May 1998).

Andy Warhol’s name has become synonymous with American Pop art. Warhol’s
works typify many aspects of the movement, like an obsession with celebrity, the
repetition of images, and the use of advertising as subject matter. His most notable
series include “Campbell’s Soup Cans,” depictions of Jacqueline Kennedy Onassis, and
“Death and Disaster.” Warhol collaborated with artists like Jean-Michel Basquiat and
commercial brands like Perrier. He eventually opened an artist’s studio called “The
Factory,” which served as a workshop for Warhol’s art-making—as well as a hangout for
bohemians.
 Roy Lichtenstein, “Foot and Hand” (1964). Sold for $14000 via Dane Fine
Art Auctions (August 2018).

Roy Lichtenstein

Another iconic American Pop artist is Roy Lichtenstein. Known for his use of primary
colors and bold outlines, Lichtenstein’s signature style referenced the comic books from
which he derived much of his early source material. Even in later series of works,
Lichtenstein used Ben-Day dots to evoke the comic style across his canvases and
sculptures. Like Warhol and Lichtenstein, Ed Ruscha and James Rosenquist took
subject matter from print media to create riffs on signage that exemplified the cultural
zeitgeist.