Art Movements of the Post WWI Years 1919-1939 Raphaella W. DEF HGHS Chappaqua, NY

Consider: How were the emotions and actions of the aftermath of WWI expressed in the following art movements?

Fauvism 1898-1908

Fauvism -Paul Gaugin, 1888 Pre-dates the war but I forgot to cover it Bright colors and simplified lines “How do you see these trees? They are yellow. So, put in yellow; this shadow, rather blue, paint it with pure ultramarine; these red leaves? Put in vermillion.” -Paul Gaugin, 1888

Woman with Hat Henri Matisse, 1905

Woman of Tahiti Paul Gauguin

Restaurant la Machine at Bougival Maurice de Vlaminck

Cubism 1909-1930

Cubism multiple viewpoints simultaneously fragmented, geometric forms “The cubist is not interested in usual representational standards.” -Perry, Western Civilization

Woman With a Guitar, 1913 Georges Braque

3 Musicians Pablo Picasso

Weeping Woman Pablo Picasso

Expressionism 1905-1925

Expressionism Indebted to Freud Art tries to penetrate the façade of bourgeois superficiality and probe the psyche—that which lurks beneath an individual’s calm and artificial posture

Expressionism Subliminal anxiety Dissonance in color and perspective Pictorial violence—manifest* and latent** *Manifest (adj) readily perceived by the eye or the understanding; evident; obvious; plain **Latent (adj) present or potential but not visible, apparent, or realized

The Scream Edvard Munch

Blue Horses Franz Marc

The Night , Max Beckham

modernism 1916 - 1940

Principles of Modernism The expression of the Artist’s right to freedom of choice in subject and style. Departure from literal representation – no longer needed with birth of photography. “Art for Art’s sake” Reject tradition and society.

Art movements as part of Modernism Dadaism (1916 – 1924) Bauhaus (1919 – 1933) Art Deco (1920 – 1935) Surrealism [early] (1920 - 1935)

dadaism 1916 - 1924

Tristan Tzara – founder of Dadaism “ Freedom : Dada Dada Dada, a roaring of tense colors, and interlacing of opposites and all contradictions, grotesques, inconsistencies: LIFE” “Dada Manifesto” [1919]

Dadaism Cultural movement (art, literature, theater) Peak 1916-1920 – France, Switzerland, Germany (international in scope) Reaction to WWI, struggle with modern world Rejection of laws of beauty & social organization “anti-art”, absurd

Characteristics of Dada Art Nonsensical drawings Pastel and faded colors Used collages and layers – to confuse the “unworthy beholder.” “The beginnings of surrealism” – many Dada artists went on to become members of the Surrealist movement. Subjects sometimes mundane, called art as irony. (e.g.– bicycle wheel, flyer.)

Important Artists of the Dada Movement Tristan Tzara (1896 – 1953) Francis Picabia (1879 – 1953) Kurt Schwitters (1887 – 1948) Max Ernst (1891 – 1976) Marcel Duchamp (1887 – 1958)

Francis Picabia Machine Turn Quickly 1916-1918

Artist George Grosz described Dada as "the organized use of insanity to express contempt for a bankrupt world." -S. Stamberg

Fountain by Marcel Duchamp, 1917, photograph by Alfred Stieglitz.

Hannah Höch Cut with the Kitchen Knife

Francis Picabia Chapeau de Paille 1921

Kurt Schwitters The Cherry Picture 1921

Kurt Schwitters Merz 448 (Moscow) 1922

Kurt Schwitters Kleine Dada Soiree 1922

Marcel Duchamp Monte Carlo Bond 1924

bauhaus 1919 - 1933

Walter Gropius: Founder of Bauhaus “The School will gradually turn into a workshop… Art and Technology - a new unity.”

Bauhaus Began in 1919 with Bauhaus School in Weimar, Germany. Lead by Walter Gropius, Hannes Meyer, & Ludwig Mies Van Der Rohe. Wanted to create new art to reflect the new times they were living in after WWI. Artist should be trained to work in the industry.

Walter Gropius Born in Berlin in 1883 Served as Sgt. Major in WWI. In 1919 was employed as the new master of the Grand-Ducal Saxon School of Arts and Crafts in Weimar – became the Bauhaus School. Fled Germany and the Nazi Party in 1934. Died in Boston, MA in 1969.

Characteristics of Bauhaus A lack of recognizable objects – wanted to find the true meaning of art through disassembling it. Clean lines, geometric shapes layered. In architecture: clean, functional. Like Dadaism, was a step toward surrealism for artists such as Wassily Kandinsky. Stylistic patterns altered as leaders of the school changed – earlier Bauhaus is different to later Bauhaus.

Important members of the Bauhaus school Walter Gropius (1883-1969) Wassily Kandinsky (1866-1944) Josef Albers (1888-1976) Herbert Bayer (1900 - 1985)

Bauhaus School in Dessau, Germany

Wassily Kandinsky Contrasting Sounds 1924

Wassily Kandinsky On White II 1923

Wassily Kandinsky Yellow Red Blue 1925

art deco 1920 - 1935

Art Deco Center: Paris. Gained the title “Art Deco” from Exposition Internationale des Arts Decoratifs et Industriels Modernes in 1925 A new kind of decorative and elegant art. Reached its high point in the mid ’20s – mid 30’s. Reaction to the forced austerity caused by WWI.

Characteristics of Art Deco Geometric shapes Although not the flowing swirls of Art Nouveau, had bolder curves and less “fussy” designs. Bold colors, and new ways of shading pictures. Idealistic images of the “flaming youth” of the “roaring twenties”. Carried a theme through pieces, especially in interiors and architecture.

Exposition Internationale des arts Decoratifs et Industriels Modernes April – November 1925 Held in Paris To show the world that France once again led the way in a new evolving international style – “Art Deco”. Changed the perception of Bauhaus, Colonial Art and, predominantly, the Art Deco style as legitimate movements.

Important Art Deco Artists Tamara de Lempicka (1898 – 1980) “Erte” - Romain De Tirtoff (1892 – 1990) William Van Allen (1883 – 1954) “Cassandre” - Adolphe Mouron (1901 – 1968)

Tamara de Lempicka Sleeping Girl 1935

Tamara de Lempicka Portrait of a Young Girl in a Green Dress 1929

Tamara de Lempicka Self Portrait in the Green Bugatti 1925

Cassandre L’Atlantique 1932

Cassandre Cigarettes Celtique 1935

early surrealism 1920 - 1935

Surrealism Sigmund Freud & Carl Gustav Jung Inspired by new psychology of two men: Sigmund Freud & Carl Gustav Jung

Basic Principles Freud Jung Human development is best understood as changing objects of sexual desire Wishes are repressed and emerge from the subconscious in “accidental” bursts – Freudian slips. Neuroses are caused by repressed memories and unconscious conflicts. ID, Ego and Super Ego. Jung Neuroses are caused by conflicts between individuals subconscious and greater world. Sexual desire does not play as huge a role. Must make a healthy relationship between the conscious and unconscious – shouldn’t be cut off from it, but shouldn’t be swamped by it.

Surrealism Divided into two groups based on different interpretations of Freud and Jung – the Automatists and the Veristic Surrealists. Automatists - suppress conscious in order to free the subconscious, inspired by more “Dadaist” ideals, shouldn’t be overly analyzed. Veristic Surrealists - follow the images of the subconscious so they can be interpreted; art is a way to freeze ideas of the subconscious.

Surrealism Artists of note: Magritte Ernst Dali Lead by Andre Brenton, a French doctor who had served in the trenches during WWI. Subject matter was varied: – some pieces show a complete dislocation from any sort of literal “reality” (for example, Max Ernst’s works) -- other pieces show “normal” situations with a spark of absurdity (for example, Rene Magritte's works.) Bright colors among sometimes dull backgrounds. Artists of note: Magritte Ernst Dali

Max Ernst Kupferblech 1919

Max Ernst The Elephant Celebs 1921

Max Ernst The Couple in Lace 1925

Rene Magritte Golconda

Rene Magritte Son of Man

Rene Magritte The False Mirror 1928

Rene Magritte The Lovers 1928

Rene Magritte Time Transfixed

Salvador Dali The Persistence of Memory

Salvador Dali Geopoliticus Child Watching the Birth of the New Man

This is Salvador Dali

To summarize Post WWI art, a quote from its true founder…

Tristan Tzara - leader of Dada movement “The beautiful and the true in art do not exist; what interests me is the intensity of a personality transposed directly, clearly into the work…and in what manner he knows how to gather sensation, emotion, into a lacework of words and sentiments.” “Lecture on Dada” [1922]