Modernism MODERNISM Modernism allowed artists to assert their freedom to create in a new style and provide them with a mission to define the meaning of their times.. Early 20th Century Art was influenced by… the beginning of the atomic age existentialism (Nietzsche)- “God is Dead” the invention of psychoanalysis Freud-inner drives control human behavior Jung-collective unconscious The Russian Revolution The Great War (humanity’s inhumanity) The Great Global Depression the rise of the “Avant Garde”

THE EXPRESSIVE (color) Modernism Mr. Curless sums up the early 1900s with these three types: THE EXPRESSIVE (color) THE ABSTRACT (shape) THE WEIRD (form & fantasy)

Expressionism Fauvism German Expressionism Der Blaue Reiter The use of uncharacteristic colors chosen by the artist… to release of the artist’s inner vision to evoke feelings from the viewer Fauvism German Expressionism Der Blaue Reiter

Fauvism very short-lived (1904-1908) influenced from the work of Post-Impressionists like Gauguin & Cezanne full of violent, ARBITRARY color and bold distortion, brutal brushstrokes Shocking to the critics and the public “Fauves”- French for ‘Wild Beasts’ - Artists wore the label with pride Color’s structural, expressive, and aesthetic capabilities MATISSE, DERAIN, VLAMINCK

Henri Matisse, The Joy of Life, 1905-06. FAUVISM

“genius of omission”- radical simplification Henri Matisse, The Joy of Life, 1905-06. FAUVISM Flat planes of color, bold outlines come from Gauguin - also humanity in a state of nature - pagan scene like a bacchanal “genius of omission”- radical simplification The act of painting was joyous for him and his paintings show this

Henri Matisse The Red Studio, 1911. Believed that color was the formal element most responsible for pictorial coherence… Color was not meant to imitate nature, but to express inner emotions

Henri Matisse, The Dance, 1909. FAUVISM

Henri Matisse, Green Stripe, 1905. FAUVISM

Henri Matisse, La Musique, 1939. FAUVISM

Andre Derain, Charing Cross Bridge, 1906. FAUVISM

Andre Derain, Bathers, 1907. FAUVISM

Maurice de Vlaminck, The River Seine at Chatou, 1906 . FAUVISM

Georges Rouault Fauvism with political connotations Reminiscent of stained glass because Rouault was an apprentice of the trade A figure of merciless authority clutching flowers Georges Rouault The Old King, 1916-37. FAUVISM

Georges Rouault, The Three Clowns, 1928. FAUVISM

German Expressionism “Die Brucke” (The Bridge) Color is important, but equal to that of distortion of images and violent brushstrokes Movement centered in Dresden, Germany and led by Ernst Kirschner Thought of themselves as bridging the old age of art with the new Influenced by medieval craft guilds- lived and worked together equally Focused on the detrimental effects of industrialization Ernst Kirschner, Self Portrait as a Soldier, 1915. GERMAN EXPRESSIONISM

Ernst Kirschner, Two Women in the Street, 1914. GERMAN EXPRESSIONISM

Ernst Kirschner, Street, Berlin, 1913. GERMAN EXPRESSIONISM

Ernst Kirschner, Brandenburg Gate, 1915. GERMAN EXPRESSIONISM

The Brandenburg Gate is a former city gate and one of the main symbols of Berlin, Germany. It is the only remaining gate of a series through which one formerly entered Berlin.

Kathe Kollwitz, The Survivors, 1923. GERMAN EXPRESSIONISM Worked almost exclusively in printmaking and drawing Themes of inhumanity and injustice The plight of workers and war victims Son died during first week of WWI Kathe Kollwitz, The Survivors, 1923. GERMAN EXPRESSIONISM

Kathe Kollwitz, Woman With Dead Child, 1903 etching Kathe Kollwitz, Woman With Dead Child, 1903 etching. GERMAN EXPRESSIONISM

Kathe Kollwitz, Memorial for Karl Liebnecht, 1919. GERMAN EXPRESSIONISM

Kathe Kollwitz, The Grieving Parents, 1932. GERMAN EXPRESSIONISM

Der Blaue Reiter (The Blue Rider) Another German Expressionist movement that produced feeling as visual FORM – not just color Vassily Kandinsky, Composition VII, 1913. Complete abstraction- non-objective work - elimination of representation Knew about music, literature, science (the atomic theory) - material objects have no structure or purpose Orchestration of color, form, line, and space- blueprints for an enlightened and liberated society, emphasizing spirituality

Vassily Kandinsky, Composition VII, 1913. DER BLAUE REITER

Vassily Kandinsky, Composition VI, 1913. DER BLAUE REITER

Vassily Kandinsky, Contrasting Sounds, 1924. DER BLAUE REITER

Franz Marc, Dog Lying In the Snow, 1910-11. DER BLAUE REITER

Franz Marc, Yellow Cow, 1911. DER BLAUE REITER

Franz Marc, Foxes, 1913. DER BLAUE REITER

Franz Marc, The Lamb, 1913-14. DER BLAUE REITER

Franz Marc, Fighting Forms, 1914. DER BLAUE REITER

1913 Armory Show New York City First American show to exhibit works by Impressionist, Post-Impressionist, Cubist, Fauvist and Early 20th Century Europeans Over 1250 works by 300 artists Started in New York, then traveled to Chicago and Boston The NY Times called it “pathological”…

1913 Armory Show

It was good show, but don’t do it again… - critic 1913 Armory Show It was good show, but don’t do it again… - critic

Marsden Hartley was an American living in Munich and was directly influenced by these European movements Marsden Hartley, Portrait of a German Officer 1914.

VIENNA SUCCESSION (Austrian Art Nouveau) Gustav Klimt Gustav Klimt The Kiss 1907-08. VIENNA SUCCESSION (Austrian Art Nouveau)

Gustav Klimt Adele Bloch-Bauer I 1907. VIENNA SUCCESSION (Austrian Art Nouveau)

Gustav Klimt Judith with Head of Holofernes, 1901. VIENNA SUCCESSION (Austrian Art Nouveau)