1. Art: the Visual World Expressionism Do Now: get hand out Objective –Learn about Expressionism –While you are taking notes participation grades will be given. –PowerPoint presentation – class work

3. Expressionism is an attitude or a philosophy of art rather than a particular style. Kandinsky is credited with painting the first compete nonobjective painting in about 1910. Nonobjective art is art that has no recognizable subject. The shapes in “Study for Composition No. 2” are already quite abstract, but many forms are still recognizable. Gradually, he simplified and abstracted these features until only shape, color and line were left. The subject matter was not recognizable. The titled these paintings with musical terminology. Certain kinds of lines and various colors had personal meaning to Kandinsky. “Study for Composition No. 2” by Kandinski

4. He developed his own personal language of color and shape to express his feelings. His influence became very strong in the Abstract Expressionist movement following World War II. Often, the colors seem dissonant and slashing, as sounds clash in the musical compositions of his friend Igor Stravinsky. “Study for Composition No. 2” by Kandinski

5. Pablo Picasso “Les Demoiselles d’ Avignon”

6. Cubism was begun by Pablo Picasso. He used Cezanne’s ideas and his way of building up the surface with small squarish brushstrokes to launch a new way of seeing and paint to the world. Cubism is primarily concerned with surface design, not emotion and personal feelings. Cubism set the minds of artists on fire with ideas and possibilities undreamed of several years before. Picasso had been strongly impressed by his introduction to geometrical African masks. These masks introduced sharp angles. This interplay of geometric shapes led to Cubism. Although not considered a Cubist painting, Demoiselles is the painting that began the Cubist movement.

7. Picasso “Daniel-Henry Kahnweiler”

8. Cubism In Picasso’s painting of the art dealer “Daniel-Henry Kahnweiler”, the features are broken apart and reassembled in a new and unique way. Facial features, hands and still-life objects can be seen, but they also seem to dissolve in a shattering pattern of translucent, geometric shapes.

9. Chapter 14 p. 476 Salvador Dali The work of Dali was called Surrealism because he was getting “beneath the realistic surface of life” or into a dream world of unreality. Dali never tells the viewer what his paintings mean. Chapter 14 p. 476-477 Salvador Dali became the most famous Surrealist. “The persistence of Memory” is a small painting of soft objects that represent things that are usually metallic and solid. The limp watches, gigantic ants and a partial face on a pain of immense depth are all startling objects, even today. The images are placed in a natural setting with the rocky cliffs of Spain in the background. Dali used exacting realism in every part of his paintings because he claimed to “hate simplicity in all its forms,” thus rejecting abstraction and any other simplified form of art. Salvador Dali “The persistence of Memory”

10. AKA “Falling Water House” Ch16 twentieth-Century Architecture p.527 Frank Lloyd Wright’s primary concern was to develop a compatible relationship between the structure and its location so that the building would seem to grow out of its environment. In 1936, Wright designed and build one of the most original living spaces – “The Kaufmann House.” AKA “Falling Water” Cantilevered terraces stretch out over a stream and waterfall. These terraces echo the form and color of the natural rock terraces below. Stone, wood, color, shape, form and line are sued by Wright in a perfect marriage of structure and site. Frank Lloyd Wright “The Kaufmann House.”

11. Jackson Pollock working in his studio Ch 17 p.552 Jackson Pollock began a series of drip paintings. His new working technique completely feed him from the use of traditional brushes and opened he door to Abstract Expressionism. Laying his canvas on the floor of the studio so he could walk on it, he literally put himself into his work. With a can of paint in his hand, he moved about the canvas, freely dripping, spilling and throwing the color with apparent abandon. He was the force behind the paint’s movement. While he could not control the paint, he completely engaged himself in releasing both his own creativity and the possibilities within the paint. The final work can thus be viewed as an interchange between the “will” of the paint and the inner forces of the artist.

12. Jackson Pollock’s “Lavender Mist” is a complex interweaving of color and line that produces an overall web of fascinating texture. The unanticipated depth and rhythm suggest the ways in which Pollock’s subconscious interacted with the flow of paint. “Lavender Mist” Ch17 p. 552 Jackson Pollock

13. Duchamp “Nude Descending the Stair Case”

14. Ch14 p469 Duchamp created what was probably the most controversial Cubist painting. America’s Public was used to seeing realistic representation there for they were outraged. Duchamp had fractured the movement of a figure as it descended the stairs. Duchamp presented not one image, but an entire series of movements, stopped in successive stages of action. The rstult is similar to stop-action or strobe-light photography. Duchamp was painting MOTION.