3.  The Bauhaus represents a marriage of art and technology

5.  Le Corbusier, Villa Savoye, 1929, Poissy-sur-Seine, France  Three bedroom villa with servant’s quarters  Box like horizontal quality -> an abstraction of a house  Main part of house lifted off the ground by narrow pilotis -> thin freestanding posts  Turning circle on bottom floor is a carport  All space is utilized, including the roof which acts as a patio  Le Corbusier said that a house should be a “machine for living” *THE INTERNATIONAL STYLE

6.  “  “The house should be a machine for living in,” – Le Corbusier   Modern architecture   The exterior looks like a white box floating on thin columns -> flat surface/planarity   Interior is marked by ramps and a spiral staircase -> fluid, curving forms on the interior

7.  Modernist architecture became increasingly concerned with a formalism that stressed simplicity.  Organic and fluid forms developed as new models for modernist architecture

8.  Seagram Building, Luwig Mies van der Rohe and Philip Johnson (architects), 1954-1958, steel frame with glass curtain wall and bronze  Watch Khan Academy video

9.  LUDWIG MIES VAN DER ROHE and PHILIP JOHNSON, Seagram Building, New York, 1956–1958  Johnson designed a rectilinear glass and bronze tower for the Seagram Company in Manhattan.  A reflection of the minimalist movement in painting  “LESS IS MORE”  The front quarter of the site is an open pedestrian plaza  Bronze veneer  Steel and glass skyscraper became the model after WW II  A triumph of the INTERNATIONAL STYLE of architecture

10.  Jacob Lawrence, The Migration of the Negro, Panel No. 49, 1940-1941, casein tempera on hardboard  Watch Khan Academy video  From a series of 60 paintings -> they document the migration of African Americans from the agricultural south to the industrial north in the early 20 th century  6 million people move north to urban/industrial centers  This art about racism, movement, and change  The golden rope is the racial barrier with whites on the left and blacks on the right  Stylistic -> flatness, reductiveness, but unlike much modernism this is narrative art

13.  Diego Rivera, Dream of a Sunday Afternoon in the Alameda Park, 1947-1948, fresco  Hundreds of characters from 400 years of Mexican history gather for a stroll through Mexico City’s largest park  This is inspired by Surrealism -> juxtaposing different individuals from different time periods   left side -> conquest and colonization of Mexico   Central space -> fight for independence and the revolution   Right side -> modern achievements   The balloons divide the periods   Contrasting the history of conquest and religious intolerance with the struggles of revolution leading to “land and liberty”   Political = inclusion of indigenous people and the masses

14.  To achieve it, artists had to eliminate illusion and embrace abstraction. Greenberg promoted the avant-garde that meant a spirit of rebellion and disdain for convention  Out of Modernist ideas developed Abstract Expressionism, Post- Painterly Abstractionism & Minimalism  The modernists’ intense criticism of the discipline and the unrelenting challenges to artistic convention eventually led to modernism’s demise. To many, it seemed artistic traditions had been so completely undermined that modernism simply played itself out. From this situation emerged postmodernism, one of the most dramatic developments during the century

15.  JACKSON POLLOCK, Number 1, 1950 (Lavender Mist), 1950  ACTION PAINTING = the artist places a canvas on the floor and drips and splatters paint onto the surface  Immense paintings engulf the viewer  Spontaneous and improvisational execution  Limited color palette * ABSTRACT EXPRESSIONISM

16. Photo of Jackson Pollock painting

17.  WILLEM DE KOONING, Woman I, 1950–1952. Oil on canvas, 6’ 3 7/8” x 4’ 10”, Museum of Modern Art, New York  Although rooted in figuration, including pictures of female models on advertising billboards, de Kooning’s Woman I displays the energetic application of pigment typical of gestural abstraction * ABSTRACT EXPRESSIONISM

18.  WILLEM DE KOONING, Woman I, 1950–1952. Oil on canvas

19.  MARK ROTHKO, No. 14, 1961 Oil on canvas, 9’ 6” x 8’ 9”. San Francisco Museum of Modern Art  Rothko’s chromatic abstractionist paintings – consisting of hazy rectangles of pure color hovering in front of a colored background – are compositionally simple but compelling visual experiences * COLOR FIELD PAINTING