4.  GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”  Little of the human form is seen -> two heads, four hands, two feet  The bodies are suggested under a sea of richly designed patterning  Male figure has rectanglular boxes; female has circular forms  Suggests all consuming love; eroticism  Spaced in an indeterminate location against a flattened background  Gold leaf reminiscent of Byzantine mosics

5.  Constantin Brancusi, The Kiss, 1907-1908, limestone  Symbolic, almost Cubist, rendering of the male and female bodies  Two eyes become one, almost Cyclops-like  Interlocked forms  Bracusi worked in Rodin’s studio; cf. Rodin’s The Kisss  Second version (a plaster cast) exhibited at the Armory Show

7. Louis Sullivan is seen as the first truly modern architect. In buildings like the Guaranty (Prudential) Building, on the right, he expressed the interior’s subdivision on the exterior, as well as the skeletal nature of the supporting structure -- “form follows function.”

8.  Louis Sullivan, Carson Pirie Scott and Company Buidling, 1899-1904, iron, steel, glass, and terra-cotta, Chicago  Skeletal architecture -> building held up by interior framework called a skeleton  Exterior wall is just a curtain of glass or steel  Emphasis on the vertical -> expensive urban property prices  Open and wide window spaces -> let in light, display merchandise

9.  Cast iron decorative elements transformed the store into a beautiful place to buy beautiful things  Influence of Art Nouveau 1. 1890-1914 2. Vegetal and floral patterns 3. Complexity of design and undulating surfaces and curvilinear lines 4. Elaborately conceived wrought iron- work

10.  Horizontal emphasis symbolizes continuous flow of floor space  Sullivan’s motto = “form follows function”  Single most important development in the history of early modern architecture is the invention of the elevator by Elisha Otis -> buildings of indefinite height become a reality

12.  LATE 19 TH CENTURY SCUPLTURE: RODIN – the hand of the sculptor is present like the visible brushstroke in Impressionism

13.  AUGUSTE RODIN, Burghers of Calais, 1884– 1889, cast ca. 1953–1959. Bronze, 6’ 10 1/2” high, 7’ 11” long, 6’ 6” deep  Six burghers offer their lives to the English king in return for saving the besieged city during the Hundred Years’ War  English king insisted burgher wear sackcloths and carry the key to the city  Parallels between Paris besieged in Franco-Prussian War 1870 and Calais besieged in 1347  Figures suffer from privation ->weak and emaciated  Meant to be placed at ground level so people could see it up close  Rejected by the town council of Calais -> inglorious/not heroic

15.  An early twentieth century art movement and style of painting in France -> inspired by the legacy of van Gogh and Gauguin  The name Fauves, French for "Wild Beasts," was given to artists adhering to this style because it was felt that they used intense colors in a violent, uncontrolled way  The leader of the Fauves was Henri Matisse (French, 1869-1954)

16. There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted. – Henri Matisse

17.  Matisse, Goldfish, 1912, oil on canvas  Fauvism = “wild beasts”  Inspired by Post-Impressionist painters like Gauguin and Van Gogh  Still life painting  Violent contrasts of color  Energetic painterly brushwork  Figure modeling and color harmonies suppressed so that expressive effects could be maximized

18.  A second major German Expressionist group was called DER BLAUE REITER (The Blue Rider) formed in 1911  The two founding members were Vassily Kandinsky and Franz Marc  Kandinsky was one of the first creators of pure abstraction in modern painting  Elimination of representational elements  Influence by the new scientific ideas of the early 20 th century -> material objects had no real substance * DER BLAUE REITER

20.  VASSILY KANDINSKY, Improvisation 28 (2nd version) 1912  GERMAN EXPRESSIONISM -> DER BLAUE REITER  Complete abstraction -> representational objects suggested rather than depicted  Orchestration of color, form, line, and space * DER BLAUE REITER

21.  Ernest Kirchner, Self-Portrait as a Soldier, 1915, oil on canvas  Kirchner was one of the founders of German Expressionism -> he formed “Die Bruke” = the Bridge -> saw themselves as a bridge from traditional to modern painting  He was “unwilling volunteer” in World War I  Lung problems, weakness, mental breakdown -> faked to get out of war?  Lost hand indicates his feeling that he has an inability to paint  Nude model represents what he used to paint, but no longer can  Nightmarish quality  Horrified facial features and grim background  Titled perspective