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

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

3. Fauvism

4. 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

5. Woman with Hat
Henri Matisse, 1905

6. Woman of Tahiti
Paul Gauguin

7. Restaurant la Machine at Bougival
Maurice de Vlaminck

8. Cubism

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

10. Woman With a Guitar, 1913
Georges Braque

11. 3 Musicians
Pablo Picasso

12. Weeping Woman
Pablo Picasso

13. Expressionism

14. 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

15. 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

16. The Scream
Edvard Munch

17. Blue Horses
Franz Marc

18. The Night , Max Beckham

19. modernism

20. 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.

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

22. dadaism

23. 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]

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

25. 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.)

26. 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)

27. Francis Picabia
Machine Turn Quickly

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

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

30. Hannah Höch
Cut with the Kitchen Knife

31. Francis Picabia
Chapeau de Paille
1921

32. Kurt Schwitters
The Cherry Picture
1921

33. Kurt Schwitters
Merz 448 (Moscow)
1922

34. Kurt Schwitters
Kleine Dada Soiree
1922

35. Marcel Duchamp
Monte Carlo Bond
1924

36. bauhaus

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

38. 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.

39. 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.

40. 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.

41. Important members of the Bauhaus school
Walter Gropius ( )
Wassily Kandinsky ( )
Josef Albers ( )
Herbert Bayer ( )

42. Bauhaus School in Dessau, Germany

45. Wassily Kandinsky
Contrasting Sounds
1924

46. Wassily Kandinsky
On White II
1923

47. Wassily Kandinsky
Yellow Red Blue
1925

48. art deco

49. 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.

50. 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.

51. 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.

52. 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)

53. Tamara de Lempicka
Sleeping Girl
1935

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

55. Tamara de Lempicka
Self Portrait in the Green Bugatti
1925

56. Cassandre
L’Atlantique
1932

57. Cassandre
Cigarettes Celtique
1935

63. early surrealism

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

65. 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.

66. 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.

67. 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

68. Max Ernst
Kupferblech
1919

69. Max Ernst
The Elephant Celebs
1921

70. Max Ernst
The Couple in Lace
1925

71. Rene Magritte
Golconda

72. Rene Magritte
Son of Man

73. Rene Magritte
The False Mirror
1928

74. Rene Magritte
The Lovers
1928

75. Rene Magritte
Time Transfixed

76. Salvador Dali
The Persistence of Memory

77. Salvador Dali
Geopoliticus Child Watching the Birth of the New Man

78. This is Salvador Dali

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

80. 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]