1. The Move toward Modernism
Chapter 31
The Move toward Modernism

2. Late Nineteenth Century

3. Philisophy
Wilhelm Nietzsche
( )
Henri Bergson
( )

4. Nietzsche
Nietzsche held that “life is a senseless flux devoid of any overarching purpose. There are no moral values revealed by God. Instead God is dead All the values taught by Christian and bourgeois thinkers are without foundation There is only naked man living in a godless and absurd world” (Perry II 269)

5. Nietzsche
“Nietzsche called for the emergence of the overman or superman, a higher type of man who asserts his will, gives order to chaotic passions, makes great demands on himself, and lives life with a fierce joy” (Perry II 269).

6. Bergson Two primary forces in life: intellect and intuition.
The essence of life is duration, or “perpetual becoming.” (Fiero 788)

7. Bergson
He believed that “true experience is durational, a constant unfolding in time, and that reality, which can only e apprehended intuitively, is a state of qualitative changes that merge into one another without precise outlines” (Fiero 788)

8. Artistic Movements Art for Art’s Sake Symbolism Impressionism
Japonisme
Art Nouveau
Postimpressionism

9. Art for Art’s Sake L’art pour l’art against the Enlightenment
“more concerned with sensory experience than with moral purpose, with feeling than with teaching . . .” (Fiero 786)

10. Art for Art’s Sake
The artists “made art that obey purely aesthetic impulses, that—like music—communicated meaning through shape or sound, pattern or color” (Fiero 786)

11. Symbolism
In favor of subjective expression that drew on sensory experience, dreams, and myth.
By means of ambiguous but powerful images, the symbolists strive to suggest ideas and feelings that might evoke an ideal rather than a real world. (Fiero 788)

12. Symbolism Favorite themes: Religious mysticism The erotic
The supernatural

13. Symbolism
Literature:
Baudelaire
Verlaine
Rimbaud
Mallarmé

14. Symbolism
Painting:
Holdler, The Chose One
Music:
Debussy

15. Munch, The Dance of Life

16. Gauguin

18. Khnopff, I Lock My Door Upon Myself

19. Klimt,
The Kiss

20. Impressionism Major features Luminosity
The interaction of light and form
Subtlety of tone
Preoccupied with sensation itself

21. Impressionism Major artists: Monet (1840-1926) Renoir (1841-1919)
Pissarro ( )
Edgar Degas ( )

22. Japonisme Japanese woodblock prints
Features: flat, unmodulated colors,
undulating lines,
empty spaces
Subject matter:
(1) urban life
(2) the floating world of courtesans,
actors, and dancers

23. ukiyo-e (浮世繪)
Nineteenth-century Japanese "Ukiyo-e" woodblock prints are often called "pictures of the Floating World"--that is, pictures of the transient world of the actors, courtesans and rich merchants of the brothel and theater district of the city of Edo, now called Tokyo.

24. ukiyo-e (浮世繪)
Ukiyo-e printmakers utilized themes from daily life in a large city as well as drawing from the beauty of the Japanese landscape. Another situation common to the culture of a large city such as Edo, and to contribute to the motifs of the ukiyo-e printmaker was the area of the city given over to pleasure.

25. Influences 1. Edgar Degas (1834-1917) 2. Mary Cassatt (1844-1926)
3. Paul Gauguin ( )
4. Vincent Van Gogh ( )
5. Henri de Toulouse-Lautrec ( )
6. James McNeil Whistler.

26. Japanese Compositional Devices: as found in ukiyo-e prints that demonstrate flat space.
1. Asymmety.
2. Flat Space.
3. Line: Lines come together or converge as they come to the foreground as compared to Western perspective devices. Diagonals are often used.
4. Flat Color as compared to the use of shadow to convey three dimensional form.

27. Katsushika Hokusai (葛飾北斎)
( )

28. The Great Wave Off Kanagawa http://www. ibiblio
The Great Wave Off Kanagawa From "Thirty-six Views of Mount Fuji";

29. Red Fuji, http://www.stmoroky.com/reviews/gallery/hokusai/24views.htm

30. Boy Viewing Mount Fuji, 1839, http://www. asia. si

31. Utagawa Hiroshige (歌川廣重, 安藤廣重) (1797-- 1858)

32. Suruga Street from the series “One Hundred Famous Views of Edo” Japan, Edo period,

33. Ando Hiroshige Japanese, 1797 – 1858 Great Bridge: Sudden Rain at Atake,

34. Vincent van Gogh Bridge in the Rain (after Hiroshige), 1887 http://www

35. Plum Garden, 1857

36. Vincent van Gogh Flowering Plum Tree 1887 http://www. hiroshige. org

37. Irises at Horikiri http://www. hiroshige. org

38. Riverside bamboo market at Kyobashi 1857 http://www. hiroshige. org

39. James Abbott McNeill Whistler Nocturne in Blue and Gold Old Battersea Bridge

40. James Whistler, Caprice in Purple and Gold: The Golden Screen

41. Monet

42. Whistler

45. Van Gogh

46. Art Nouveau
An international style of decoration and architecture which developed in the 1880s and 1890s.
the art form began as a result of the Arts and Crafts Movement, which rejected the mass-produced techniques of industrialization. Art Nouveau developed a new style of exuberant curving lines, assymetrical design and elements of fantasy.

47. Art Nouveau Committed to evocation and expression like Symbolism
Followed the Symbolist cult of the exotic, lavish, and esoteric interior
Heir to Symbolist imagery: the lily, the sphinx, the vampire

48. Art Nouveau
Art Nouveau resurrected the interlacing lines of Celtic art and the fluid arches and curves of Gothic architecture in exuberant style, but the arts and artifacts of Japan were the crucial inspiration
They were intrigued by the novel artistic vision of the wood prints, with their simple pallette of colours and asymmetrical outlines, and the abrupt angularity of the branching cherry blossom tree.

49. Tiffany Studios American (firm active ) Wisteria table lamp, c

52. Louis Majorelle ( ) and Daum Frères (firm active 1878 onward), Orchid desk

53. Otto Eckmann German ( ) for Scherrebek Weaving School Five Swans, 1897 woven wool

54. Tiffany Studios American (firm active ) Jack-in-the-pulpit vase, c

55. Victor Horta, Tassel House, Brussels, 1892-3. http://www. unc

56. Sculpture
Degas
Rodin

68. Postimpressionism
Van Gogh
Gauguin
Seurat
Cézanne

69. The End