1. ART modern movements: Cubism Futurism Constructivism De Stijl
Surrealism
Expressionism
The first decades of the 20th Century witnessed a tremendous range of experiments leading to an expanded vocabulary of graphic forms: Following are examples of art and graphic designs that make use of the similar vocabulary.
You should be able to identify work by each of the listed artists and know some of the defining principles of each style.

2. ART modern movements:
Cubism
Pablo Picasso
Georges Braque

3. Cubism: developed by Pablo Picasso and Georges Braque around 1905.
Abandoned literal representation of space for shifting multiple views and a flat pictorial space.
Reconstructed space as fragmented planes, with emphasis on the flatness of the picture plane
(Cubism’s approach to redefining pictorial space had an enormous impact on graphic design; but its rejection of classical perspective began with the emulation of Japanese prints in the late 1800s)
Cubism:
Three paintings by Pablo Picasso
Cubism

4. Influence of synthetic Cubism
A .M. Cassandre
Influence of synthetic
Cubism
also interesting use of figure and ground and balancing large mass on the tangent where the wheel meets the rail.
Cubism

5. A.M. Cassandre explored many other forms of expression, including sequential images, as in the famous Dubonnet ads.
Art Deco

6. Posters:
Sources and Iconography: Abstract Art The language of Cubism and Futurism was put to good use by graphic artist like E. McKnight Kauffer. Cubism allowed objects to be abstracted to geometric forms reassembled in new ways and futurism used repetition and converging lines to suggest speed and energy.
Art Deco

7. Left: Poster for the film Metropolis, 1926, Paul Neudmann Middle: Brooklyn Bridge, painting by Joseph Stella, Amercan Right: Poster for Daily Herald, E McKnight Kaufer 1919
Sources and Iconography: Abstract Art A.M. Cassandre was a master at manipulating the space of the design to increase the sense of size through scale contrasts (the tug boat in front of the the liner. He worked largely with strong geometric forms in carefully defined relationships.
Art Deco

8. Influence of synthetic Cubism
E. McKnight Kauffer
Influence of synthetic
Cubism
Kauffer was born in America and moved to England to work, Making many memorable posters and book covers.
Book cover
Cubism

9. ART modern movements: Futurism Giocomo Balla Gino Severini
Fortunato Depero

10. Rhythmic repetition,
painting by Giacomo Balla 1912
The Futurists use the fractured planes explored in cubism to create sense of motion in space. Largely an Italian movement, Futurism experiments with restructured type compositions were influential in suggesting new ideas in graphic design.
They also glorified speed, industrialism and violence. Read the Futurist Manifesto on the class web site
painting by Gino Severini “armoured train in action” 1915
Futurism”

11. Futurism” Futurists imagery came from the explorations of cubism.
Rhythmic repetition,
Futurists imagery came from the explorations of cubism.
(above left) Marcel Duchamp’s Nude Descending A Staircase 1912 (above right) Umberto Boccioni’s Unique Forms of Continuity 1913
Futurism”

12. Futurism” Rhythmic repetition,
E McKnight Kauffer: Poster for the Daily Herald of London
Futurism”

13. Futurism: Futurism” Veramon-Schering Fortunato Depero, 1928
Rhythmic repetition,
Veramon-Schering 
Fortunato Depero, 1928
Ink on card,
Guns in Action Gino Severini, Oil on canvas)
Often, words would be included in paintings to create a sound landscape as well.
Futurism”

14. Futurism:
Clearly there are (and perhaps always have been) cultures and subgroups that glorify violence. (Gang culture?). But let's focus our attention on how that glorification finds expression in art and design.
The futurists were (before WWI at least) not fighting a war. What was unique in their case was they found a means to express those feelings in visual form, through images in the new cubist genre.
Are there art forms today (music, visual art, or interactive art) that feed our appetite for experiencing the thrill of violence? Is our consumption of special-effects ultra-violent movies any different from the glorification of violence that the Futurists were about?
Any art/music/entertainment trends that you know of that seem to glorify violence today?
Futurism”

15. Futurism: Futurism” Multiplied Cyclist Fortunato Depero, 1922-23
Oil on canvas (700 x 765)
Futurism”

16. Futurism: Futurism” Anton Giulio Bragaglia, 1920s Photograph
Converging Lines, forced perspective, tightly-cropped
  Anton Giulio Bragaglia, 1920s Photograph
Self Portrait  
Multiplied Cyclist
Fortunato Depero,
Oil on canvas (700 x 765)
Futurism”

17. Futurism:
Stated limitation of 1000 copies (never completed). Design by Depero. Depero's famous `bolted book,' an anthology of his own theatrical and commercial designs from 1913 to 1927, "one of the avant-garde masterpieces in this history of the book-object" (Jentsch). "[This] book is Mechanical, bolted like a motor, Dangerous, can constitute a projectile weapon. Unclassifiable, cannot fit into a library with the other volumes. And therefore it is in its exterior form Original, Invasive, and Assaulting, like Depero and his art" (from the preface to the work)."
"(116)ff. (2 folding), printed on various paper stocks, of which some colored; most versos blank. 28 halftone plates in text (2 color). Line-block illus. and typographic designs throughout (many printed in red and black). Oblong lrg. 4to. Flexible blue boards, printed in black and white, secured with massive metal bolts, as issued.
Stated limitation of 1000 copies (never completed). Design by Depero. Depero's famous `bolted book,' an anthology of his own theatrical and commercial designs from 1913 to 1927, "one of the avant-garde masterpieces in this history of the book-object" (Jentsch). "[This] book is Mechanical, bolted like a motor, Dangerous, can constitute a projectile weapon. Unclassifiable, cannot fit into a library with the other volumes. And therefore it is in its exterior form Original, Invasive, and Assaulting, like Depero and his art" (from the preface to the work)."
Book Cover of Depero Futurista
(The Bolted Book)
Written and Published - Fortunato Depero, 1927
Aluminium nuts and bolts, steel cotter pins, ,
Futurism”

18. Rhythmic repetition, exaggerated perspective, rapidly-converging lines, top-heavy
A.M. Cassandre
One of the best-known poster artists of the period, he employed a large vocabulary of graphic devices to create forceful graphics. He did many posters for the French Rail System, expressing speed and movement using devices pioneered by the Futurists
Futurism”

19. Suprematism and Art as Spiritual Expression
Russian Artists following the First World War split into two camps: those like Marc Chagall, Wassily Kandinsky and Kasimir Malevich believed art should be free of practical concerns and devote itself to spiritual expression
Malevich promoted pure geometric abstraction as way of seeking a pure artistic experience
Kandinsky later authored the book “Concerning the Spiritual in Art” was primarily interested in the psychological and spiritual implications of color:
IT IS EVIDENT THEREFORE THAT COLOUR HARMONY
MUST REST ONLY ON A CORRESPONDING VIBRATION
IN THE HUMAN SOUL; AND THIS IS ONE OF THE GUIDING PRINCIPLES OF THE INNER NEED.
Suprematism and Art as Spiritual Expression
Kasimir Malevich Suprematists Painting
This is similar to attitudes of the German Expressionist movement, with which Kandinsky was later associated, but Expressionist artists tended to favor representation
For example, Kathe Kollwitz (1923) “Survivors Make War on War”
Wassily Kandinsky “Improvisation 1912
Suprematism

20. ART modern movements: Surrealism Rene Magritte Max Ernst
Giorgio de Chirico

21. Surrealism Surrealism:
Developed from Dada movement: began as anti-art that deliberately defied reason.
Reaction against what it saw as the innate insanity of rational culture that produced the horrors of World War One.
Drawing heavily on the theories of Sigmund Freud, it sought to unite conscious and unconscious realms. It saw the unconscious mind as a well-spring of creativity that could be tapped.
(Based on the “Surrealist Manifesto” [published by Andre Breton in 1924)
Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the "rationalism" that had guided European culture and politics in the past and had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published "The Surrealist Manifesto" in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in "an absolute reality, a surreality."
De Chirico:( left) Disturbing Muse (above) andromache )
Surrealism

22. De Chirico:( left) Disturbing Muse (above) andromache
Surrealism

23. . )
Max Ernst
Woman, Old Man and Flower/Femme,
Surrealism

24. Surrealism Max Ernst Wavering Woman 1928
Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the "rationalism" that had guided European culture and politics in the past and had culminated in the horrors of World War I. According to the major spokesman of the movement, the poet and critic André Breton, who published "The Surrealist Manifesto" in 1924, Surrealism was a means of reuniting conscious and unconscious realms of experience so completely, that the world of dream and fantasy would be joined to the everyday rational world in "an absolute reality, a surreality."
(Based on the “Surrealist Manifesto” [published by Andre Breton in 1924)
Max Ernst and de Chirico both employed doll-like figures in an abstracted landscape.
Max Ernst
Wavering Woman 1928 )
Surrealism

25. Surrealism Max Ernst 1932 City: using rubbing and found imagery
Villa Savoy, Le Corbusier
Max Ernst City: using rubbing and found imagery )
Surrealism

26. Magritte often employed disturbing juxtapositions of objects or visual contradictions.
Rene Magritte, 1964 )
Surrealism

27. Surrealism The human condition: often disturbing
Spatial paradoxes or visualizations of metaphors )
Surrealism

28. ART modern movements: Expressionism Oskar Kokoschka Egon Schiele
Kathe Kollwitz

29. Expressionism sought to convey the inner landscape of the soul of the artist. It also addressed social issues, but usually with a spiritual motive.
Kathe Kollwitz (1923) Survivors Make War on War”
Figurative movement that tried to capture the angst of Post-War Europe in the 1920s
Wassily Kandinsky “Improvisation 1912 )
Expressionism

30. Expressionism in visual and graphic art was a large movement that often sought to evoke spiritual qualities through images. Some groups include the Blue Rider group, centered on Wassily Kandinsky and Paul Klee, and Die Brucker, which included Ludwig Kirchner and Emile Nolde.
Kandinsky published a work called “Concerning the Spiritual in Art.” He ascribed specific spiritual and emotional qualities to colors.
Der blaue Reiter booklet, 1912
Die Brucker Poster
1906 )
Expressionism

31. Perhaps the best-known manifestation of German Expressionism is in film.
Classics of the 1920s such as the dark and brooding
“Cabinet of Dr. Caligari” and the mad-scientist and robot tale of “Metropolis” by Fritz Lang had a major impact on cinema and are quoted in many contemporary films.
Wassily Kandinsky “Improvisation 1912 )
Expressionism

32. End of survey of modern movements :
Things to do:
Read the Futurist Manifesto to better understand motivation of the Futurists
Watch some or all of Battleship Potemkin and observe the complex way Eisenstein builds scenes from multiple separate views pieced together.
Watch some of “Metropolis” compare its robot and mad scientist to others you have seen. (see clips on your DVD or on line) Note the themes of progress and social class
Watch “the Cabinet of Dr. Caligari” a classic of German
Expressionist cinema. )
End of survey of modern movements :