1. Chapter 32
The Modernist Assault

2. Ezra Pound:
“Make it new.”

3. Modernist Art Cubism Futurism The fauvism Abstract sculpture
Nonobjective art
Constructivism

4. Features Revolt against the tyranny of representation
Aimed to evoke rather than describe experience
Marked by primitivism, abstraction, and experimentation

5. Cubism
Pablo Picasso ( )
His credo: “Art must be subversive.”

6. Les Demoiselles d’Avignon, Picasso, 1907

7. Cubism
(1) Analytical cubism: a multiplicity of viewpoints replaced one-point perspective
(2) Synthetic cubism: emerged around A combination of painting and sculpture by means of collage.

8. Still Life with Chair-Caning, 1911-12, Picasso

9. Guitar, , Picasso

10. Futurism Filippo Tommaso Marinetti (Italian)
Futurist Manifesto (1909): “We declare that there can be no modern painting except from the starting point of an absolutely modern sensation A roaring motorcar is more beautiful than the winged Victory of Samothrace.” (Fiero 827)

16. Futurism
Futurist Manifesto (1909): “The gesture that we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself.” (Fiero 827)

17. Futurism
Futurist painters multiplied the image, attempting to communicate the dynamic energy and the power associated with machines, using these as metaphors for modern life.

18. Boccioni, Unique Forms of Continuity in Space, 1913

21. Bella, Dynamism of a Dog on a Leash, 1912

22. Giacomo Balla. Speeding Automobile. 1912

23. Duchamp,
Nude Descending
a Staircase (No. 2), 1912.

24. Duchamp
Descending
a Staircase,
Life Magazine 284,
1952.

25. Russian Constructivism
Revealed the tendency towards abstraction and the quest for new methods of artistic representation characteristic of the early 20th century in Russia.
First introduced by Tatlin in 1915, it began with a focus on abstraction through "real materials" in "real space."

26. The 3rd International Tower, 1919-1920, Vladimir Tatlin

27. Spatial Force Construction (1920-21),
Liubov Popova

28. Aeroplane Flying, 1915, Kasimir Malevich

29. Black Square and Red Square, 1915, Kasimir Malevich

30. Red Square: Painterly Realism of a Peasant Woman in Two Dimensions, 1915, Malevich

31. Suprematist Composition,1915, Malevich

32. Abstraction Nonobjective art Suprematism De Stijl (The Style)
Wassily Kandinsky
Suprematism
Kasimir Malevich
De Stijl (The Style)
Piet Mondrian

33. Wassily Kandinsky
One of the most original and influential artists of the twentieth-century.
His "inner necessity" to express his emotional perceptions led to the development of an abstract art.
Kandinsky's compositions were the culmination of his efforts to create a "pure painting" that would provide the same emotional power as a musical composition.

34. Wassily Kandinsky Beginnings: "Mother Moscow" 1866-1896
Metamorphosis: Munich
Breakthrough to the Abstract: The Blue Rider,
Russian Intermezzo
Point and Line to Plane: The Bauhaus
Biomorphic Abstraction: Paris

35. Composition IV, 1911

36. Composition V, 1911 (The Deluge)

37. Composition VII, 1913 (The Resurrection,
the Last Judgment, the Deluge, the Garden of Love)

38. Composition VIII, 1923

39. Composition X, 1939

40. Panel for Edwin Campbell #1, 1914

41. De stijl: Neo-plasticism
Dutch art movement begining c
centered mainly around artist Piet Mondrian
often referred to as De Stijl after a magazine published by the group

42. De stijl: Neo-plasticism
emphasized the geometrical, ordered, simplified and precise qualities of art and design as opposed to organic forms. Saw line and primary colors as important
began as a pictorial based style like Cubism but became increasingly non-objective

43. Piet Mondrian at home

44. Red Tree, 1908, Piet Mondrian

45. Gray Tree, 1911, Piet Mondrian

46. Trees, 1912, Piet Mondrian

47. Composition II, Line and Color, 1911, Piet Mondrian

48. Composition with Color Planes and Gray, Lines 1, 1918

49. Composition A: Composition with Black, Red, Gray,
Yellow, and Blue,1920, Piet Mondrian

50. Composition with Red, Yellow, and Blue (1921)

51. Red, Blue Chair, 1918, Gerrit Rietveld

52. Red/blue Table, 1923, Gerrit Rietveld

53. Schroder House, Gerrit Rietveld, at Utrecht, The Netherlands,
1924 to 1925.

57. The End