FAH246H1 Lecture Notes - Lecture 2: Henri Matisse, Suprematism, De Stijl

193 views6 pages
6 Dec 2016
School
Department
Course

For unlimited access to Class Notes, a Class+ subscription is required.

Art Since 1900
Wednesday February 3rd, 2016
“The reductivist logic” - abstraction and purity; materiality of painting and
the spiritual.
Kazimir Malevich, Black Square, 1913
Piet Mondrian, Composition in Red, Yellow, Blue and Black, 1921
Neoplatonic understanding of the world
Kandinksy, Mondrian, Malevich
Rejection of reason, rejection of modernity.
These three artists shared a spontaneous approach to art.
Paul Sérusier, The Talisman, 1888
Art that aims to synthesize the artist feelings, and expressive potential
of pictorial elements.
Paul Gauguin, Self-Portrait in Stoneware #2, 1889
Gauguin is shown with his eyes closed which signifies the artistic
withdrawal form the world. Memory and interior vision is a more
important matter.
The artist is considered as a superior being, as someone who has
access to the spiritual world.
You have the image of the avant-garde artist as the viewer as well as
the creator.
Georges Braque, Le portugaise (The Emigrant), 1911, oil.
Analytic cubism: opening up and deconstruction of the form. It is
understood by many abstract artists as signifying the spiritual evolution from
matter to spiritual. They see the dematerialization of form as the transition
from matter to spiritual in a painting.
Pablo Picasso, Guitar, Sheet Music, and Glass, 1912
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-2 of the document.
Unlock all 6 pages and 3 million more documents.

Already have an account? Log in
Wassily Kandinsky
Abstract artist
Munich, Germany
One of the founders of the group of artists called the Blue Rider.
Kandinsky will propose abstraction as a way to reconnect with the
world through the spiritual it was a way to assert the alienation of the
modern man.
Abstraction was a very international movement, it decanters Paris in its role
as the center of avant-garde.
Wassily Kandinsky, Untitled (First Abstract Watercolour), 1910 (1913)
A new way of seeing painting - abstract, not just a new way of
creating a painting.
He would see painting through the paradigm of music.
Music is a non-represenational art. He wanted the combination of
forms and colours to communicate to the painter like music does.
Colour would become Kandinsky’s instrument.
“In general, color is a means of exerting a direct influence upon the should.
Color is the keyboard. The eye is the hammer. The soul is the piano, with its
many strings. The artists is the hand that purposefully sets the soul vibrating
by means of the key (the color)” - Kandinsky, from Concerning Spiritual in
Art, (1911)
Wassily Kandinsky, Composition IV, 1911
The liberal use of bright colour. Liberated use of lines.
A sense of agitation and dynamism.
He gives his works musically inspired titles. No more descriptive
titles, he titles them like music would be titled.
He is going to try and go beyond the physical world, using music.
Through colour he will try to connect with the spectator.
Frantisek Kupka, Piano keyboard/Lake, 1909
Czech artist.
Became associated with cubists.
Music and painting have a common way of addressing the spectator.
find more resources at oneclass.com
find more resources at oneclass.com
Unlock document

This preview shows pages 1-2 of the document.
Unlock all 6 pages and 3 million more documents.

Already have an account? Log in

Get access

Grade+
$10 USD/m
Billed $120 USD annually
Homework Help
Class Notes
Textbook Notes
40 Verified Answers
Study Guides
1 Booster Class
Class+
$8 USD/m
Billed $96 USD annually
Homework Help
Class Notes
Textbook Notes
30 Verified Answers
Study Guides
1 Booster Class