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Lecture

FAH270H1 Lecture Notes - Luser, Snowmobile, Color Photography


Department
Art
Course Code
FAH270H1
Professor
Mark Cheetham

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Modern Art Oct. 17 to End
Lecture - Oct. 17.
Surrealism
Pollock, Drawing, 1938
- Elements akin to surrealism
People got confused because Pollock „changed‟ styles a few times
Matisse, Still Life with Shell
Matisse, Mimosa, 1949-51 Matisse, Icarus, 1947
- Paper collage
- Use of cut out colored paper
- Relatively new technique for Matisse at this time
Matisse, Large Red Interior

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Picasso, Bull‟s Head, 1943 Picasso, Death‟s Head, 1944
Picasso, Painter and model, 1928
- Depicts artist and easel
- Reference to other works of art
- Explores the relationship an artist has between them and what they are actually
depicting
- Makes reference to Picasso‟s own status
Important theme for Picasso and Western art is the theme of the artist in his
or her studio
Picasso, Law Meninas, 1957
- Inspiration from Deigo Velaquez, Las Meninas, 1656
Crisis of the visual arts after the huge wars and terrible things, what is art
supposed to do? Is it support to politically challenge or revert to its classical
roots
Dubuffett, Olympia, 1950
- Represents art the tries to „start over‟ because of the question of what is art
supposed to do that was posed after the carnage of war
- Degree of humor and lightness
Generation of artists that tried to wipe the slate clean so to say
Called „l‟art brut‟
Also called art informal, art autre
Kind of anti-cultural or anti-high society art
Dubuffett, Le Metafisyx, 1950
- Mix of materials, use of oil paints but also mud, dirt, working of surface
- Not a painters working of the surface, more brutal
- Most critics did not have a clue to what dubuffett was trying to accomplish
- Not very well understood at the time
- Playfully ugly, extremely influential as a kind of new way to go, giving up the old
conventions but remaining within the painting category

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CoBrA
- Represented the names of the 3 cities they were from; Copenhagen, Brussels,
Amsterdam
- 1948-1951
- Artists kind of dissipated eventually and joined other groups
- Horrific, nightmarish, ghoulish themes
- Very important because it offered an alternative, especially to young artists
Asger Jorn, St. John‟s Eve II, 1952
The Surrealist Map of the World, 1929
- Represented areas that they were interested in
- Alaska is important because the Surrealists were interested in the natives there
- Looking at indigenous populations
- Back to primitive theme
Surrealist moved to be centered in New York
Surrealists in New York in the 1930‟s included Ersnt, Dali, Duchamp, Matta,
Andre Breton
New York artists could see not only surrealist work but they could see the
surrealists
Large influx of very famous and very influential work in the United States at this
time
Many surrealists exhibits in New York
Surrealist Gallery, Art of This Century, 1942
Ersnt, Day & Night, 1941-42
- Different in canvases placed over a darker scene
- Sort of another dimension of darkness of explanation
Ersnt, Europe after Rain, 1942
- Response to ww2
- Like another planet in some ways, sort of an alien landscape
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