Visual Arts History 1040 Lecture Notes - Dudley Murphy, English Channel, Straw Hat

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TURN OF THE TWENTITH CENTURY
Martin Scorsese, Hugo, 2011
-fantasy type films, with early types coming to life in 3D
-experience of seeing something for the very first time
-re-create a mythic naïve spectator (not aware of the trickery of cinema)
-should be shocked by special effects
-colour toned down (certain colours drained form the film) dominated by
blues and reds BC fascinated with early film, and wanted to make the film
look as though it had been made in the early 1930’s – two strip
Technicolor
-return to past styles in visual culture
THE EARLY TWENTITH CENTURY
-Industrial forces and machine age, with machine aesthetic
-how artists have adopted cinema into their painting/sculpture process
-imperialism and colonialism
-diverse with few common tendencies, response to scientific
shifts/revolution with math and physics
-radical (political and aesthetically)
-challenging art forcing people to reconsider what art is and what it could
do
-perception, vision, representation
Fauvism
Expressionism
Cubism
Futurism
Dada
FAUVISM
-means wild beasts
-lingering post impressionism
-colour*** experiments with expressive potential of colour (emotion,
meaning)
André Derain, Mountains at Collioure, 1905
-brush strokes
-naturalism with colours respond to the things being represented
Henri Matisse, Red Room (Harmony in Red), 1908-1909
-rejected imitative colours, with pure colour we obtain stronger reactions
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-function of colour to serve expression, rests on felt experiences and
sensitivity
-shift from scientific (optics and perception) how things look in different
light
-shift towards artists own personal state*** express what they feel when
confronted with subject matter
GERMAN EXPRESSIONISM
-less with colour, more invested in what form could express, normal
properties // distortions
1) Die Brücke (the bridge = move forward with links to the past)
2) Der Blaue Reiter (blue horses) embracing unnaturalism, communicate
own personal reactions, and putting viewer in certain state of mind
(spiritual)
3) Independent Expressionists
1)*Ernst Ludwig Kirchner, Street, Dresden, 1908
-street view, view of crowd
-growing populations
-simplification of form, colours don’t necessarily conform to what things
actually look like
-elongated unnatural figures
-sense of depth, more 2D
-more of a feeling then a description of the site itself
2) Franz Marc, Fate of the Animals, 1913
-turned to the animal world, truer and freer then in humanity
-animals purer, humans are too deeply flawed, right on brink of WW1
-colour to express ideas, with very specific relations
-blue = male, yellow = woman, red = matter
-very strict gender divisions in colour, space and forms
-reflected pessimism at this time
-premonition of the war about to mare the European soil
-apocalyptic
2) Vassily Kandinsky, Improvisation 28 (second version), 1912
-expressiveness of colour
-intense interest in science
-very well read, with math and physics (matter)
-accepted Einstein’s claim that material objects have no real substance
comprised of atomic particles (radical new ways of thinking about
matter)
-it is energy constantly in flux
-aims to represent things in their essence
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