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Chapter 27

FSN232 Chapter 27: Art History - Chapter 27
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Department
Fashion
Course Code
FSN 232
Professor
Kimberly Wahl

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Art History - Chapter 27 April 6th, 2015 Modernism Class Notes Modernism used art to call attention to itself - it refers to itself constantly Impressionists rejected underpainting and preferred to draw attention to the purity of the medium of painting Greenberg thought the flatness of the painting was the most important aspect - shared by no other art form New york became the center of the modern art world after Paris fell to the Nazis - Europe had also rejected modernism - ‘Return to order” followed the first world war and rejected extreme avant-garde art Art criticism was becoming more important, going so far as dictating the ways in which the art market operated Rosenberg coined the term “action painting;” the process of producing art was just as important as the finished product itself – it records the process of making art Greenberg disagreed – promoted individual mythologies of art making (surrealism and others emphasized the individual character of the artist) – He thought that the arc of art was bigger than any one individual artist Hans Hoffman was one of the first American artists to have an impact on the Modernist movement Josef Albers chaired the department of architecture and design at Yale - Study for Homage to the Square (1968) Jackson Pollock (Guardians of the Secret - 1943) was one of the first action painters - Dripped paints onto canvases, working around canvases - There were very few known female action painters – there was this idea that it wasn’t natural for them to be painting in this way From 1947 onwards, he would exclusively be painting in the drip method White Light (1954) - He would build up a structure by layering paint, which created the illusion of depth Art became a means by which to access certain parts of the brain that couldn't be reached through logical conversation Franz Kline Mahoning (1956) takes a simpler approach to lines - delicacy was required in the amount of paint that was put on the brush to create the lines Willem de Kooning Woman and Bicycle (1952-1953) – influenced by cubism and believed in the unqiue vision of individual artists - He didn’t make figures unrecognizable but emphasizes them by distorting them through the very act of painting Mark Rothko Number 15 (1957) – Looking for universal symbols; like to use rectangles - he muted and blurred the edges between shapes and colors to create a sense of luminosity Color field paintings was influenced by painters such as Matisse where broad areas of the painting are carried out in one color to evoke a certain emotion - Typically evoke calm reflection Helen Frankenthaler The Bay (1963) – Would pour paint onto the canvas, sometimes in phases Frank Stella Tahkt-i-Sulayman I (1967) – He saw paintings primarily as things/objects. His paintings were “hard- edged” (for which the type of painting is known) Figurative abstraction is the tail-end of surrealism Jean Dubuffet The Reveler (1964) Francis Bacon Portrait of Isabel Rawsthorne Standing in a Street in Soho (1967) – Textbook Notes Abstraction was influenced by the influx of intellectuals and artists from overseas - Totalitarian dictators prevented artists from pursuing abstraction The center of the art world shifted to New York following the fall of Paris to the Nazis in 1940 The Teachers: Hans Hofmann and Josef Albers Hans Hofmann and Josef Albers were both immigrants from Germany, and taught
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