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FAH245H1 (2)
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1939-40 October 17, 2012.pdf

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Department
Art
Course
FAH245H1
Professor
Mark Cheetham
Semester
Fall

Description
1940-49 Lecture 6- October 17, 2012 Pollock *Drawing, 1938 (1) -surrealism -dreamlike -freehand, figurative -distorted -late 40’s/50’s: reintroducing figurative, break from Drip painting *“old masters”, school of Paris; Picasso, Matisse, Miro ect., yet still innovative* Matisse *Still Life with Shell, 1940 (2) -South France, back to early motifs *Mimosa, 1951 -couldn’t paint due to health -“cut into colour” (coloured paper cut and collaged) -natural world, still life *Icanes (Jazz), 1947 -interaction of music and art (Mondrian, Kandinsky) Picasso *Bull’s Head,1943 and Death’s Head,1944 -focus on assemblage (bull’s) -dark -reaction to carnage (killing of large number of ppl.) surrounding (wwII) *Painter and Model, 1928 -reference to art works (of his own and others) -explores relationship b/w artist and image of depiction * Las Meninas, 1957 (4) -reference to Picasso’s current status as an artist - Las Meninas (The Maids of Honour),1656 Diego Velázquez (3) -image of status of art, showing importance of art and artists (questioning art and its importance during and after time of war -looking at Western art and challenging it and it’s traditions -“trivial” in comparison to war Dubuffet *Olympia, 1950 (1 next page) -wipe slate clean 1940-49 Lecture 6- October 17, 2012 -non-academic, non-traditional -no more niceties *L’art BrutArt; “brutal”, raw, anti-(high)culture* -degree of humor, mocking, playful *Les Metafisyx, 1950 -thick, heavy -scored, scarred -not beautiful (which is what art “should” be) -fundamental, basic -offensive Cobra; Copenhagen, Brussels,Amsterdam, 1948-1951 *After Us, Liberty, 1949, Constant (Constant A. Nieuwenhuys) *St. John’s Eve II, Asger Jorn -“Beautiful, ugly, impressive, disgusting, meaningless, grim, contradictory etc … It makes no difference, as long as it is life, vigorously pouring forth.” -Jorn, 1944 -(If the image was sketched onto the canvas and spontaneously drawn, colour would often be restrained and unfree... The most important and the most difficult liberation process we went through, the one that has distinguished our art, was the freeing of colour, the transition to a painterly spontaneity.) -harmony of purpose, no matter how hard or disgusting *Abstract Impressionism working in parallel to L’art Brut *Surrealist Map of the World, 1929 (2) -depicting “most important” countries of surrealist movement -North-East coast ofAlaska: “primitivism” Queen Charlotte, Indigenous = Impact on surrealist movement *migration (caused by WWII) to U.S. = headquarters of surrealist movement (N.Y.C.)* -important figures in Surrealist movement: Ernst, Dali, Du Champ, Matta,Andre Breton Ernst *Day and Night, 1942 -difference in tone-ality 1940-49 Lecture 6- October 17, 2012 -exploration of light vrs. dark, conscious vrs. Un-conscious, visible vrs. Invisible -fragment
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