Modern Art and its Origins: the Art World in Europe at the Turn of the Century
I. Developments in Early Twentieth Century Modernism:
Expressionism
[should also be aware of De Stijl, Suprematism, Constructivism]
- Artists responded to tradition, but also broke with the past seeking radically new approaches to art
- Many artists moved from representation to abstraction
- Art was cosmopolitan and international: artistic centers in Paris, Munich, Berlin, New York, and elsewhere
- Many movements and groups emerged with distinct, sometimes overlapping goals
- Many artists responded to emerging social and political tensions in the context of WWI
Expressionism
- Fauvism (Paris 1905-08)
- liberated color from representing the natural world
- vivid, jarring color, simplified drawing, loose brushwork
- Die Bruke, German Expressionism (Dresden then Berlin 1905-13)
- communal bohemian group, “bridge” to the future
- intense, brooding pictures, distorted forms, clashing colors
- The Blue Rider, German Expressionism (Munich 1912-14)
- moves to abstraction, color can convey emotion regardless of subject
- vibrant color, spirituality, both representational & abstraction
- liberated form from traditional representation and perspective
- muted colors, multi-faceted views, multiple perspectives, collage
- calls into question the meaning of “art”
- “anti-art”, irrational, humor, ready-mades, photomontage, collage
- synthesis of fine art and applied arts recalling guild system
- rejects historical ornament, clean, modern, integrated, functional design
[should also be aware of De Stijl, Suprematism, Constructivism]