Cubism, modern architecture, bauhaus
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The document provides an overview of the development of Cubism, Modern Architecture, and the Bauhaus movement between 1905-1936, as well as the emergence of Dada and Surrealism. It features over 30 images illustrating key artworks and architectural designs from pioneers such as Picasso, Braque, Matisse, Kandinsky, Mondrian, Gropius, Duchamp, Arp, Ball, Hoch, Ernst, Dali and others that helped shape modern art and design in the early 20th century.
Cubism, modern architecture, bauhaus
- 1. Cubism, Modern Architecture, and The Bauhaus April 15, 2013
- 2. Henri Matisse, The Woman with the Hat, 1905
- 3. Franz Marc, The Large Blue Horses, 1911
- 4. Vassily Kandinsky, Improvisation 28, 1912
- 6. Georges Braque, Violin and Palette, 1909-10/Picasso, Portrait of Daniel-Henry Kahnweiler, 1910
- 7. Picasso, Glass and Bottle of Suze, 1912
- 8. Gino Severini, Armored Train in Action, 1915
- 9. Umberto Boccioni, Unique Forms of Continuity in Space, 1913
- 10. Kazimir Malevich, Suprematist Painting (Eight Red Rectangles), 1915
- 11. Adolf Loos, Steiner House, Vienna, 1910
- 12. Le Corbusier, Villa Savoye, Poissy-sur-Seine, 1929-30
- 13. Frank Lloyd Wright, Robie House, Oak Park, Chicago, 1906-9
- 15. Frank Lloyd Wright, Falling Water, Mill Run, Pennsylvania, 1937
- 16. Gerrit Rietveld, Schröder House, Utrecht, 1925
- 17. Piet Mondrian, Composition with Yellow, Red, and Blue, 1927
- 18. Walter Gropius, Bauhaus, Dessau, 1925-6
- 19. Dada and Surrealism April 17, 2013
- 20. Hans Arp, Arrangement according to the Laws of Chance, 1917-17
- 21. Hugo Ball, Reciting the Sound Poem “Karawane”, Cabaret Voltaire, 1916
- 22. Marcel Duchamp, Fountain, 1917
- 23. Duchamp, Bottle Dryer, 1914
- 24. Duchamp, Bicycle Wheel, 1913
- 27. Kurt Schwitters, Merzbild 5B, (April 26), 1919
- 28. Kurt Schwitters, Merzbau, Hanover, 1924
- 29. Hannah Hoch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919
- 30. Andre Masson, Battle of Fishes, 1927
- 31. Joan Miró, Composition, 1933
- 32. Max Ernst, The Horde, 1927
- 33. Salvador Dalí, The Persistence of Memory, 1931
- 34. Dalí, Birth of Liquid Desires, 1931-1
- 35. Meret Oppenheim, Object (Fur-Lined Tea Cup), 1936
- 36. Luis Bunuel, Still from Un Chien Andalou, 1929
Editor's Notes
- #3: -deliberate disharmonies-was controversial because of its thick swatches of crude, arbitrary, nonnaturalistic color and its broad and blunt brushwork
- #4: -spiritual affinity to animals which Marc felt were more “primitive” and thus purer than humans, enjoying a more spiritual relationship with nature-painted animals more than humans
- #5: -was one of the first artists to to investigate the theoretical possibility of purely abstract painting-different colors express different emotions
- #6: -was a member of the avant-garde (strikingly new) artists and was fascinated with the subject of traveling acrobats-worked with “primitive” art-one of the most radical and complex paintings of the twentieth century
- #7: -the two artists had a close working relationshipShows the kind of relatively small-scale still-life paintings that the two artists experimented with originallyWas a move toward the gradual abstraction of recognizable subject matter and space is evidentElements have lost their natural spiritual relations but their coherent shapes as wellA) Analytic cubism for both artists- reflect the breaking out of form
- #8: -complete abstraction-collage- composed of separate elements pasted together
- #9: -Combination of technology and speed combined with Cubism to create Futurism -based on the photograph of a Belgian armored car on a train going over a bridge
- #10: -was a futurist-figure striding powerfully through space
- #11: -the supremacy of pure feeling in creative art
- #12: -the exterior’s only function was to provide protection from the elements
- #13: -icon of the international style -domino destruction
- #14: -one of Wright’s first masterpieces in Prairie style-was designed around a central chimney
- #16: -believed that buildings should not simply sit on the landscape but exist in it
- #17: -composed of interlocking gray and white planes of varying sizes, combined with horizontal and vertical accents in primary colors and black
- #18: -three primary colors and three neutrals and a grid of horizontal and vertical lines in his search for the essence of higher beauty and the balance of forces
- #19: -believed that the design should emerge organically
- #21: Not in the book
- #22: -considered to be Dada’s opening moment
- #23: -one of the most controversial works of art in the modern age of art(concept of the readymade- transforming the ordinary into works of art)
- #24: Not in the book
- #25: Not in the book
- #26: -”modified readymade”- In changing this famous picture he turned a sacred cultural artifact into an object of crude ridicule
- #27: Not in the book
- #28: -collage of printed fragments from the street with newspaper scraps to comment on the postwar disorder of defeated Germany
- #29: Not in the book
- #30: -collages images and words from the popular press, political posters, and photographs to create a complex and angry critique of the Weimar Republic in 1919
- #31: Not in the book
- #33: -surrealist artists employed a variety of techniques including automatism- the control of the artist is foregone-shows a nightmarish scene of wooden-looking monsters who advance against some unseen opponent
- #34: Not in the book surprisingly
- #35: -biomorphic- an organic shape resembling a living form-Dali arrived at his imagery by writing down his nightmares and merely painting what his paranoid-critical mind had conjured up
- #36: GROSS-was part of the surrealist movement; one of the few women to be invited to join the movement-transformed to ordinary objects into an uncanny object that is simultaneously desirous and deeply disturbing
- #37: Not in the book