III. Reaction to The Great War

1910-1919

Seminar in Art History: Twentieth Century Art

Futurism

• Tommaso Marinetti, Giacomo Balla, Umberto Boccioni, Antonio Sant’Elia

• Italy, Russia: 1909-1944• Political as well as artistic movement• Rejected past tradition in favor of moving

forward to create a new era• Focus on visual movement

Giacomo Balla, Dynamism of a Dog on a Leash, Italy, 1912

Umberto Boccioni, Unique Forms of

Continuity in Space, Italy, 1913

Gianlorenzo Bernini, David,

Italy, 1623

Antonio Sant’Elia, Plan for Nuovo Citta,

Italy, 191

Dada• Marcel Duchamp, Tristan Tzara, Hugo

Ball, Jean Arp, Hannah Hoch, Man Ray• Switzerland, France, Germany; 1915-1918• “Dada is everything, Dada is nothing” • Attempt to fight absurdity in society with

absurdity; Rejection of war and academic tradition of art

• Attempts to pull Modernism out of its 19th century roots

• Earliest union of performance and visual arts

Marcel Duchamp, Nude Descending a Staircase, France,

1912

Marcel Duchamp, Fountain,

Dada, France,

1917

Marcel Duchamp,

Bicycle Wheel,

American, 1913

Marcel Duchamp,

Rrose Selavy, 1920

Marcel Duchamp, The Bride Stripped

Bare by her Bachelors, Even, (the Large Glass),

Dada, France, 1915-23

Marcel Duchamp, L.H.O.O.Q.,

Hannah Hoch, Cut with the

Kitchen Knife through the Last Weimar Beer-Belly

Cultural Epoch of Germany,

1919

Expressionism: Der Blaue Reiter• Wassily Kandinsky, Franz Marc, Gabrielle

Munter, Paul Klee• Expressionism: Germany, 1908-1930s• Der Blaue Reiter (The Blue Rider) 1912-1914• Characterized by organic non-objectivity, and

pure abstraction of form• Attempt to reveal a spirituality in art, rather than

a descriptive narrative• Group organized as a collective of working

artists and published periodicals and almanacs

Der Blaue Reiter

Almanac, Germany,

1913

Wassily Kandinsky, Composition IV, Germany, 1911

Franz Marc, The Large Blue Horses, Germany, 1911

Suprematism and Constructivism

• Kasimir Malevich• Russia; 1915• Simpified compositions,

geometric shapes and bold primary color and non-colors

• Believed in the end of art as a representation of nature

• Vladimir Tatlin• Russia; 1913• Sympathetic to new

Bolshevik ruling party• Influence from Cubism

and Futurism• Rejected illusionistic

devices• Felt art should be

available to all classes

Kasimir Malevich, Aeroplane

Flying, Russia, 1915

Kasimir Malevich, White on White, Russia, 1919

Vladimir Tatlin, Monument to

the Third International, Russia, 1920