III. Reaction to The Great War
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Transcript of III. Reaction to The Great War
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