Sayre2e ch34 integrated_lecture_pp_ts-150675

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Diego Rivera. Man, Controller of the Universe. 1934.Main panel: 15’ 11" × 37’ 6”.


Robert Delaunay. L’Equipe de Cardiff (The Cardiff Team). 1913.10’ 8-3/8" × 6’ 10”.


Map: Picasso's Montmartre.

Pablo Picasso’s Paris: At the Heart of the Modern

What are Cubism, Fauvism, and Futurism?

• The Aggressive new Modern Art: Les Demoiselles d’Avignon — Picasso’s work shows a shift in painting from an optical art to an imaginative construct, from the literal to the conceptual. Les Demoiselles was an act of liberation, an exorcism of past traditions, perhaps of painting itself.

• Matisse and the Fauves: A New Color –- The artist was the leader of a radical group of experimental pointers known as the Fauves, or “Wild Beats.” Fauvism was known for it’s radical application of arbitrary, or unnatural, color.

• The Invention of Cubism: Braque’s Partnership with Picasso — Braque was a Fauve but with Houses at l’Estaque he introduced spatial ambiguity and cube-like shapes which fascinated Picasso. Cubism was born out of their collaboration.

• Futurism: The Cult of Speed — Futurism rejected the political and artistic traditions of the past and called for a new art. The Futurists repudiated static art and sought to render what they thought of as the defining characteristic of modern urban life – speed.

• Modernist Music and Dance: Stravinsky and the Ballets Russes — The dynamism and invention evident in both Cubism and Futurism also appeared in music and dance. The composer Stravinsky and choreographer Nijinsky premiered the ballet Le Sacre de printemps; the performance was a scandal. This piece helped to define modern art as antagonistic to public opinion and an affront to its values.

• Discussion Question: What is the importance of speed in the early 20th century?


Pablo Picasso. Portrait of Gertrude Stein. 1906, Winter–Autumn.39-3/8" × 32”.


Pablo Picasso. Les Demoiselles d'Avignon. 1907, May-July.95-1/8" × 91-1/8”.

Closer Look: Pablo Picasso, Les Demoiselles d’Avignon (The Young Ladies of Avignon)

MyArtsLabChapter 34 – The Era of Invention: Paris and the Modern World

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Maurice Radiguez. “Le Bouillon de Tête.” Published in L’Assiette au beurre, March 11, 1905. 1905.


Henri Matisse. Bonheur de vivre (The Joy of Life). 1905-6.69-1/8" × 94-7/8”.


Henri Matisse. The Dance. 1910.8’ 5-5/8" × 12’ 9-1/2”.


Georges Braque. Houses at L'Estaque. 1908.28-3/4" × 23-3/4”.


Pablo Picasso. Houses on the Hill, Orta de Ebro. 1906.25-5/8" × 31-7/8”.


Georges Braque. Violin and Palette. 1909, Autumn.


Pablo Picasso. Closer Look: Picasso's Collages: Violin. 1912.24-3/8" × 18-1/2”.


Closer Look: Picasso's Collages: Le Journal (The Newspaper), November 18, 1912. Front page. 1912.

Closer Look: Picasso’s Collages


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Pablo Picasso. Closer Look: Picasso's Collages: Guitar, Sheet Music, and Wine Glass. 1912.18-7/8" × 14-3/8”.


Carlo Carrà. Interventionist Demonstration. 1914.15-1/8" × 11-7/8”.


Umberto Boccioni. Unique Forms of Continuity in Space. 1913.43-7/8" × 34-7/8" × 15-3/4”.

Active Listening Guide: Stravinsky: "Sacrificial Dance" from The Rite of Spring


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Igor Stravinsky. Musical Notation: Le Sacre de printemps (The Rite of Spring): "Sacrificial Dance of the Chosen One." (2 lines of music).


Ernst Ludwig Kirchner. Self-portrait with Model. 1910.58-5/8" × 39”.

The Expressionist Movement: Modernism in Germany and Austria

What is German Expressionism?

• Die Brucke: The Art of Deliberate Crudeness — Four artists from Dresden called themselves Die Brucke. They believed that through jarring contrasts of color and jagged, linear compositions they could free the imagination from the chains that enslaved it.

• Der Blaue Reiter: The Spirituality of Color — This expressionist group had no common style but all were obsessed with color. For the artist Franz Marc, the color blue is the masculine principle of spirituality. For Munter, yellow was the female principle.

• A Diversity of Sound: Schoenberg’s New Atonal Music versus Puccini’s Lyricism — Schoenberg abandoned tonality and created a music of complete atonality. In contrast, Puccini wrote operas of emotional lyricism such as Madama Butterfly and Tosca.

• Discussion Question: What are the differences between Schoenberg and Puccini?


Franz Marc. The Large Blue Horses. 1911.3’ 5-3/8" × 5’ 11-1/4”.


Gabriele Münter. The Blue Gable. 1911.34-15/16" × 39-5/8”.


Wassily Kandinsky. Composition VII. 1913.6’ 6-3/4" × 9’ 11-1/8”.

Early Twentieth-Century Literature

What innovations distinguish the literary world in the first years of the twentieth century?

• Guillaume Apollinaire and Cubist Poetics — A new approach to poetry and prose called the “revolution of the word,” was led by Apollinaire. He latched on to the principle of collage. In “Lundi, rue Christine” he offers snatches of overheard conversation that follow one another without transition or thematic connection.

• Ezra Pound and the Imagists — The Imagists were a group of English and American poets who sought to create precise images in clear, sharp language. Pound’s “In a Station of the Metro” is in many ways the classic Imagist poem.

Active Listening Guide: Schoenberg: "Madonna" from Pierrot Lunaire



Active Listening Guide: Puccini: "Un bel di" from Madama Butterfly



Guillaume Apollinaire. “Il Pleut” (“It’s Raining”). From Selected Poems of Apollinaire, Translated in its original form by Oliver Bernard. 1914.

The Origins of Cinema

What are the origins of cinema?

• The Lumiere Brothers’ Celluloid Film Movie Projector — In Paris, these brothers presented the first projected motion pictures available to a large audience. Their 10 films were projected through their Cinematographe camera.

• The Nickelodeon: Movies for the Masses — Nickelodeon theaters were very popular by 1910. They catered to the aspirations of the working class, and most often to women and children. These silent films were particularly accessible to working-class, immigrant audiences.

• D.W. Griffith and Cinematic Space — Griffith was the foremost single-reel director of the day. His 13-reel epic The Birth of a Nation was about the Civil War and Reconstruction but its unrepentant racism led to riots. This film nonetheless demonstrated the viability of what came to be called the feature film. An even more important aspect of the film was the large repertoire of camera shots that Griffith used to create visual variety in a film of such length.

• Discussion Question: In what way did the development of cinema influence the visual arts?


Eadweard Muybridge. Annie G. Cantering, Saddled. 1887, December.Sheet: 19" × 24"; Image: 7" × 16”.

Closer Look: Eadweard Muybridge, Annie G. Cantering, Saddled



Lumière brothers. Poster for the Cinématographe, with the Lumière brothers’ film L’Arroseur arrosé (Waterer and Watered) on screen. 1895.


D. W. Griffith. The Birth of a Nation, battle scene. 1915.


Pablo Picasso. Continuity & Change: The Prospect of War: Glass and Bottle of Suze (Le Bouteille de Suze). 1912.

25-2/5" × 19-2/3”.

Sayre2e ch34 integrated_lecture_pp_ts-150675

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