Perception A journey into 20th century art
Kamaldeep Singh
April 13th, 2012
Surrealism
Surrealism • First off, Surrealism was born in Paris and followed another “ism”, Dadaism. The name of this movement was given by an important French figure, Guillaume Apollinaire. This talented art critic, writer and poet wrote a play called: The Beasts of Tiresias, which succeeded in well describing the surrealists and the movement itself. This movement went beyond the illustration of reality; it was experimenting with “cautious control”. Surrealism was divided in two procedures. One of the forms that were practiced by Joan Mirò and Max Ernest consisted of improvisation and staying away from the main method of this era: “cautious control”. On the other hand, the second form was applied by Salvador Dalí and René Magritte, which involved practicing representing common sense with the help of realistic techniques.
Marcel Duchamp This artist born in France in the year of 1887 was an important figure to a couple of artistic movements such as Cubism, Futurism, Dadaism and Surrealism. Two of his famous paintings were: The Bride and The Nude Descending The Staircase (1912). Marcel Duchamp started a type of art called “Ready-Made” in which he took objects from the daily life and gave them meaning; an example of a readymade is the Fountain (1917). By creating this fashion, the artist changed the meaning of what composes art. ! Additionally, this well-known artist was greatly fond of Chess. Duchamp passed away in 1968 leaving his mark in the world of modern art.
Interesting Facts
Famous Quotes by this artist
Ø Duchamp, in 1923, gave up his artistic career for his love of playing chess.
Ø “I was interested in ideas-not merely in Visual products”Marcel Duchamp
Ø He was one of the best chess players in France and even participated in four competitions and won in 1932.
Ø “I wanted to put painting once again at the service of the mind”-Marcel Duchamp Ø “Chess can be described as the movement of pieces eating one another”-Marcel Duchamp
Ø Marcel Duchamp was one of the honorable members of the Paris Surrealist. Ø This artist is well known because of one his paintings called: Nude Descending Staircase.
Ø Living is more a question of what one spends than what one makes.
Portrait of Chess Players Title Portrait of Chess Players 1911 Artist Marcel Duchamp 1888-1968 French
Material Canvas
Technique Painting
Location The Philadelphia Museum of Art
Direction/movement Vertical
Portrait of Chess Players 1911 Canvas Marcel Duchamp 1887-1968 108 cm x 101 cm The Philadelphia Museum of Art
Analysis
!
¡ To begin, there are very few colors used in this painting however different tones of the same color are visible. Brown, which falls into the tertiary color category, is the main color used throughout this painting. Also, different hints of the blue-gray color are observable in this artwork. In addition, the use of shading helps create a distinct atmosphere while creating depth to the painting at the same time. Finally this piece of art is completed with the few areas that are tinted (adding white) by illustrating the aspect of light. ¡ Furthermore, the geometrical shapes give illusion to one of the notions of spatial correlation: superposition. In addition, the brushstrokes are smooth at the first glance of this artwork however they give illusion to texture between the shapes. Finally, the composition of this painting leads the eye in a vertical direction.
The Bride Title The Bride ----Artist Marcel Duchamp 1888-1968 French
Material Canvas
Technique Painting
Location The Philadelphia Museum of Art
Direction/movement Vertical
The Bride ------Canvas Marcel Duchamp 1887-1968 85, 9cm x 55, 25 cm The Philadelphia Museum of Art
Analysis
!
¡ To start off, at the first glance, this painting seems to be dominated by two principal colors: brown and light pink. However, when carefully examining this artwork, different tones of brown and pink are detectable. The result of these two colors together lead to the conclusion of the representation of wood. The shading in the background allows emphasis on the subject of the painting, The Bride. ¡ Continuing, the notion of spatial correlation that is visible is the juxtaposition. The different pieces composing the object are more or less placed next to each other, thus emphasizing juxtaposition. In addition, the brushstrokes are precise making the artwork sharp and accentuates on the details. Finally, the use of tinting (adding white) to some of the forms indicate the presence of light and adds a touch of luminosity to the piece of art.
Nude Descending The Staircase Title Nude Descending The Staircase- 1912 Artist Marcel Duchamp 1888-1968 French
Material Canvas
Technique Painting
Location The Philadelphia Museum of Art
Direction/movement Vertical
Nude Descending a Staircase 1912 Canvas Marcel Duchamp 1887-1968 147, 5 cm x 89 cm The Philadelphia Museum of Art
Analysis ¡ First off, the principal color used in this artwork is one of the tertiary colors being the brown. However, different tones of that color are recognizable. Tinting (adding white) and shading in this painting focus on the separation between the repetitions of the same subject. In addition, the contrast between the background and the subject is done by the use of darker colors against the lighter ones. ¡ Second, one of the notions of spatial correlation is clearly visible, the juxtaposition. This notion is noticeable by the figures that are placed right beside one another. Also, all the different types and sizes of lines present in this artwork adds texture to the whole piece. Finally, this painting is composed with different shapes, lines, and methods leaving it rich in terms of analyzing and leaves it worthy of appreciation.
“Art is never finished, only abandoned”-‐ Leonardo da Vinci
Action Painting
Action Painting • This movement rose from Jackson Pollock’s creative instincts. Just the title of this movement indicates the type of artworks that could have been produced by many artists. This period was about specific techniques such as splashing, flinging, dripping and throwing paint on the canvas. Also, the notion of control while using these techniques depended on the artists. In result of these various methods of representing action painting, the outcome gave illusion to spontaneity, energy and had a sense of emotion. Action painting was interesting for the painters that wanted to explore with different mediums and techniques while being physically active. All in all, this period required particular techniques but could easily end up looking like an abstract piece. It all depended on the artist’s choice and mood.
James Brooks This American artist was a muralist and an abstract painter. However, he was also known as a social realist and had painted some canvases influenced by his friend, Jackson Pollock’s, style: action painting. His first solo exhibition also included his first dripped canvases that were showcased in New York. Brooks survived with his income from teaching at several art institutes. In 1926, he started working as a commercial lettering illustrator. In 1934, he began to paint as a social realist as he traveled in the west and south of America. Brooks suffered from Alzheimer in 1985 and later passed away in 1992.
Interesting Facts Ø One of his murals called flight is present in La Guardia Airport in Queens and continues 235 feet around the rotunda of the Marine Air Terminal.
Famous Quotes by this artist Ø “At some undetermined point the subject becomes the object, existing independently as a painting.”- James Brooks Ø “Good painting as always is a door opened to man's spirit.”James Brooks
Ø James brooks taught at over 8 schools of art. Ø His artworks are preserved in over 14 different museums in diverse countries.
Untitled Title Untitled 1978 Artist James Brooks 1906-1992
Material Paper
Location Greenberg Van Doren Gallery
Direction/movement Horizontal
Technique Ink and Pastel Untitled 1978 Paper James Brooks 1906-1992 45,7 cm x 61,6 cm Greenberg Van Doren Gallery
Analysis
¡ First and foremost, there are not many colors in this piece of art and the ones present are dark. There are two of the primary colors being the blue and orange that is visible. However, the dominant pigment is the black (ink) leaving the artwork with a dark atmosphere. As this creation is influenced by action painting, the dripping and splashing create different types and sizes of lines.
¡ As for the spatial correlation, both notions are observable: the juxtaposition and the superposition. The distinction is done by some of the lines that are placed right next to each other and by some that are placed on top of one another. The brushstrokes are not evident at first glance because of the style applied. Action painting doesn’t require a certain brushstroke since the application is done by dripping, splashing or throwing the paint on the canvas.
Untitled Title Untitled 1952 Artist James Brooks 1906-1992 American
Material Paper
Technique Tempera
Location Greenberg Van Doren Gallery
Direction/movement Diagonal
Untitled 1952 Paper James Brooks 1906-1992 57,2 cm x 48,3 cm Greenberg Van Doren Gallery
Analysis
§ To begin, only one of the primary colors, which happen to be blue, is observable in this artwork. One of the tertiary colors being the brown is very evident in this whole painting. Additionally, the artist combined the brown with the white making it look like a lighter version of brown. Also, the shapes created by the specific techniques (dripping, splashing, flinging) of this era are obviously abstract.
§ Furthermore, both notions of spatial correlation are present: Juxtaposition and superposition. The notion of superposition is the most apparent because of the technique applied in this artwork. The juxtaposition is present by the rest of the shapes that are placed right beside each other. All in all, untitled is a good representation of what the action painting look like.
Boon Title Boon 1957 Artist James Brooks 1906-1992 American Technique Painting
Material Canvas
Location Tate Gallery, London
Direction/movement Vertical
Boon 1957 Canvas James Brooks 1906-1992 180,3 cm x 173 cm Tate Gallery, London
Analysis §
§
First off, red and blue that are a part of the primary colors in this artwork are very subtle and are apparent on the right bottom of the canvas. On the other hand, one of the secondary colors being the orange is a bit more visible globally. Brown, which is a tertiary color, as well as the white, is very present in this artwork. Continuing, the notions of spatial correlation are not very visible in this painting because the subject is abstract. The brushstrokes are very thick and vary in sizes and thicknesses. Influenced by action painting, the techniques (splashing and flinging) are evident. Finally, since this painting is done with oil paints, the blending is not very observable and the results are different then if it was acrylic.
“Art is less important than life, but what a poor life without art.”-‐ Robert Motherwell
Pop Art
Pop Art
• This movement encompassed the artists that had a commercial art background. The artworks were pleasing because of their bright colors, sharp designs and their mechanical quality. The following statement supported this short period, “ One of the duties of art is to make you look at the world with pleasure. Pop art is the only movement in this century that has tried to do it.”1 Some of the pioneers of this brief era were Roy Lichtenstein, Andy Warhol, Claes Oldenburg and James Rosenquist. All in all, this era quickly became a new artistic movement as well as coming through as an advertising phenomenon.
1 Strickland, Carol, and John Boswell. Andrews McMeel Publishing, LLC. 2nd ed. John Boswell Management, Inc. 2007.
Roy Lichtenstein
This artist was born in New York in the year of 1923 and served in the army from 1943 to 1946 before having interest in the arts field. This artist was inspired by Monet, Picasso’s and Mondrian’s work in the 60’s and had painted sunsets and landscapes in result. Lichtenstein’s favorite colors to use for painting were the primary colors (red, yellow and blue) outlined in black. A year before his death, 1996, this artist had donated 154 prints and 2 books to the National Gallery of Art in Washington, D.C. Roy Lichtenstein, a pioneer of the Pop Art period, passed away in 1997 of pneumonia.
Interesting Facts Ø Roy Lichtenstein served in the army before becoming an artist. Ø Included cowboys, Indians and paper money in his artworks that were influenced by the basic techniques of abstract impressionism. Ø At 16, he took a summer class in the Art student’s league.
Famous Quotes by this artist Ø "I'm interested in portraying a sort of anti-sensibility that pervades society"- Roy Lichtenstein Ø “I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way.”- Roy Lichtenstein Ø "I want my painting to look as if it had been programmed."-Roy Lichtenstein
Drowning Girl Title Drowning Girl 1963 Artist Roy Lichtenstein 1923-1997 American Technique Oil and synthetic polymer paint
Material Canvas
Location The Museum of Modern Art
Direction/movement Vertical
Drowning Girl 1963 Canvas Roy Lichtenstein 1923-1997 171, 6 cm x 169, 5 cm The Modern Museum of Art
Analysis
§ In the first place, one of the primary colors, blue, is the most obvious color in this artwork. However, this artist used different shades of blue to give diversity to the painting. Additionally, the tinting (adding white) in this painting serves to distinguish as well as help the water stand out by giving allusion to light. The shading (adding black) to the water gives it depth and creates an effect. § Pursuing this further, the notions of spatial correlation are very subtle in this painting as the focus of this artwork is on one character. The sharp and long brushstrokes help this painting look like a piece of a comic strip. The details on the character’s face and in the water make the painting worthwhile.
Blam Title Blam 1962 Artist Roy Lichtenstein 1923-1997 American Technique Painting
Material Canvas
Location Yale University Yale Gallery, New Haven, Connecticut, USA Direction/movement Diagonal
Blam 1962 Canvas Roy Lichtenstein 1923-1997 172, 7 cm x 203, 2 cm Yale University Yale Gallery, New Haven, Connecticut, USA
Analysis § Initially, the only colors present in this painting are the primary ones (red, blue and yellow). The sharpness of the colors and the defined lines help the painting stand out and appear very detailed. Also, the tinting (adding white) in this painting helps locate the source of light. § Furthermore, one of the notions of spatial correlation is present. Superposition is very evident because of the elements (smoke and plane) in this painting that are piled on top of each other. The composition of this piece, the direction of the plane, leads the eye in a diagonal way. The clear, sharp and precise brushstrokes help the painting look even more detailed and polish.
Still Life with Crystal Bowl Title
Material Canvas
Still Life with Crystal Bowl
1973 Artist Roy Lichtenstein 1923-1997 American Technique Painting
Location Whitney Museum of American Art, New York, USA Direction/movement Vertical
Still Life with Crystal Bowl 1973 Canvas Roy Lichtenstein 1923-1997 132, 1 cm x 106, 7 cm Whitney Museum of American Art, New York, USA
Analysis
§ First off, this still life is a very simple composition however; the bowl in which the fruits are placed is very detailed. All three of the primary colors (red, blue and yellow) are used in this painting as well as one of the secondary colors being the green. The tinting (adding white) in this painting gives it a three dimensional aspect by emphasizing on the light. The shading helps the painting look more detailed and defined. § Second, only one of the notions of spatial correlation is visible in this artwork: the superposition. Two sub compositions help understand this notion. The first being all the fruits that are placed on top of one another and second the fruits being placed in the bowl. Finally, the direction that the eye wants to take (vertical) could be distracted because of the thick horizontal lines in the background.
“ Wherever art appears, life disappears”-‐ Robert Motherwell
Minimalism
Minimalism
• This movement is about abandoning the notion of telling a story through an artwork. It is now about simple geometrical shapes and using materials that are industrial processed such as plywood, scrap metal and light bulbs. Also, the artists of this era tried to use the least amount of colors, shapes, lines, textures and values to represent in their artworks from where the name of this period was chosen. The goal of Minimalism was to search the meaning behind the objects rather than analyzing the surface. Later on during this period, there were other branches that arose like the “Light and Space” era. Some of the pioneers of this era are Donald Judd, Robert Morris and Dan Flavin. All in all, although this era was all about minimal elements, it still managed to have an important impact in the art history.
Donald Judd
This artist born in 1928 in Missouri was an artist as well as a writer. He completed his masters in art history in 1962 and was very knowledgeable of the Renaissance and contemporary arts. Not only was Judd an important sculptor of the minimalism period he also wrote reviews in several publications like: Art News, Arts Magazine and Art international. Donald Judd also restyled many buildings in Marfa, Texas and was working on a fountain in Switzerland towards the last few years of his life. This artist’s work is exhibited in well-known museums as the Guggenheim, The Art Institute of Chicago and the National Gallery of Canada as well as in private collections. Judd passes away in 1994.
Interesting Facts Ø Donald Judd was in the army in 1946 till 1947 and worked as an engineer. Ø He gave up paintings for sculpture in 1960. Ø His first solo exhibition was in New York, which took place in the year of 1957. Ø He used materials such as, metal, Plexiglas, plywood for his sculptures.
Famous Quotes by this artist Ø “I think most of the art now is involved with a denial of any kind of absolute morality, or general morality.”- Donald Judd Ø “Well, I am not interested in the kind of expression that you have when you paint a painting with brush strokes. It's all right, but it's already done and I want to do something new.”-Donald Judd Ø “After all, the work isn't the point; the piece is.”- Donald Judd
Untitled (stack) Title Untitled (stack) 1967 Artist Donald Judd 1928-1994 American Technique Installation/sculpture
Material Lacquer on galvanized iron
Location The Museum of Modern Art, New York
Direction/movement Vertical
Untitled (stack) 1967 Lacquer on galvanized iron Donald Judd 1928-1994 22,8 cm x 101,6 cm x 78,7 cm The Museum of Modern Art, New York
Analysis
§ Initially, as simple as this sculpture may seem, there are many aspects to analyze. Firstly, the only color used in this sculpture is the green, which gives this sculpture a uniform look. The lines in this piece of work are very sharp giving this piece a hard edge feel. The lighting in which this sculpture is presented creates a shadow for each shelf on the wall giving it perspective. § Furthermore, the notion of spatial correlation that is used is the juxtaposition as all the shelves are place on top of each other and if the sculpture is flipped, juxtaposition is still valid. Finally, not only are they’re several shelves but they are all placed at equal distance from one another.
Untitled (2-L) Title Untitled (2-L) 1961-1968 Artist Donald Judd 1928-1994 American Technique Installation/sculpture
Material Woodcuts
Location The Museum of Modern Art, New York
Direction/movement Vertical
Untitled (2-L) 1961-1968 Donald Judd 1928-1994 77.5 x 55.8 cm The Museum of Modern Art, New York
Analysis
§ To start off, there is only one color that stands out in this sculpture and that is the red, a primary color. The type of line used in this piece of work is the straight line and the use of this line gives the sculpture a defined look. The shape that is used is the rectangle. § Also, the notion of spatial correlation that is the most visible is the juxtaposition as all the strips are placed next to one another. Even though this sculpture is rather simple in its form, the precision is remarkable. The distance between the strips and the size of every strip is the same. Furthermore, the result of the strips being identical is that there is a perspective that is added to the sculpture.
Untitled Title Untitled 1989 Artist Donald Judd 1928-1994 American Technique Installation/sculpture
Material Aluminum
Location Kunstsammlung, Germany
Direction/movement Horizontal
Untitled 1989 Donald Judd 1928-1994 150 x 165 x 750 cm Kunstsammlung, Germany
Analysis
§ First, all three primary colors are present (blue, red and yellow). However, there are other colors such as orange, a secondary color as well as the achromatic color scheme, which includes white, grey and black. The shape that this sculpture is focused on is the rectangle as it is composed of many rectangles forming a big one. Seeing that this piece of work is precise, there aren’t any curved lines, only linear ones. § Moreover, the notions of spatial correlation are very obvious because of the way the shapes are placed. Juxtaposition is visible because of the shapes that are all placed next to each other and superposition is observable because of the rectangles that are placed on top of one another. Also, this big rectangle is very proportionate and has precise measures adding a balanced vision of the work.
“Art enables us to find ourselves and lose ourselves at the same time.”-‐ Thomas Merton
Bauhaus
Bauhaus • To start off, Walter Gropius founded this movement in Germany in 1919. Along with the beginning of this period, there was also the school of Bauhaus that was originated. The idea of this institution was to reunite all the visual and plastic arts. Later in 1932, when the Nazi party took control over Germany, the school of Bauhaus was closed down. As the exodus came along, the artists of the Bauhaus also left to different cities such as Paris and London however most of them moved to the United States. A positive consequence of the European artists moving to New York was that they had a great impact on the art in New York City and also happened to influence the American artists.
Oskar Schlemmer
Oskar Schlemmer was born in Germany in 1888 and was one of the multi-talented artists. He was a stage designer, sculptor and a painter. This artist taught a drawing class that was inspired by basic principles of science and philosophy. Schlemmer was also a choreographer and had designed several stages. This artist had some events in his life that obliged him to stop painting for some periods. Although he took breaks during his career, this artist has managed to leave his mark in the world of art. Schlemmer died of a heart attack in 1943.
Interesting Facts
Famous Quotes by this artist
Ø There was a point in Schlemmer’s life where he was banned from selling his paintings in Germany.
Ø “I am married to the theatre, and the films are my only mistress”- Oskar Schlemmer Ø “Power is when you have every justification to kill someone, and then you don’t.”-Oskar Schlemmer
Ø He painted the Bauhaus Staircase as a memorial to The Bauhaus School when it closed down.
Ø “Beyond this day, no thinking person could fail to see what would happen.”-Oskar Schlemmer
Ø He volunteered to serve in the infantry after World War I. Ø This artist took breaks throughout his career as a painter.
Bauhaus Stairway Title Bauhaus Stairway 1932 Artist Oskar Schlemmer 1888-1943 German Technique Painting
Material Canvas
Location The Modern Museum of Art, NYC
Direction/movement Vertical
Bauhaus Stairway 1932 Canvas Oskar Schlemmer 1888-1943 162,3 cm x 114,3 cm The Museum of Modern Art, NYC
Analysis §
To begin, one color from each color category (primary and secondary) is present. The blue is a primary color and the orange a secondary one. Different tones of blue are the main colors used in this painting and orange is used to distinguish the focal point. The use of tinting (adding white) in this piece of art is obvious, and its motive is to depict light.
§ Continuing, the notion of juxtaposition is applied in this artwork as all the people are placed beside one another. The second notion of spatial correlation is also present and is depicted by the individuals that are going up the stairs and are positioned on top of the stairway. The different brushstrokes (circular, long, short, sharp) help create different effects throughout the composition of the painting.
Rote Leiber Title Rote Leiber 1929 Artist Oskar Schlemmer 1888-1943 German Technique Painting
Material Canvas
Location Doyle, New York
Direction/movement Vertical
Rote Leiber 1929 Canvas Oskar Schlemmer 1888-1943 89,9 cm x 59,4 cm Doyle, New York
Analysis § To start off, blue and orange are evidently the principal colors of this painting. Also, not only are they one of the sets of the complementary color schemes, they both come from different color categories. The blue is a primary color and the orange is a secondary color. Both tinting (adding white) and shading (adding black) are visible in this artwork. The tinting gives the illusion of light while the shading does the opposite. § Furthermore, the notion of juxtaposition is applied in this painting as all the figures are standing beside one another. The dabbing technique, observable in the hair, gives it texture. The lines are mainly curved to respect the human proportions. There are different perspectives to the painting because of all the figures that are looking at different places, in different directions.
Concentric Group of Girls Title Concentric Group of Girls 1928 Artist Oskar Schlemmer 1888-1943 German Technique Watercolor and Gouache
Material Paper
Location Sotheby’s London
Direction/movement Circular
Concentric Group of Girls 1928 Paper Oskar Schlemmer 1888-1943 55,5 cm x 43,8 cm Sotheby’s London
Analysis
§ Firstly, the colors used in this artwork belong to different categories like the blue, which belongs to the primary category and the black, white, and grey, which belong to the achromatic color scheme. Also, the brushstrokes give the feeling that the artwork is colored rather than painted. There are two types of lines that are evident: the linear and the curved lines used for the characters. § Secondly, the notions of spatial correlation are a bit subtle because of the way the figures are placed. The notion of juxtaposition is recognizable because of the fact that all the figurines are positioned after one another. The element of perspective is visible in this piece of art and is emphasized by the portrait that is placed further back in the artwork.
“A picture is a poem without words.”-‐Horace
Art Deco
Art Deco • This movement started in the 1920’s in Paris and had a great influence in all areas where design was applied. Art deco was also known as the decorative era as opposed to other movements that began with some sort of intention such as political or philosophical. This period’s style was inspired by Cubism, Futurism and Constructivism. However, it later influenced other art movements such as Memphis, Pop Art and Post-‐Modern architecture styles. The architecture of this era could be found in several countries for example in India, Canada, The United Kingdom, China and others. In the United States in New York buildings like the Empire State Building, the Chrysler Building and the Rockefeller Center are very good examples of the Art Deco style.
Romain de Tirtoff
This artist was born in 1892 in Russia and is a painter. He is known for his stage designing and his sense of fashion. Tirtoff has made illustrations for well-known magazines such as Vogue, Cosmopolitan and Harper Bazar, for which he provided over 200 covers. This artist has also made fashion serigraphs, which were inspired by the Art Deco style. However, in 1982, he created a fashion serigraph called “Symphony in Black”, which captures the atmosphere of the Art Deco style. His works can be found in museums like the Metropolitan Museum of Art, the Victoria and Albert Museum of Art and a good amount of his works are at the Museum 1999 in Tokyo.
Interesting Facts
Famous Quotes by this artist Ø “Not only do I do what I want to do, but I do my work in my own way and never have been influenced by another artist.”Romain de Tirtoff
Ø Romain de Tirtoff went to Paris to start a career as a designer. Ø He had one of the most famous and elegant designs.
Ø "My work has been my mother, my wife, my friend, my mistress and my children."Romain de Tirtoff
Ø He was dedicated and always remained creative in the same career for 80 years of his life. Ø His first job was with a French designer, Paul Poiret.
Ebony and White Title Ebony and White 1982 Artist Romain de Tirtoff 1892-1990 Russian Technique Graphic edition, serigraph
Material Paper Location Metropolitan Museum of Art
Direction/movement Vertical
Elbony and White 1982 Paper Romain de Tirtoff 1892-1990 56 cm x 77cm Metropolitan Museum of Art
Analysis § This artwork is very minimal in colors as there are only two of them: black and white. However, there are many types of lines and shapes in this piece of work. There are non-curved lines and curved lines as well as different shapes composing this work. Since this is not a painting, the lines are very sharp and defined. The shading and tinting are not very visible because of the two distinct colors. § Furthermore, there is only one notion of spatial correlation, which happens to be the juxtaposition. The lady positioned right next to the dog clarifies this notion. This piece of art is very simple overall but consists of many different aspects.
Kissing Title Kissing 1986 Artist Romain de Tirtoff 1892-1990 Russian Technique Graphic edition, serigraph
Material Paper Location Metropolitan Museum of Art
Direction/movement Vertical
Kissing 1986 Paper Romain de Tirtoff 1892-1990 69 cm x 55 cm Metropolitan Museum of Art
Analysis § “Kissing” is an artwork that doesn’t consist of many colors. The principal colors are pink and brown, a tertiary color. The types of lines in this piece of work vary from curved to straight. The circular shape is the most visible in this work however there is also a rectangle at the bottom of the page, on top of which the lady is standing. § Second off, the notions of spatial correlation are subtle however when analyzing superposition is remarkable by the lady standing on top of the rectangle. As simple this piece of work might be there are many details that stand out, for example on the dress.
Sampson & Delilah Title Sampson & Delilah 1980 Artist Romain de Tirtoff 1892-1990 Russian
Technique Graphic edition, serigraph with foil stamping
Material Paper Location Metropolitan Museum of Art
Direction/movement Horizontal
Sampson & Delilah 1980
Paper Romain de Tirtoff 1892-1990 39 cm x 52 cm Metropolitan Museum of Art
Analysis
§ To begin, this graphic edition is quite colorful with the bold colors. The primary color, red, is used in the background and helps the main focus of the work stand out. The use of another primary color, blue, is to represent the character. The tinting and shading are visible because of the way the foil is placed on the paper. The lines are very defined and are curvy. § Furthermore, superposition is a notion of balance that is present in this work and is visible because of the way the girl is placed compared to the man. Along with the lines there is a lot of detailing, especially in the tail and the chains that the woman is holding.
"Color is fun, color is just plain gorgeous, a gourmet meal for the eye, the window of the soul." Rachel Wolf Â
Functionalism
Functionalism • In the early 1920’s there was a new period in making. This movement, which was linked more to architecture than paintings, was about determining the utility and purpose of the work rather than the beauty. Also, the idea of functionalism came from the architect Louis Sullivan’s theory, which was: “form ever follows function”. However, later on during the functionalism there was a debate on the aesthetic look of the buildings. The function of the structures was taking over the aesthetic portion. Some of the architects that were related to this movement were Erik William Bryggman, Alvor Aalto, Will Bruner, Ken Yaeng and others.
Erik Bryggman This artist born in Turku, Finland in 1891 was an architect from the functionalism period. However, before getting to functionalism, Bryggman went through different phases of styles like classical, modernism and baroque. Later on in his career he joined his partner Alvor Aalto and eventually they became the pioneers of modernist architecture in Finland. Some of the famous works by Erik William Bryggman are the Åbo Akademi library and the Resurrection Chapel. This artist passes away in Finland in the year of 1955.
Interesting Fact Ø Erik William Bryggman designed a Finnish pavilion and won the Grand
Prix at the Antwerp World Fair for it. Ø One of his most important commissions was to work on the Helsinki War Memorial. Ø Bryggman’s daughter donated his works to the museum in 1989.
Extension of Åbo Akademi Library Title Åbo Akademi Library 1933-1936 Artist Erik Bryggman 1891-1955 Finnish Technique Architecture
Material Diverse Location Turku, Finland
Direction/movement Horizontal
Extension of Åbo Akademi Library 1933-1936 Diverse Erik Bryggman 1891-1955 ----Turku, Finland
Analysis
§
§
To begin, this building does not have many colors except white and black. The lines are very strong giving the library a defined look. Also, the perspective in this infrastructure varies because of the different levels composing this edifice. The simplicity of the library makes it remarkable. Also, both notions of spatial correlation are present in this work even though it is a building. Superposition is visible by the way that the separate parts of the buildings are placed (overlapping one another). However, the juxtaposition is only evident when analyzing the windows as they are placed right next to each other.
Hospits-Betel Building (Resurrection Chapel) Title Resurrection Chapel 1941 Artist Erik Bryggman 1891-1955 Finnish Technique Architecture
Material Diverse Location Turun Yliopistokatu, Finland
Direction/movement Horizontal
Resurrection Chapel 1941 Diverse Erik Bryggman 1891-1955 ----Turun Yliopistokatu
Analysis § This chapel doesn’t have many colors excluding the white and dark brown. The lines are once again very defined and sharp giving the chapel a polished look. The simplicity of this chapel makes the observations worthwhile. § Also, juxtaposition, one of the notions of spatial correlation is evident in the windows as they are all placed beside one another. There is a sense of perspective because of the way that the building is designed.
Parainen
Title Parainen 1929-1930
Artist Erik Bryggman 1891-1955 Finnish
Technique Architecture
Material Diverse Location Turku, Finland
Direction/movement Vertical
Parainen 1929-1930 Diverse Erik Bryggman 1891-1955 ----Turku, Finland
Analysis §
§
This building is extremely simple and it is almost possible to categorize it in the minimalism period. The principal color is white (all surfaces of the building) and minimal use of black for the roofs. Also, there are a few windows only on the edifice making it look to the point. It is clear that this infrastructure was not meant to have any decorations. Second off, the notion of spatial correlation that is present in this building is the juxtaposition. Furthermore, this infrastructure doesn’t only have one shape composing it. There are rectangles and the roof of the bigger portion is defined with different cuts.
“Art is the most intense mode of individualism that the world has known.”-Oscar Wilde
Post-Modern Art
Post-‐Modern Art • Just like any other art movement, Post-‐Modern Art also has its own
characteristics like collage, simplification of the artwork, diversity and pluralism. Several types of art are included in this era for example, performance art, paintings, sculptures and others. This era was about recycling the past works and adding a twist to them. Breaking the boundaries and eliminating the wall between the good and bad art was a motive of Post-‐ Modern Art. Furthermore, this movement was to express emotions in an innovative way. Some of the artists that were a part of the Post-‐Modern Art are John Baldessari, Rachel Whiteread and Yasumasa Morimura.
Yasumasa Morimura This Japanese appropriation artist was born in 1951. He borrows images, paintings and prints from artists in the past for example Manet’s work and he incorporates his own body and face into them. This artist has even remade a series of Frida Kahlo’s work, all with the same technique. In the year of 1996 he was nominated for the Hugo Boss prize. Morimura’s work has been exhibited in several museums such as the Museum of Contemporary Art in Chicago, the Whitney Museum of American Art, the Honolulu Museum of Art and others. Yasumasa is still alive and lives in Osaka, Japan.
Interesting Facts Ø Yasumasa is known as a drag queen in art world. Ø This artist replaces celebrities’ faces with his own when creating his artworks.
Famous Quotes by this artist Ø “Art is basically entertainment, even Michelangelo and Leonardo Da Vinci knew this.”-Yasumasa Morimura Ø "She was a great man her only fault was being a woman.”-Yasumasa Morimura
An Inner Dialogue with Frida Kahlo (Hand Shaped Earring)
Title Frida Kahlo 2001
Artist Yasumasa Morimura 1951-present Japanese
Technique Photograph
Material Canvas Location Artist & Minneapolis Institute of Arts
Direction/movement Vertical
An inner Dialogue with Frida Kahlo
2001 Canvas Yasumasa Morimura 1951-present ------Artist &Minneapolis Institute of Arts
Analysis
§ This work that was done a second time but with a different face is a colorful photograph. Colors from all three basic color categories are present: primary (red), secondary (green) and tertiary (brown). Even though the face is redone and is not the same as the original, the emotion is § The notion of spatial correlation that is the most visible is the superposition as many elements are overlapping for example, the leaves in the background or the flowers on the hair of the character. Furthermore, there is texture in this artwork for example in the leaves and the shawl.
Look, this is fashion! Title Look, this is fashion! 2004 Artist Yasumasa Morimura 1951-present Japanese Technique C-print
Material Paper Location Gallery Luhrine Augustine
Direction/movement Horizontal
Look, this is fashion! 2004 Paper Yasumasa Morimura 1951-present 80 cm x 60 cm Gallery Luhrine Augustine
Analysis § This photograph is mainly composed of three colors in which two of them are from the primary category, the red and blue. The background has texture and adds an effect to the artwork in general.
§ Furthermore, the notions of spatial correlation are very obvious in this work. The juxtaposition is clearly visible in the two women because they are placed right next to each other. The superposition is apparent by the chairs that are held on the head by the two ladies.
Self-portrait after Silvia Kristel
Title Self-portrait after Silvia Kristel 1996
Material Paper
Artist Yasumasa Morimura 1951-present Japanese
Location London Contemporary Art Gallery
Technique Gelatin silver prints
Direction/movement Vertical
Self-portrait after Silvia Kristel 1996 Paper Yasumasa Morimura 1951-present 44 cm x 35 cm London Contemporary Art Gallery
Analysis
§ First and foremost this silver print has a lot of different texture for example in the leaves in the background and in the curtain that the lady is sitting on. Also, there are hexagon shapes all over the curtain adding texture to it. § Moreover, the notions of spatial correlation are very visible in this artwork. Juxtaposition is visible by all the elements that are placed next to each other and superposition is apparent by the components that are placed on top of one another.
“Imagination will often carry us to worlds that never were. But without it, we go nowhere.�Carl Sagan