ART-Lesson ppt. 2025 report and guide study

hello, I hope can help you and can guide you in making your own report. Or as your basis in making you reports. I hope you appreciate and will use it in a good way.

1. MODERN and CONTEMPORARY ART

2. LESSON 1: Prominent Art Movements from the Industrial Revolution to World War 1

3. Impression, Sunset (1871) Musee Marmottan Monet, Paris

4. Modern Art - was labeled as “modern architecture” in the 1950s may not be considered modern today. -In art history books, Modern Art is defined as works created some time between 1870 and 1970.

5. MOVEMENTS IN EARLY AND PREWAR MODERN ART

6. - Modern Art involved numerous artistic movement. Art movements are the collective titles assigned to works of art that belong to a certain period of time and employ similar styles or techniques and guided by shared ideals.

7. REALISM (1840s-1880s) “ True realism consist in revealing the surprising things which habit keeps covered and prevents us from seeing.” -Jean Cocteau-

8. Realism is recognized as the first movement in Modern Art, which started in France in the 1840s. It aimed at the precise representation of human conditions, perspective and distance, and detailed effects of color. REALISM (1840s-1880s)

9. Realist placed much value on direct observation with nature. Incorporated the element of social awareness in their art. -Merged art and life bringing everyday life into their work. Straightforward portrayal of the contemporary life. Subject matter- often street life scenes and genre scenes of the lives of urban and rural working class. (naked bodies and sensual objects) REALISM (1840s-1880s)

10. Realist artist: Gustave Courbert Jean-Francois Millet Edouard Manet REALISM (1840s-1880s)

11. REALISM (1840s-1880s) Gustave Courbet, The Stone Breakers (1889)

12. “It took some thing before the public learned that to appreciate an Impressionist painting one has to step back a few yards, and enjoy the miracle of seeing these puzzling patches suddenly fall into one place and come to life before our eyes.” -Ernst Gombrich - “Impressionism; it is the birth of Light in painting.” -Robert Delaunay IMPRESSIONISM (1872-18921)

13. IMPRESSIONISM (1872-18921) Developed in Paris, France in the late 1860s and early 1870s. The term impressionism was first used by art critic Louis L eroy when he visited the pioneering exhibition of Impressionist paintings in 1874.

14. -They did not paint scenes with defined shapes and sharp edges; instead, they focused on recording the sensory effect of a scene and capturing its momentary beauty. -Capture visual reality through the fleeting effects of color and light. IMPRESSIONISM (1872-18921)

15. Impressionist painters prioritized the following: Using color and light to unify images Using pure, intense colors on the canvas, instead of mixing the colors on the palette first Using small brushstrokes and dabs of paint. Abandoning traditional linear perspectives Avoiding clarity of form; sometimes, Impressionist paintings look undefined and a bit fuzzy Moving from the studio to the countryside or streets. IMPRESSIONISM (1872-18921)

16. Pierre- Augustee Renoir, Young Girls by the Sea (1894)

17. POST IMPRESSIONISM (1800s-1940) “They have managed to produce intense coloring with the help of observation as precise as it is simple….They’ve avoided any muddiness in their painting by using tiny brushstrokes, little dotted points, or the juxtaposition of colors: the mixture occurs in the eye, not on the palette. They paint by attenuating, by modifying the local color of an object through reflections of the strongest adjacent color. They have, so to speak, restored he virginity of the eye, forgetting conventional colors in order to find, on their own, the right note. And they have succeded .” -Jean Ajalbert

18. POST IMPRESSIONISM (1800s-1940) The term post-impressionism was coined by art critic Roger Fry referring to the works by painters such as Paul Cezanne, George Seurat and Vincent van Gogh. Extension of the Impressionist movement and also an abandonment of that artistic movement’s limitations.

19. POST IMPRESSIONISM (1800s-1940) Attempted to achieve more form and structure. Put more emotion and expression into their works. Preferred a more ambitious expression. They explored the interrelations of shapes and colors in describing their world. Acknowledge the pure and intense colors used by Impressionist painters, as well as the use of short strokes of broken color in defining form.

20. POST IMPRESSIONISM (1800s-1940) Want to connect the viewers with the artwork on a deeper and more meaningful level. Optical effects of color ruled the vision of many Post-Impressionist painters. Different styles of in Post-Impressionism Geometric style (inspired Cubism) Nongeometric style expressive style (Abstract Expressionism)

21. George Seurat, Sunday Afternoon on the Island of La Grand Jatte (1884-1886)

22. FAUVISM (1899-1908) “There is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted.” - H enri Matisse

23. FAUVISM (1899-1908) A highly fashionable artistic movement. Considered the inspiration for Expressionism because Fauve artists used non naturalistic and often brash colors. Use of pure, brilliant colors boldly applied straight from paint tubes.

24. FAUVISM (1899-1908) Place great importance on individual expression. Their understanding of their subjects, their emotive response to nature, and their intuition were more valuable. Subject matter consisted of landscape, still life, portrait and figure painting, views from a window, and others.

25. Maurice de Vlaminck, The Chatou Bridge (1906)

26. ART NOUVEAU (1890-1905) Thrived throughout Europe and the United States from 1890 until World War 1. This movement was named after a Shop in France, La Maison de l’Art Nouveau (House of New Art) strongly supported and promoted new ideas in Art.

27. ART NOUVEAU (1890-1905) Embraced by the painters, architects and sculptors. This movement can be applied and found its way in the interior design and the decorative such as textile, furniture, jewelry, lighting, and household utensils.

28. ART NOUVEAU (1890-1905) Art Nouveau artist distanced themselves away from the classical and historical styles used by the art academies toward modern design. The pioneering Art Nouveau artists include the painter Gustav Klimt (Austria), the architect Antoni Gaudi (Spain), the illustrator Aubrey Beardsley (England), the jewelry designer Rene Lalique (France), and the glassware designer Louis Comfort Tiffany (United States)

29. ART NOUVEAU (1890-1905) Here are some of the characteristics of Art Nouveau: It aimed at making beautiful thing accessible to a wider public by applying artistics designs to everyday objects. There is no hierarchy between fine arts and decorative arts. Artists were inspired by both geometric and organic forms and preferred sophisticated designs that united angular and flowing forms. They were after good craftsmanship, reviving and elevating the status of craft, and making modern designs. They believed that the function of an object dictates its form, not the other way around.

30. Gustav Klimt, The Kiss (1907-1908) Antoni Gaudi, Casa Mila (1905-1907), Barcelona, Spain

31. EXPRESSIONISM (1905-1933) “Everyone who renders directly and honestly whatever drives him to create is one of us.” -Ernst Ludwig Kirchner

32. EXPRESSIONISM (1905-1933) Originated in Germany before World War 1 as a response to the more passive styles and techniques of Impressionism. Expressionism started primarily as a German art movement, but most of its precursors were not German. Key figures are: Edvard Munch, Oskar Kokoschka, Franz marc, and Ernst Ludwig Kirchner

33. EXPRESSIONISM (1905-1933) Expressionist artist sought to interpret the emotions and subjective responses aroused in person. Was in the expression of their feelings about the people, objects, or events that they saw.

34. EXPRESSIONISM (1905-1933) Expressionists artists exaggerated and distorted representations, employed bold and intense colors and strong outlines, and incorporated primitivism and fantasy. They usually used swaying, swirling, and dramatically executed strokes in portraying their subjects. They often confronted the urban world and the alienated individuals victimized by capitalism and urbanization.

35. Ernst Ludwig Kirchner, Blick auf Davos (1924)

36. CUBISM (1902-1922) “Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman, we don’t start measuring her limits.” -Pablo Picasso

37. CUBISM (1902-1922) Describes the revolutionary style of painting pioneered by Feorges Braque and Pablo Picasso in Paris, Feance . Critic Louis Vauxcelles first used the term Cubism when he described Braque’s painting Houses at l’Estaque (1908) as being composed of cubes.

38. CUBISM (1902-1922) The methods of Cubism were initially influenced by the angular forms in the landscape paintings of Paul Cezanne and other Postimpressionist artists. Cubist artists showed new realities in their artworks that illustrated totally fragmented objects in many angles.

39. CUBISM (1902-1922) Classified into two stages : Analytic Cubism (1907-1912)- artist showed objects not how the eye perceived them, but how the mind perceived forms. They analyzed and fragmented forms instead of just copying these forms. Synthetic Cubism (1913-1920s)- artist began using foreign materials such as newspaper and chair caning as abstract signs. Cubism valued the depiction of the intellectual idea of an object, as well as how it was related to others.

40. George Barque , Houses at I'Estaque (1908, oil on canvas

41. FUTURISM (1909-1920s) “We want to fight ferociously against the fanatical, unconscious and snobbish religion of the past, which is nourished by the evil influence of museums. We rebel against the supine admiration of old canvases, old statues and old objects, and against the enthusiasm for all that is worm-eaten, dirty and corroded by time; we believe that the common contempt for everything young, new and palpitating with life is unjust and criminal.” - Filippo Marinetti

42. FUTURISM (1909-1920s) Futurism is an avant-garde artistic movement that started in Italy with the publication of Filippo Tommaso Marinetti’s The Manifesto of Futurism (1909) This art movement emphasized machine and modernization. Most advocates of Futurism were painters. Some of the key artists of Futurism Umberto Boccioni, Giacomo Balla , Carlos Carra , Gino Severini , Natalia Goncharova , and Luigi De Giudici

43. FUTURISM (1909-1920s) Futurist artists condemned the old celebrated the machine age, focusing the vitality of the urban world, especially its advanced science and technology. They wanted to show the beauty of modern life- the splendor and magnificence of change, violence, machine, and speed. Sought to represent modern experience and arouse all kinds of sensations. Brings to mind the sight, noise, the heat, the smell and even the “taste” of the city.

44. FUTURISM (1909-1920s) Was the only 20 th century avant-garde artistic movement to be associated with far-right politics.

45. Giacomo Balla , Dynamism of a Dog on a Leash (1912) Natalia Goncharova the Cyclist (1913)

46. God bless and keep safe everyone  I hope maka dangat kamo gya , it means nag take time gd kamo basa sang lessons. Please take down notes sang lessons sa inyo mga notebook for future references -Teacher Glydes <3