Art Movements

Impressionism, Expressionism, Art Novue, Cubism,

1. ART & ARCHITECTURE

2. Started: 1872 Ended : 1892 Impressionism is the name given to a colorful style of painting in France at the end of the 19th century. The Impressionists searched for a more exact analysis of the effects of color and light in nature. They sought to capture the atmosphere of a particular time of day or the effects of different weather conditions. They often worked outdoors and applied their paint in small brightly colored strokes which meant sacrificing much of the outline and detail of their subject. Impressionism abandoned the conventional idea that the shadow of an object was made up from its color with some brown or black added. Instead, the Impressionists enriched their colors with the idea that a shadow is broken up with dashes of its complementary color. Impressionism "There are no lines in nature, only areas of color, one against another."

3. Le déjeuner sur l'herbe (1863) Artist: Edouard Manet Oil on canvas - Musee d'Orsay, Paris Artwork description & Analysis: When Manet painted his Le déjeuner sur l'herbe (Luncheon on the Grass), he had already distanced himself from the tradition of Realist painting and the academic subjects of the salon. The painting, which depicts the picnic of two fully clothed men and two nude women, defies the tradition of the idealized female subject of Neo-Classicism in the positioning of the woman on the left who gazes frankly out at the viewer- she is confrontational, rather than passive. The thick, imprecise brushstrokes of the background, flattening of three-dimensionality, and use of unconventional subject matter influenced later Impressionists in their portrayals of the natural world and modern life. Impressionism

4. Artwork description & Analysis: A central figure of the Impressionist circle, Berthe Morisot is known for both her compelling portraits and her poignant landscapes. In a Park combines these elements of figuration with representations of nature in this serene family portrait set in a bucolic garden. Like Mary Cassatt, Morisot is recognized for her portrayals of the private sphere of female society. As in this quiet image of family life, she centered on the maternal bond between mother and child. Her loose handling of pastels, a medium embraced by the Impressionists, and visible application of color and form were central characteristics of her work. In a Park (1874) Artist: Berthe Morisot Pastel on paper - Musee du Petit Palais , Paris

5. Artwork description & Analysis: In 1878, Monet moved his family to the town of Vetheuil in northern France. They temporarily lived with a wealthy magnate who became Monet's patron. His Vetheuil in the Fog is among his finest works, offering a subtle, albeit distinct impression of a figural form . As was characteristic of many of Monet's paintings, he applied his brush rather quickly to the canvas in order to capture the exact image he wanted before the sunlight shifted or faded away altogether. Monet's emphasis on the fleeting changes in the natural world was a central aspect of his oeuvre that captures the ephemerality of nature and preserves it within the picture plane; thus, the momentary perception is crystallized in the replication of the optical experience of it. Vetheuil in the Fog (1879) Artist: Claude Monet Oil on canvas - Musee Marmottan Monet, Paris

6. Fog, Voisins (1874) Artist: Alfred Sisley Artwork description & Analysis: Sisley, along with Monet, was one of the central proponents of the plein air technique, using this method in his famous paintings of the Voisins countryside, where he moved in 1871. Unlike Degas, Renoir, Cassatt, or Morisot, Sisley focused almost expressly on representations of the atmosphere while diminishing the importance of the human figure, if they appeared at all. Fog, Voisins demonstrates this general preoccupation with the visual perception of the natural world through the application of rough, clearly visible brushstrokes and the blurry, almost ethereal rendering of color and form . Here, a woman, serenely picking flowers, is almost entirely obscured within the dense fog that eclipses the pastoral scene. Like much of Sisley's work, the protagonist of the painting is nature and the visual reception of it. Oil on canvas - Musee d'Orsay, Paris

7. Post-Impressionism Birth: The Post Impressionists were a loose group of Paris-based artists who are often viewed together because of their various reactions to the earlier Impressionism movement. Ideas: Post-Impressionists turned away from the effects of light and atmosphere to explore painting theory and the subjective artistic vision. Artists such as Gauguin and van Gogh looked to memories and emotions to explore personal ideas, while Cézanne and Seurat explored the building blocks of painting such as colors, shapes, and overall composition. Nature is not only all that is visible to the eye...It also includes the inner pictures of the soul."

8. Artwork description & Analysis: Seurat's Sunday Afternoon is perhaps the most famous example of the painting technique known as Pointillism. Although the picture contains the impressionistic elements of light and shadow and depicts the leisure activities of the Parisian bourgeoisie, it is an early example of the artistic reaction to the Impressionist movement . Seurat composed the entire scene from a series of small, precise dots of color. If viewed closely, the painting becomes nothing more than a quasi-abstract array of colors, similar to a needlepoint. When viewed at an appropriate distance, however, Sunday Afternoon comes into focus. Seurat carefully placed each dot in relation to the ones around it in order to create the desired optical effect. He did so in order to bring structure and rationality to what he perceived were the triviality and disorganization rampant in Impressionism. Sunday Afternoon on the Island of La Grande Jatte (1884-86) Artist: Georges Seurat Oil on canvas - The Art Institute of Chicago

9. Artwork description & Analysis: The painting, which depicts a revelatory vision of Jacob wrestling with an angel, clearly delineates reality and spiritual manifestation through aesthetic form. While the crowd of churchgoers who experience the vision is in the foreground, the Biblical struggle appears in the background, surrounded by a two-dimensional and vibrantly colored plane. Gauguin relied upon the abstraction of the red ground to communicate the space of the vision as well as the heightened emotions present at a religious revelation . As this work demonstrates, Gauguin rejected the conventions of industrialized modern society, in both his art and his life, through romanticized evocations of the primitive , the incorporeal, and the mystical. In doing so, he helped initiate the individualized expressionistic vein of avant-garde art that influenced generations of artists throughout the twentieth century. Vision After the Sermon (1888) Artist: Paul Gauguin Oil on canvas - National Gallery of Scotland, Edinburgh

10. Artwork description & Analysis: Vuillard, one of the most renowned members of Les Nabis , is known for his intimate portraits of family members and friends as well as his fixation upon decorative patterns. In this bold self-portrait, however, he centers upon the artist by placing his intense gaze front and center. He synthesizes the influences of Japanese woodblock printing, Pointillism, and the artistic tradition of self-portraiture with his personal ideals and goals for painting in this vivid self-representation. The broad brushstrokes and sketchy depiction of Vuillard's features draw our attention to the materiality of the canvas, while the muted colors of the palette signal the artist's departure from observed nature. Octagonal Self-Portrait (ca. 1890) Artist: Édouard Vuillard Oil on board - Private Collection

11. Artist Vincent van Gogh Year 1889 Catalogue F612 JH1731 Medium Oil on canvas The Starry Night is an oil on canvas by the Dutch post-impressionist painter Vincent van Gogh. Painted in June 1889, it depicts the view from the east-facing window of his asylum room at Saint- Rémy -de-Provence, just before sunrise, with the addition of an idealized village.It is regarded as among Van Gogh's finest works,[4] and is one of the most recognized paintings in the history of Western culture .

12. Artwork description & Analysis: Van Gogh was one of the modern era's most gifted and emotionally troubled artists. Although grossly underappreciated in his lifetime, Van Gogh was an impulsive and often spontaneous painter who embodied many of the ideals of the Post-Impressionist movement. In Portrait of Doctor Gachet , Van Gogh strove to elicit a complex mixture of emotions within the viewer, rather than portray a naturalistic description of the sitter. Van Gogh created painterly rhythms and swirling forms within the arrangement of the figure in order to convey elements of strength, intelligence, and melancholy. Through such intimate and personalized interpretations, Van Gogh epitomized the rejection of Impressionistic optical observation in favor of an emotionally laden representation that appealed to the viewer's heart, rather than his mind. Portrait of Doctor Gachet (1890) Artist : Vincent van Gogh Oil on canvas - Private collection

13. Art Nouveau Birth: Art Nouveau dominated the decorative arts as visual artists, designers, and architects began adopting modern and naturalistic modes of decoration, as opposed to the ornateness of Victorian-era design. Ideas: Art Nouveau had a vast number of practitioners throughout Europe and went by several names such as Jugendstil and The Glasgow Style . The shared vision was to modernize decorative design using organic and geometric forms, simple floral patterns, "whiplash" curves, and angular contours. It aimed to raise the status of craft, aspiring to "total works of the arts" ( Gesamtkunstwerk ) – for example, to create buildings and interiors in which every element partook of the same visual vocabulary. "Art is a line around your thoughts."

14. Artwork description & Analysis: Mackmurdo's woodcut print is an example of the influence of English design, and by extension the Arts and Crafts movement, on Art Nouveau. In particular, Mackmurdo's use of positive and negative space, his abstract-cum-naturalistic forms, and the trademark "whiplash" curves, are all characteristic of the visual and decorative energy that would eventually define Art Nouveau. However, despite Mackmurdo's print being commonly referred to as the very first work of Art Nouveau, its obvious differences with later works still make it a key precursor rather than definitive example of the movement's style . Cover design for 'Wren's City Churches' (1883) Artist: Arthur Heygate Mackmurdo Woodcut on handmade paper

15. Artwork description & Analysis: Toulouse-Lautrec is not typically associated with the vast number of Art Nouveau artists, but some of his later work deserves consideration as an example of the movement's output. His late lithographic posters in particular bear comparison to the Japanese prints that so widely influenced Art Nouveau. La Goulue at the Moulin Rouge takes the flourish and messiness of a French can-can dancer's dress and breaks it down to a few simple, rhythmic lines. The way in which the poster sacrifices spatial depth to create a bold impression of linear surface design is also typical of the movement. La Goulue at the Moulin Rouge (1891) Artist : Henri de Toulouse-Lautrec Lithograph - Philadelphia Museum of Art

16. Artwork description & Analysis: Beardsley's The Peacock Skirt, an illustration made for Oscar Wilde's 1892 play Salome, is comparatively polite in comparison with some of the illustrator's more erotic, borderline pornographic, works. It is a fine example of how many artists influenced by Art Nouveau laid great emphasis on surface design, often abstracting their figures to produce the fashionable sinuous lines so characteristic of the style. One might also take it as an example of how the formal vocabulary of the style could be used with exuberant excess, a quality that would later attract criticism. The influence of Japonisme on Art Nouveau is also evident in Beardsley's work. But this illustration might also be taken as an example of the contemporaneous Aesthetic movement, and in that respect it demonstrates how Art Nouveau overlapped and interacted with various other period styles. The Peacock Skirt (1894) Artist : Aubrey Beardsley Ink illustration

17. Fauvism Birth: The Fauves were a loosely affiliated group of French painters who shared a preoccupation with expression through color and form. Ideas: The group built on Post-Impressionist experiments with paint application, subject matter, expressive line, and pure color - especially the innovations of van Gogh , Seurat , and Gauguin . Led by Matisse , The Fauves developed an anti-naturalistic style to express personal feelings towards their subjects. Formally, their work is characterized by vivid, often unmixed color, striking surface design and a bold approach to execution. A sky could be orange, a tree could be blue, and simple forms and saturated colors drew attention to the flatness of the canvas. "If the trees look yellow to the artist, then painted a bright yellow they must be."

18. Artwork description & Analysis: Derain painted this portrait of Matisse during the artists' shared summer in Collioure , when the two men were experimenting side-by-side in their work. As in most Fauvist portraiture, a detailed likeness of the subject was not the artist's goal . Derain's chief focus was to express a state of mind through the use of visible brushwork and fluid lines, both of which accentuated his applications of pure color. The sitter's right side is shadowed in violet and turquoise, and the left side of his face is highlighted in broad strokes of pink and red; this non-naturalistic use of saturated color underscores the figure's direct, intense gaze. While the background is painted in thin, vertical strokes, Matisse's head emerges more strongly in impasto brushwork, as if Derain were building it up from the paint itself, rather than through the traditional use of shading or perspective. Portrait of Henri Matisse (1905) Artist : André Derain Oil on canvas - Tate, London

19. Artwork description & Analysis: This scene depicts the portion of the Seine that runs through Chatou , the Paris suburb where de Vlaminck and Derain shared a studio beginning in 1901. For The River Seine, de Vlaminck used impasto (a technique practiced by many Fauves): thick daubs of paint applied directly from the tube, then brushed together in short strokes to create the effect of movement. For the water and sky, de Vlaminck used a range of blues and greens, as well as dazzling white highlights applied in choppy dabs; the two red-and-orange trees at the left provide a lively contrast. The finished effect is one of brightness and vibrating motion; detail and traditional perspective matter far less than a sense of buoyant pleasure. As de Vlaminck said, "I try to paint with my heart and my guts without worrying about style." Oil on canvas - The Metropolitan Museum of Art, New York The River Seine at Chatou (1906) Artist : Maurice de Vlaminck

20. Artwork description & Analysis: Dance and its pendant Music were two of Matisse's late Fauvist works, the culmination of his work in this style. These large-scale canvases were commissioned by the Russian merchant Sergei Shchukin , a major patron of avant-garde art in that period. The arrangement of figures in a circular dance is a centuries-old motif, often used to suggest a golden age of harmony and leisure. However, by simplifying and distorting his dancers' anatomy for expressive purposes, and painting them in a vibrant, non-naturalistic red against a flat ground of blue sky and green earth, Matisse emphasized the primordial aspect of dance. The figures' extremities brush the edges of the composition, as if their dynamism were barely contained by the canvas. When it was first exhibited publicly, at the Salon d'Automne of 1910, Dance puzzled and shocked the audience. La Danse (1910) Artist : Henri Matisse Oil on canvas - The Hermitage. St. Petersburg, Russia

21. Woman with a Hat (La femme au chapeau) is a painting by Henri Matisse.it depicts Matisse's wife, Amelie .[1] It was painted in 1905 and exhibited at the Salon d'Automne during the fall of the same year, along with works by André Derain, Maurice de Vlaminck and several other artists known as "Fauves".[2] Although the Fauve works on display were condemned by many—"A pot of paint has been flung in the face of the public", declared the critic Camille Mauclair —they also gained some favorable attention.[4] The painting that was singled out for attacks was Matisse's Woman with a Hat, which was bought by Gertrude and Leo Stein: this had a very positive effect on Matisse's morale, which had suffered with the bad reception of his work.[4] Artist Henri Matisse Year 1905 Medium Oil on canvas

22. The Green Stripe (La Raie Verte ), also known as Portrait of Madame Matisse. The Green Line, is a portrait by Henri Matisse of his wife, Amélie Noellie Matisse- Parayre . He painted it in 1905, just prior to such works being derisively labeled as the creations of Les Fauves (the wild beasts), along with similar works of André Derain and Maurice de Vlaminck.[1] The painting hangs in Statens Museum for Kunst in Copenhagen, Denmark. Artist Henri Matisse Year 1905 Medium Oil on canvas

23. Expressionism Birth: Expressionism emerged simultaneously in various cities across Germany a s a response to fears of a loss of authenticity and spirituality. Ideas: Reacting against Impressionism, but influenced by Symbolism, the Expressionists focused on communicating spirituality and feeling in art . Drawn simultaneously to primitivism and to modern life, they employed distorted imagery and a rich palette to convey profound emotion . Art now came from within the artist, not the external world. On the canvas, swirling, swaying, and exaggeratedly executed brushstrokes revealed turbulent inner states or the mysteries of nature. The movement also often recorded social criticism of the modern city, depicting alienated modern individuals. "Everyone who renders directly and honestly whatever drives him to create is one of us."

24. Artwork description & Analysis: Throughout his artistic career , Munch focused on scenes of death, agony, and anxiety in distorted and emotionally charged portraits, all themes and styles that would be adopted by the Expressionists. Here, in Munch's most famous painting, he depicts the battle between the individual and society. The setting of The Scream was suggested to the artist while walking along a bridge overlooking Oslo; as Munch recalls, "the sky turned as red as blood. I stopped and leaned against the fence...shivering with fear . Then I heard the enormous, infinite scream of nature." Although Munch did not observe the scene as rendered in his painting, The Scream evokes the jolting emotion of the encounter and exhibits a general anxiety toward the tangible world. The representation of the artist's emotional response to a scene would form the basis of the Expressionists' artistic interpretations. The theme of individual alienation, as represented in this image would persist throughout the twentieth century, captivating Expressionist artists as a central feature of modern life. The Scream (1893) Artist : Edvard Munch Tempera and crayon on cardboard - National Museum, Oslo

25. Artwork description & Analysis: Kirchner is renowned for his many Berlin street scenes, and this particular work is perhaps his most well known from that category, if not his entire catalog. His jagged, angular brushstrokes, acidic colors, and elongated forms all charge the street atmosphere on the canvas and achieve something very rebellious for its time and exemplify the stylistic break with tradition that the members of Die Brücke sought. As a founding member of the group, Kirchner set out to establish a new order of painting, one that visibly renounced Impressionistic tendencies and the need to accurately portray figurative forms. In Street, Berlin, Kirchner created a stunningly askew rendition of an alienated, urban street procession. Without regard for realistic depiction of form, he bent and contorted his narrow figures like they were blades of grass in a meadow. Another uniquely modern feature of Street, Berlin was Kirchner's choice to position two prostitutes (identifiable by their signature plumed hats) as the painting's (somewhat off-center) focal point. Street, Berlin (1913) Artist: Ernst Ludwig Kirchner Oil on canvas - The Museum of Modern Art, New York

26. Artwork description & Analysis: A founding member of Die Brücke , Heckel experimented widely with woodblock printing, a favorite medium of many Expressionists, and was originally attracted to the technique for its raw emotionalism and stark aesthetic, as well as its traditional German heritage. While many of his works depict nudes and scenes of city life, Heckel takes up a more introspective subject in this somber self-portrait from 1919. The figure's drawn face, distorted jaw, and weary eyes, which seem to gaze distractedly into the distance, highlight the individual's spiritual, psychological, and physical fatigue. Rather than create a naturalistic self-portrait, Heckel indicates the general spirit of his time and the national weariness of his age, common themes in Expressionist art. Portrait of a Man (1919) Artist : Erich Heckel Woodcut - Museum of Modern Art, New York

27. Artwork description & Analysis: Soutine painted two known versions of Mad Woman (using a different woman for each), and this was unquestionably the darkest of the pair. His violent brushstrokes and contorted lines communicate an almost unnerving tension, but nevertheless do not deny his subject a rich depth of character. Soutine invited viewers to observe the subject closely, to gaze into her eyes and study her asymmetrical face and form. In many ways, this painting embodies the essence of the Expressionist style; Mad Woman visibly vibrates, contorts, shifts, pushes, and pulls, providing the viewer with Soutine's vision of the inner torment of his sitter. In part, it redefined the genre of portrait painting. Simply by painting this mysterious (and possibly dangerous) woman up close rather than from a distance, Soutine established himself as an empathetic figure, but also as a daring visionary . Mad Woman (1920 ) Artist: Chaim Soutine Oil on canvas - National Museum of Western Art, Tokyo

28. Artwork description & Analysis: Schiele , one of the central figures of Austrian Expressionism, is known for his jarring and oftentimes grotesque renderings of overt sexuality. Here, Schiele draws his wife, Edith Schiele , partially dressed, her body contorted in an unnatural position. Her bold and intense expression assertively confronts the viewer and directly contradicts the artistic standards of passive feminine beauty. Although unabashedly controversial throughout his lifetime, Schiele was recognized for his skilled draftsmanship and his use of sinewy lines to evoke the decadence and debauchery of modern Austria. The emotive quality of Schiele's line-work and color firmly places him in the Expressionist movement. He rendered images as he interpreted them, not as they appeared to the outside world. Sitting Woman with Legs Drawn Up (1917) Artist : Egon Schiele Oil on canvas - National Gallery, Prague

29. Cubism Birth: Cubism developed in a period of rapid innovation between Picasso and Braque building upon the ideas of Cézanne. Ideas: The approach was a radical break and offered a new way of describing space, volume and mass with new pictorial devices. More generally, it pointed new paths towards abstract art, and suggested ways of describing life in the modern urban world. It abandoned perspective and realistic modeling - representing bodies in small, tilted planes, set in a shallow space. Following the examples of Picasso and Braque, the Salon Cubists used these innovations to create many interesting effects. "Cubism is like standing at a certain point on a mountain and looking around. If you go higher, things will look different; if you go lower, again they will look different. It is a point of view."

30. Artwork description & Analysis: In this painting, Braque shows the influence of Picasso's Les Demoiselles of the previous year and the work of Paul Cézanne. From Cézanne, he adapted the uni -directional, uniform brushwork, and flat spacing, while from Picasso he took the radical simplification of form and use of geometric shapes to define objects. There is, for example, no horizon line and no use of traditional shading to add depth to objects, so that the houses and the landscape all seem to overlap and to occupy the foreground of the picture plane. As a whole, this work made obvious his allegiance to Picasso's experiments and led to their collaboration. Houses at L'Estaque (1908) Artist : Georges Braque Oil on Canvas - Hermann and Margrit Rupf Foundation, Bern

31. Violin and Palette (1909) Artist: Georges Braque Artwork description & Analysis: By 1909, Picasso and Braque were collaborating, painting largely interior scenes that included references to music, such as musical instruments or sheet music. In this early example of Analytic Cubism, Braque was experimenting further with shallow spacing by reducing the color palette to neutral browns and grays that further flatten out the space. The piece is also indicative of Braque's attempts to show the same item from different points of view. Some shading is used to create an impression of bas-relief with the various geometric shapes seeming to overlap slightly. Musical instruments such as guitars, violins, and clarinets show up frequently in Cubist paintings, particularly in the works of Braque who trained as a musician. By relying on such repeated subject matter, the works also encourage the viewer to concentrate on the stylistic innovations of Cubism rather than on the specificity of the subject matter. Oil on Canvas - Guggenheim, New York

32. GEORGES BRAQUE (1882-1963) 'Violin and Jug', 1910 (oil on canvas)

33. THANK YOU DEPARTMENT OF ARCHITECTURE HAJEE MOHAMMAD DANESH SCIENCE & TECHNOLOGY UNIVERSITY, DINAJPUR 5200