tag:blogger.com,1999:blog-1504690927537979532024-03-26T23:38:18.762-07:00UMK-Art & CultureT Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.comBlogger103125tag:blogger.com,1999:blog-150469092753797953.post-32669057092432602002022-06-05T20:37:00.006-07:002022-06-05T20:37:55.783-07:00Constructivism & Productivism – Russia’s Other Artistic Revolution (1917-1928)<p><b><span lang="EN-GB">What was it about? What were the goals?</span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">This was
another Russian art movement, competing with Malevich’s Suprematism. It was
founded by Vladimir Tatlin in 1913. Although there are many explanations
written for the art, be warned, none of it makes any sense. Constructivist
artists were innovative in terms of industrial materials and making photo
collages. They also developed kinetic art – sculptures that move. This movement
was very political, celebrating the end of monarchy and the rise of socialism.
These artists wanted to put their work in the streets and squares of Russia in
order to create a new culture and society. Of course, their patriotism was
completely lost on Stalin who banned it around 1930, in favour of his Socialist
Realism.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of historical context:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">So, this
movement began with Tatlin and Rodchenko. Malevich coined the name
Constructivism to make fun of it, in 1917. Constructivists rejected the notion
of a spiritual quality in art, and even deposed Kandinsky as the director of
the Institute of Artistic Culture. Constructivists also argued among each other
with Gabo and Pevsner criticizing Tatlin and Rodchenko as well. Tatlin built a
large tower in 1920, with search lights added on. Gabo complained, “<span style="background: white;">Either create functional houses and bridges or create
pure art, not both.”</span></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Manifesto:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Naum Gabo
and his brother Antoine Pevsner wrote a manifesto for the group in 1920, for
some reason titled the <i style="mso-bidi-font-style: normal;">Realistic
Manifesto</i>. It doesn’t represent the movement as a whole so much as their
own beliefs – they splintered from the rest of the group, and also fled Russia
to continue their work, while Stalin forced the others to conform to his vision
of Socialist Realism. Anyway, here’s the manifesto: <o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“We proclaim: For us,
space and time are born today. Space and time: the only forms where life
is built, the only forms, therefore, where art should be erected.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">States, political and
economic systems, die under the push of the centuries: ideas crumble, but life
is robust; it grows and cannot be ripped up, and time is continuous in life's
true duration. Who will show us more efficient forms? Which great
human will give us more solid foundations? Which genius will conceive for
us a legend more elating than the prosaic story that is called life?</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The fulfillment of our
perception of the world under the aspects of space and time: that is the only
goal of our plastic creation.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">And we do not measure
our work by the yardstick of beauty, we do not weigh it on the scales of
tenderness and feeling. The plumb line in hand, the look accurate as a
ruler, the mind rigid as a compass, we are building our works as the universe
builds. This is why, when we represent objects, we are tearing up the
labels their owners gave them, everything that is accidental and local, leaving
them with just their essence and their permanence, to bring out the rhythm of
the forces that hide in them.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. In painting, we
repudiate color as a pictorial element. Color is the idealized and
optical face of the objects. The exterior impression is superficial.
Color is accidental and has nothing in common with the internal content of
bodies.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">We proclaim that the
tone of bodies, that is, their material substance absorbing the light, is their
sole pictorial reality.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. We deny the line its
graphic value. In the real life of the bodies, there is nothing graphic.
The line is only an accidental trace that humans leave on objects. It has
no connection to essential life and to the permanent structure of things. The
line is a merely graphic, illustrative, decorative element.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">We acknowledge the line
only as the direction of static forces that are hidden in the objects, and of
their rhythms.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. We disown volume as
a plastic form of space. One cannot measure a liquid in inches.
Look at our real space: What is it if not a continuous depth?</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">We proclaim depth as
the unique plastic form of space.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">4. We disown, in
sculpture, mass as a sculptural element. Every engineer knows that the
static forces of solids, their material resistance, are not a function of their
mass. Example: the rail, the buttress, the beam . . . But you sculptors
of any trend and any nuance, you always cling to the old prejudice according to
which it is impossible to free volume from mass. Like this: We take four
planes and we make of them the same volume that we would make with a mass of
one hundred pounds.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">We thus restore to
sculpture the line as direction, which prejudice had stolen from it. This way,
we affirm in sculpture depth, the unique form of space.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">5. We repudiate: the
millennial error inherited from Egyptian art: static rhythms seem as the sole
elements of plastic creation.</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">We proclaim a new
element in plastic arts: the kinetic rhythms, which are essential forms of our
perception of real time . . .</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p><em><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Art is called upon to
accompany man everywhere where his tireless life takes place and acts: at the
workbench, at the office, at work, at rest, and at leisure; work days and
holidays, at home and on the road, so that the flame of life does not go out in
man.”</span></em><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Productivism<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gabo’s
manifesto led to a series of artistic debates in Europe that led to this new
idea, championed in Russia, that art should be industrial, and that the age of
easel painting should end. Tatlin agreed and became a designer, designing
clothes, furniture, and everyday appliances like stoves. Rodchenko became a
graphic designer, creating advertising posters, and collaborating in films.</span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was it represented in the other arts –
music, architecture, and literature?<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Besides
fine art sculptures, industrial and graphic design, Constructivists tried their
hands at cinema, creating <i><span style="background: white;">The Young Lady and
the Hooligan</span></i><span style="background: white;"> (1919), <i>Kino Eye</i> (1924),
and the sci-fi film <i style="mso-bidi-font-style: normal;">Aelita</i> (1924), among
others.</span></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was it great?<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Good
question. Like the futurists in Italy, this was a short-lived experimental
movement that borrowed heavily from the art movements around it, and didn’t
last long enough to really produce much. It seems to have produced more debate
than artwork. Having said that, Rodchenko became famous for his posters, and
some of Naum Gabo’s sculptures are quite creative. It’s a bit like other modern
art movements where the philosophy is nuts, but some of the work is
interesting.</span></p>
<p class="MsoNormal"><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some leading
figures:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Alexander Vesnin (1883-1959)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="background: white; color: #222222; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Vladimir Tatlin (1885-1953)</span><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Antoine Pevsner</span><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"> (1886-1962)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Aleksei Gan
(1887-1942)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Lyubov Popova (1889-1924)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Naum Gabo
(1890-1977)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Alexander
Rodchenko (1891-1956)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Varvara Stepanova (1894-1958)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some of the most famous artworks of the time:<o:p></o:p></span></b></p>
<p class="MsoNormal"><o:p> </o:p></p>T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-69743748965713120842022-06-05T20:06:00.007-07:002022-06-05T20:34:50.959-07:00Intro to Post Modernism (1960 – The Present)<p> </p><p align="center" class="MsoNormal" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxbCLuuEMAFFoUaC1gCpvQo3-jRnUlg1DGQNc03zCU29hKWLFZmZVhfv4YGz3cIBYhcp2NuIRP8kl8gh8gb-j6hRykR8y4bBilZ-4ElAzpNaP5q5Z9FfM3kgHYxYft2OSoCszKJFLKsrRmGGOpuE5LmPcJeazPpG_pIVAGqgo0nG8SzcKPG2piM8qtGA/s1920/Reinhardt,%20Ad%20-%20black%20paintings.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1119" data-original-width="1920" height="374" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxbCLuuEMAFFoUaC1gCpvQo3-jRnUlg1DGQNc03zCU29hKWLFZmZVhfv4YGz3cIBYhcp2NuIRP8kl8gh8gb-j6hRykR8y4bBilZ-4ElAzpNaP5q5Z9FfM3kgHYxYft2OSoCszKJFLKsrRmGGOpuE5LmPcJeazPpG_pIVAGqgo0nG8SzcKPG2piM8qtGA/w640-h374/Reinhardt,%20Ad%20-%20black%20paintings.jpg" width="640" /></a></div><p></p><p align="center" class="MsoNormal" style="text-align: center;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Black Paintings by Ad Reinhardt<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“A quarter century ago, Ad Reinhardt announced that his black paintings
had made him history's ultimate artist. He said he had taken art as far as it
could go. He had solved all its problems. There was nothing left to do. The
critics were impressed. But unfortunately, a lot of other artists refused to
hand in their brushes, so art continued.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: 0.25in;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“Ever since, Modern Art has resembled a
doomsday cult on the day after the deadline for the end of the world. The true
believers have awakened to find that the sun has risen, the mad prophet's
disappeared and they've all got to find something to do with the rest of their
lives. They dissolve into factions with rival theories about what happened,
what it means and what they're going to do next.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none; text-indent: 0.25in;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“In art, this predicament is what they call
Postmodernism. And if you're confused about it, it's probably because you're
beginning to understand it.” – Brad Holland<o:p></o:p></span></i></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></i></p>
<p class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“Postmodernists believe that truth is myth, and myth, truth. This
equation has its roots in pop psychology. The same people also believe that
emotions are a form of reality. There used to be another name for this state of
mind. It used to be called psychosis.” – Brad Holland<o:p></o:p></span></i></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was
it about? What were the goals?<o:p></o:p></span></b></p>
<p class="MsoNormal">Post Modernism is an umbrella term for many smaller kinds of
art making that are not always related. It's an academic attempt to organize
and make sense of what's happened in the art world since 1960, even though it
makes little sense. These different, albeit interconnected, movements include: conceptual art,
installation art, land art, pop art, feminist art, appropriation (i.e.
plagiarism), and performance art (not to be confused with performing arts like
dance or theater).</p>
<p class="MsoNormal" style="text-indent: 0.25in;">Almost all of Postmodern art is <b style="mso-bidi-font-weight: normal;">conceptual</b>, meaning the idea is more
important than the final art object. The<em> </em><em><span style="font-style: normal; mso-bidi-font-style: italic;">idea</span></em> <i style="mso-bidi-font-style: normal;">is</i> the art. The object merely presents an example, it holds no
other value (although they sure sell for a lot). Because it's the <i>idea</i> that
matters, conceptual artists often don't make anything at all, instead hiring
craftsmen to make things for them.</p>
<p class="MsoNormal" style="text-indent: 0.25in;">The notion of conceptual art was
first introduced by the Dadaists, back in 1916, but it was supposed to be crazy
back then. Now people just shrug their shoulders and accept it. You can think
of conceptual art as the Return of <span style="mso-spacerun: yes;"> </span>the
Living Dadaists, a shambling zombie puking art all over museums fifty years
after it died:</p><p class="MsoNormal" style="text-indent: 0.25in;"><br /></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinWNVtcYdkQ8N1g5Gi8Gb4fN_xS2BqXNMGWAX2DGLRKqVXmOKmjcXSW7Dfu_i4Y2WgttdwqgkqGvni1kgBZSBvqCz6vC2IV-7XCMeHkn2VsCaZCu5EqUO94xOUU87jN6hUAtZz9DKrrusBafKVxhLFYT7EcD-jhnoI-Qlv_K6PUrSv3jCXnBGVW4Rs1g/s3061/2003%20Millie%20Brown%20vomit%20painter%20side%20by%20side.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="3061" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinWNVtcYdkQ8N1g5Gi8Gb4fN_xS2BqXNMGWAX2DGLRKqVXmOKmjcXSW7Dfu_i4Y2WgttdwqgkqGvni1kgBZSBvqCz6vC2IV-7XCMeHkn2VsCaZCu5EqUO94xOUU87jN6hUAtZz9DKrrusBafKVxhLFYT7EcD-jhnoI-Qlv_K6PUrSv3jCXnBGVW4Rs1g/w640-h210/2003%20Millie%20Brown%20vomit%20painter%20side%20by%20side.jpg" width="640" /></a></div><p></p><p class="MsoNormal"><o:p></o:p></p><p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;">Rainbow Body, </b>Puke Painting, by Millie Brown, c. 2003? – did you
think I was kidding?</p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of historical context:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Postmodernism
began in the 1950’s and 60’s, right when hippies were protesting wars. Just as
Impressionism died from pessimism, Modern art also showed early promise for a
better world, only to suffer two world wars, nuclear bombs, a new cold war, and
endless fighting in tiny countries like Vietnam and Cuba, where the actions of
a small group of leaders could lead to a nuclear holocaust. In place of a new
peaceful era, we were living a political nightmare, and it’s still ongoing...<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent: 0.25in;">Conceptual artists sought to
“dematerialize” art, partly due to the increasingly materialistic and
money-driven art world in which they found themselves. Artists felt upstaged by
their own work. Robert Rauschenberg protested outside of Sotheby’s auction hall
as his most famous works went for bidding at sky high prices, and he didn’t get
a cent out of it. He was sick at the thought his single greatest patron, Robert
Scull, was only in it for the money.</p>
<p class="MsoNormal" style="text-indent: 0.25in;">Artists began to feel that the
only way to show you were an artist for the right reasons, was to make are that
no one could possibly buy or sell. This was based on the flawed notion that
accepting money for one’s art is a corrupting influence. It’s not. But, they would create "performances" that only those present could view and enjoy, leaving only documentary evidence in the form of photos and notes. Or, they would make simple objects like plywood shelves with various items - the irony being these "unsellable" documents and objects are now bought and sold for thousands, for their historical value, just like any other artwork.</p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The underlying philosophy of the period:<o:p></o:p></span></b></p>
<p class="MsoNormal">Post Modernism began with a host of new philosophers around
1950-60 called either deconstructionists or post-structuralists (same thing),
most notably Jacques Derrida and Michel Foucault. The structuralists who came
before had theorized that the way we experience and understand the world is
through our culture, especially language. Without language, along with a system
(or structure) of beliefs based on nature, science, religion, politics, etc.,
we wouldn’t be able to function or operate in the world. It’s these filters
that help us make sense of the world we live in, without which, we’d be lost.</p>
<p class="MsoNormal" style="text-indent: 0.25in;">Post-Structuralists agreed with
this premise, but complained, since the way we understand these cultural
structures is biased, just as our perceptions of history are biased, there’s no
way we’ll ever see beyond them, at true reality. We’re still lost, we just
don’t know it. Foucault argued that modern society wasn’t nearly so advanced,
progressive, or superior as people believed. They argued that this was why
there are no simple answers to life’s big questions, and that acceptance of
this was a sign of maturity.</p>
<p class="MsoNormal" style="text-indent: 0.25in;">So, the job of an artist became to
explore one’s environment. Society shapes you. Without your parents, community,
church, school, technology, language, etc. you’d be nothing. So, art should
focus on the things that make you who you are––it should critique society. This
was a popular notion in the 1960’s when America was at war in Vietnam. You can
think of Post Modernism as protest or hippy culture.</p>
<p class="MsoNormal" style="text-indent: 0.25in;">Not all artists working today are
interested in Post Modernism, or the philosophy involved. If an artist working
today paints portraits or landscapes, he or she is contemporary, but probably
not so post-modern, although little bits of the post modern
world sometimes slip in. When I draw and paint, for example,
I have zero interest in any of the major figures of postmodernism,
nor their philosophies.</p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was it represented in the other arts –
music, architecture, and literature?<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Apart from
fine art, postmodernism is most prevalent in music, literature, and
architecture.<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was it great?<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">No? Not in
general? I mean, this covers a lot of people and art, and some you could argue
was really great – if you like to argue. But, incontestably, it made for some
truly phenomenal comedy. Most postmodern artists can be best understood and appreciated as
comedians. PoMo art is probably about 85% satire.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent: 0.25in;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">One of the worst effects of PoMo art is the lack of appreciation and
even denigration of skill, which has seeped into art education. Some classes
and courses no longer offer instruction in technique, focusing solely on what
the artwork means. The teachers don’t show you how to do anything. They give an
assignment, leave the students to work alone, then critique the results,
judging solely on the work’s deeper meanings.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent: 0.25in;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Meanwhile, students commonly state their work couldn’t have mistakes
because “it’s my art, it’s exactly how I wanted it to be.” People didn’t say
this in the past - and they don't say it about other fields of expertise. I’ve seen art teachers that openly say they have no
skills, but it doesn’t matter, and I’ve seen other teachers complain about <i style="mso-bidi-font-style: normal;">judging</i> student work, and how it upsets
their poor, sensitive egos (as if it were possible to <i>prevent</i> students from seeing and judging their own artwork).<o:p></o:p></span></p>
<p class="MsoNormal" style="text-indent: 0.25in;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">But, art is about humility. You don’t come into the studio an artist,
you come as a student, and you stay that way for most, if not all, of your
life. The bar for quality has already been set by Michelangelo, Da Vinci,
Rembrandt, Picasso, and so on. That’s the goal, and most of us will never get
there, and that’s okay––it shouldn’t come as a shock or embarrassment. It
doesn’t mean you can’t judge your progress over time, the same as if you
started running daily, or practicing the piano. Lying to yourself that quality
doesn’t matter, or that it doesn’t even exist, is not going to get you
anywhere. Lying to yourself is what should be embarrassing. <o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p><b><span lang="EN-GB">Some leading figures:</span></b><p></p><p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal" style="tab-stops: 9.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Balthus (1908-2001) (not considered PoMo, yet)<o:p></o:p></span></p>
<p class="MsoNormal" style="tab-stops: 9.0pt;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Francis Bacon (1909-1992)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Lucien
Freud (1922-2011)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Robert
Rauschenberg (1925-2008)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Cy Twombly
(1928-2011)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Jasper Johns
(1930-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Faith
Ringgold (1930-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gerhard
Richter (1932-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Eva Hesse
(1936-1970)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">David
Hockney (1937-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Chuck Close
(1940-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Jennifer Bartlett
(American 1941-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Odd Nerdrum
(1944-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Anselm Kiefer (1945-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="DE" style="mso-ansi-language: DE;">Jean-Michel
Basquiat (1960-1988)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jenny
Saville (1970-)<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Bill Viola
(1951-)<o:p></o:p></span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span lang="EN-GB">
</span></p><p class="MsoNormal"><b><span lang="EN-GB">Some of the most famous artworks of the time:<o:p></o:p></span></b></p><p class="MsoNormal"><span lang="EN-GB">
</span></p><p class="MsoNormal"><o:p> </o:p></p><b><span lang="EN-GB" style="font-size: 12pt;"></span></b><p></p>T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-70064176673568953542020-07-24T11:10:00.004-07:002020-07-24T11:19:19.474-07:00Abstract Expressionism & Colour Field (1940-1980)<i>“After World War II, the United States emerged as the world's superpower. American companies like Cities Service and Esso, which had once been regional businesses, became international corporations. They adopted abstract names like "Citgo"; and "Exxon" to give themselves world-class status. Since multinational giants couldn't have little pictures of red barns or weeping clowns in the lobbies of their Bauhaus buildings, Abstract Expressionism emerged as the world's most overrated form of interior decoration.”</i> – Brad Holland<br />
<br />
<i>“Self-Expression: the crowbar used by artists to pry open the Pandora's Box of self-indulgence for everybody else in society. Fifty years ago, it was the dream of every bohemian artist to be seen getting out of a limousine wearing blue jeans and sneakers. Today, it's the dream of probably half the people in the country.”</i> – Brad Holland<br />
<br />
<b>What was it about? What were the goals?</b><br />
Abstract Expressionism was a controversial new approach to making art. It wasn’t just a style, it was a new art form. Jackson Pollock famously laid his canvases on the ground and dripped paint on them randomly, walking on them, dropping cigarettes on them and stamping them out. In a way, it was a glorification of Surrealist automatic drawing––on a grand scale.<br />
This art was about capturing the spirit of something abstractly. You might not be able to tell what it is by looking, but at least the title should make sense. Jay Meuser said, “It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples.” This was a radical departure from what most artists had made before (besides Kandinsky, Paul Klee, Franz Kupka, Robert Delaunay…). Many of these artists worked quite large. Rothko wrote:<br />
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“I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them, however ... is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command!”<br />
<br />
Fun fact, Rothko denied his paintings were abstract. They were pure emotions. An abstraction is a distortion of a real, tangible object. His works were not, nor were most Abstract Expressionist pieces. And yet, we call him an Abstract Expressionist, and more precisely part of the Color Field subgenre. This included the “circle of Rothko”: Clyfford Still, Barnett Newman, and Adolph Gottlieb.<br />
Rothko, like the other artists in this group didn’t see his work merely in formal aesthetic terms. People will often tell you, if you don’t like a Rothko artwork, stare at it for awhile, and then look away at the white museum wall, and see if you get an after-image. That’s not what he wanted. He said:<br />
<br />
“... only in expressing basic human emotions—tragedy, ecstasy, doom, and so on. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions ... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationship, then you miss the point.”<br />
<br />
Rothko gave a lecture where he outlined the necessary ingredients for a great artwork. He claimed it must be preoccupied with death for there to be tension. In addition, there should be something witty, ironic, ephemeral, random, and sensual about the work. Finally, it must contain “10% hope to make the tragic concept more endurable.” This is what he, and pretty much all the Abstract Expressionists, attempted to put into their works.<br />
<br />
<b>A bit of historical context:</b><br />
Abstract Expressionism was heavily influenced by the art of Europe, specifically the intense emotional impact of Expressionism combined with all the anti-figurative movements: Suprematism, Bauhaus, De Stijl, Cubism, and Futurism. Painting actual things and people had become passé.<br />
Abstract Expressionism got a boost in the media as “the first specifically American art movement to achieve international influence, and put New York City at the center of the western art world.” You could argue that it’s a bit disingenuous to call it an American movement, when so many of the group were born elsewhere (see list below). But, it was America that drew all these artists together, with its combination of wealth and freedom. More importantly, these artists weren’t so much drawn to New York, as fleeing the Nazis before WWII. Anyway, America took the credit, and these artists gained a lot of fame, money, and awards.<br />
Some say this was due to American propaganda, seeking to place itself as the dominant post-WWII culture. Critics were full of praise. Harold Rosenberg said, “At a certain moment the canvas began to appear to one American painter after another as an arena in which to act. What was to go on the canvas was not a picture but an event. . . . The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral.” These “action paintings” were considered “pure” and “essential.”<br />
<br />
<b>The underlying philosophy of the period:</b><br />
As Rothko explained in his lectures and writings, this art was meant to help people feel, to focus their feelings, re-examine themselves and their actions, and improve – the same Romantic notions we’ve seen in every previous art movement. The recurring theme is always, why can’t we be better?<br />
<br />
<b>How was it represented in the other arts – music, architecture, and literature?</b><br />
While most of these artists painted on canvas, there were also Abstract Expressionist sculptors and photographers. Frank O’Hara was an Abstract Expressionist poet. Robert Frank was an Abstract Expressionist filmmaker, and the movement certainly influenced other famous avant garde filmmakers, such as Ernie Gehr and Brakhage.<br />
<br />
<b>Was it great?</b><br />
No? I mean, in a way? Don’t get me wrong, I’m glad they made it, and I’m glad they got so much attention. These artists helped liberate the art world to where an artist can make anything and find credence somewhere in the community. It’s a bit dangerous so far as promoting quality, but as an artist, it allows me to make what I want in peace.<br />
I don’t think it’s fair to denigrate their work as mere decoration, but it’s also not fair to call their works in any way superior to realistic art that covered the same topics in different ways. I don’t think any Abstract Expressionist artwork could ever be more shocking than this, for example:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxGNRvz23eGSH1qK6t56huyMB4xxaTRJ3HnxGPaNsd8enaV12-8HCrKpY5lx0_uM6-C3KJ-lW-aZSHlrFlGC1nhYrHzoQI5982TxcpNkI0ODzwrGqPfqdzVEicDJq4f0Yyu1oopasfpF-/s1600/Kasatkin+-+Orphaned.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="751" data-original-width="1287" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuxGNRvz23eGSH1qK6t56huyMB4xxaTRJ3HnxGPaNsd8enaV12-8HCrKpY5lx0_uM6-C3KJ-lW-aZSHlrFlGC1nhYrHzoQI5982TxcpNkI0ODzwrGqPfqdzVEicDJq4f0Yyu1oopasfpF-/s400/Kasatkin+-+Orphaned.jpg" width="400" /></a></div>
<div style="text-align: center;">
'Orphaned', by Nikolai Kasatkin, 1891</div>
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I’ve heard proponents of Modernism claim that the little details in a work like this detract from the message. Laylah Ali once complained after she’d drawn realistic portraits of her friends wearing nooses – people kept commenting on the beautiful textures of the hair and rope. In that case, I agree. But, with Kasatkin I think the attention to little details––the atmospheric perspective of the hill in the background, the texture of the wood on the grave markers––add to the work. They are what made the works of Salvador Dali so great, because they stick in our mind. They’re visceral, like the way the blood might fly in a violent film. They affect you, and sure, you can reference that indirectly in Abstract Expressionism, but I don’t see the result as any more powerful. Still, it was an experiment, and it has benefited artists in numerous ways – via composition, and so on.<br />
<br />
<b>Some leading figures:</b><br />
Hans Hoffmann (1880-1966) (born in Germany)<br />
Mark Toby (1890-1976)<br />
Dorothy Dehner (1901-1994)<br />
Mark Rothko (1903-1970) (born in Russia)<br />
Adolph Gottlieb (1903-1974)<br />
Arshile Gorky (1904-1948) (born in Armenia)<br />
Clyfford Still (1904-1980)<br />
Isamu Noguchi (1904-1988)<br />
Willem De Kooning (1904-1997) (born in the Netherlands)<br />
Barnett Newman (1905-1970)<br />
David Smith (1906-1965)<br />
Herbert Ferber (1906-1991)<br />
Theodore Roszak (1907-1981) (born in Poland)<br />
Lee Krasner (1908-1994)<br />
Franz Kline (1910-1962)<br />
Jay Meuser (1911-1963)<br />
Philip Pavia (1911-2005)<br />
Louise Bourgeois (1911-2010) (born in France)<br />
Jackson Pollack (1912-1956)<br />
Agnes Martin (1912-2004) (born in Canada)<br />
Ibram Lassaw (1913-2003) (born in Russia)<br />
Robert Motherwell (1915-1991)<br />
Richard Diebenkorn (1922-1993)<br />
Ellsworth Kelly (1923-2015)<br />
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<b>Some of the most famous artworks of the time:</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifXJbiJyJjjMQLUgpNlGwp73NfAa-ELRjw1Anq5FFaNa_WLGOZ0ldpLwow28v_s1q6tdjz6M1Pqf2RrWMHKVEp2mWLtYjps2jsTGUIuiqL3IYtxSrFpymYheSmhoG4Y53OqP9HURNGzkzF/s1600/1950+de+Kooning+-+Woman+I+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="770" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifXJbiJyJjjMQLUgpNlGwp73NfAa-ELRjw1Anq5FFaNa_WLGOZ0ldpLwow28v_s1q6tdjz6M1Pqf2RrWMHKVEp2mWLtYjps2jsTGUIuiqL3IYtxSrFpymYheSmhoG4Y53OqP9HURNGzkzF/s320/1950+de+Kooning+-+Woman+I+thumb.jpg" width="246" /></a></div>
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'Woman I', by Willem de Kooning, 1950</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpyFrL6k237o71MZj4JYMdOmO5TdUcfDJN_zy4izYyqBdUbr5JLPzpqtDygw0fNdSdYIYhNcYbP2-EIBeSOKZzWXmjihCmW8px63jmP8Njpiw7aJo5S0eYXjKfu9JAdO59d2CKfYl0YsgA/s1600/1950+Rothko+-+White+Center+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="688" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpyFrL6k237o71MZj4JYMdOmO5TdUcfDJN_zy4izYyqBdUbr5JLPzpqtDygw0fNdSdYIYhNcYbP2-EIBeSOKZzWXmjihCmW8px63jmP8Njpiw7aJo5S0eYXjKfu9JAdO59d2CKfYl0YsgA/s320/1950+Rothko+-+White+Center+thumb.jpg" width="220" /></a></div>
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'White Center', by Mark Rothko, 1950</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_AGz3SazGiJ43iX0hjtcpihQRsiRVy99adppsJ3zOO52ekJ11YgLRPEjgdibuJoESo9okI-mZdFBPh6ssyiE11Ahi8V4MDzrQuRp_ouHCT1kWJIxGR2iREpnNk0FQgLt-XeaxJRd8V8C/s1600/1952+Pollock+-+Blue+Poles+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="789" data-original-width="1600" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG_AGz3SazGiJ43iX0hjtcpihQRsiRVy99adppsJ3zOO52ekJ11YgLRPEjgdibuJoESo9okI-mZdFBPh6ssyiE11Ahi8V4MDzrQuRp_ouHCT1kWJIxGR2iREpnNk0FQgLt-XeaxJRd8V8C/s400/1952+Pollock+-+Blue+Poles+thumb.jpg" width="400" /></a></div>
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'Blue Poles', by Jackson Pollock, 1951</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7myH_G0Gu23U49cnWlmYB0nR0rQs7ixsYSmmzgpJG2e2kg1fTaYC_C7MS-WyoZDfY660MZ_JzlY9mh5G7iIkniXkY6JHJr05xb6lti1tskcYTEgV4dpq_chCFZ904gc3JUBXWvWR-a91b/s1600/1971+robert+motherwell+-+Elegy+to+Spanish+Rep.+no.+110+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1398" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7myH_G0Gu23U49cnWlmYB0nR0rQs7ixsYSmmzgpJG2e2kg1fTaYC_C7MS-WyoZDfY660MZ_JzlY9mh5G7iIkniXkY6JHJr05xb6lti1tskcYTEgV4dpq_chCFZ904gc3JUBXWvWR-a91b/s400/1971+robert+motherwell+-+Elegy+to+Spanish+Rep.+no.+110+thumb.jpg" width="400" /></a></div>
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'Elegy to the Spanish Republic no. 110', by Robert Motherwell, 1971</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-16139449084292653012020-07-13T02:33:00.004-07:002020-07-14T05:04:44.505-07:00Surrealism (1924-1980)“An archaic term. Formerly an art movement. No longer distinguishable from everyday life.” – Brad Holland<br />
<br />
<b>What was it about? What were the goals?</b><br />
The word surreal means strange, especially a weird combination of things you normally wouldn’t see together in real life, but more likely in a dream – a concept known as juxtaposition. The goal of this movement was to foment social revolution. Many of its members began as Dadaists, so, much of what they said and did didn’t make sense. Nevertheless, their ambitions were political, and the move from Dadaism to Surrealism is often explained as a move from political anarchy to communism. One leader of the Surrealists, the writer André Breton, said, “Long live the social revolution, and it alone!”<br />
Breton defined Surrealism as “pure psychic automatism” in which the artist tries as much as possible to give up control of what he is doing, letting his subconscious make the work. If this sounds like blind scribbling, that’s how it looks:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEQZLGqBosxIj_FlVRf3eBPqlzpqd_38n8IR8rWiqLwPt9SqcK3qXSG66_-Roasz38WIFC_PXyQzucLFgFKE0f52QCkIeQLrsHM_lL6UCZ_Jk4UDn4m1V3e78BDrQ9LVGfPb7mNKXkpzXm/s1600/1924+Andr%25C3%25A9+Masson+-+Automatic+Drawing+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1330" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEQZLGqBosxIj_FlVRf3eBPqlzpqd_38n8IR8rWiqLwPt9SqcK3qXSG66_-Roasz38WIFC_PXyQzucLFgFKE0f52QCkIeQLrsHM_lL6UCZ_Jk4UDn4m1V3e78BDrQ9LVGfPb7mNKXkpzXm/s320/1924+Andr%25C3%25A9+Masson+-+Automatic+Drawing+thumb.jpg" width="283" /></a></div>
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<div style="text-align: center;">
Automatic Drawing by André Masson, 1924</div>
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<br /></div>
<div>
Surrealists compared this to musical improvisation. Of course, most Surrealist art wasn’t quite so messy or unfinished, but, if you look closely, you’ll see they used this as a starting point. Other innovations to automatic art included rubbings, where paper was placed over uneven surfaces so that the texture would show through in the drawing, and decalcomania, where various prints were stamped on the work.</div>
<div>
Central to Surrealist art was a fantastic use of juxtaposition as well as pareidolia––seeing images in abstract shapes, especially faces. Artists like Dalí used pareidolia to give multiple meanings to shapes. A blob could be a tree, a mountain, and a person’s face all at the same time.</div>
<div>
None of this was meant to make art, per se. Surrealists didn’t care about aesthetics or decoration. This was still anti-art, and they viewed these new works as a form of psychological research, to serve as evidence for their social and political views. Breton felt this new art form was a better strategy for social revolution, because automatic art making was seen as a more honest and personal form of expression. Surrealist artists embraced their subconscious, without fear. It was a form of personal liberation, where you could finally be yourself, and not worry how others judge you. Dali said, “There is only one difference between a madman and me. I am not mad.” Dalí and Breton thought, if people could accept these ideas, they would become more, honest, enlightened, rational, benevolent and peaceful. Scribbling for social change may sound crazy, but it actually kind-of worked. Sort of…</div>
<div>
<br /></div>
<div>
<br /></div>
<div>
<b>A bit of historical context:</b></div>
<div>
The French playwright Apollinaire first used the term Surrealism in 1917, when describing his and other works. This is one of the few times where an art movement was coined by a follower, rather than a critic.</div>
<div>
André Breton cofounded this movement, writing (in his definition) the first Surrealist work, <i>Magnetic Fields</i>, in 1919. His motive came from his experiences in WWI. André had been a student of psychology when he was drafted into the war. He became a doctor, examining soldiers suffering from insanity, then known as “shell shock”. Through Freud’s theories, Breton became fascinated with the subconscious, and wanted to explore it through automatic drawing and writing, as a way to learn who we are deep down, and what we need to be happy.</div>
<div>
After the war, Breton and other Dadaist writers and anti-artists came back to Paris. There, in 1924, these artists formed two competing Surrealist factions, one led by Breton and the other by Yvan Goll, each with its own manifesto. Goll and Breton actually fought in the street over who could use the term Surrealist, and Breton won. Hardly anyone even knows what was in Goll’s manifesto anymore.</div>
<div>
Besides his manifesto, Breton and his comrades wrote a journal called <i>La Révolution Surréaliste</i>, which had twelve issues from 1924-29. They also formed a center for Surrealist research, where they experimented with hypnotism, and kept an archive of their works. The first Surrealist art exhibit was held in Paris in 1925.</div>
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By 1928 many of the core members broke from the group, based on different political opinions – which goes to show, exploring your subconscious is no guarantee that people will get along any better. Breton supported Leon Trotsky, while Dalí supported the fascist dictator Franco in Spain – Dalí was expelled from the group for this. Others supported Stalin. The group splintered to pieces, and each went his separate ways, even as they gained recognition and continued showing art in London, New York ,and elsewhere. After WWII, Breton turned his back on communism, choosing to return to his roots as an anarchist.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAPpyvBJ7YwxTy1Junau6T7MlYrwcYT7vHlI-Lyb63cfs6qSiSqRrVQb5YrHw5XaDz1UYjxbte7-Zcu3KclQbRiLxm-I5OaxTdCt8GafTR45dHmHIYpXXGd-YeGEg3EdXqzkQm4czRQAPw/s1600/1936+Dali+-+diving+suit+at+art+show.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1113" data-original-width="1538" height="288" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAPpyvBJ7YwxTy1Junau6T7MlYrwcYT7vHlI-Lyb63cfs6qSiSqRrVQb5YrHw5XaDz1UYjxbte7-Zcu3KclQbRiLxm-I5OaxTdCt8GafTR45dHmHIYpXXGd-YeGEg3EdXqzkQm4czRQAPw/s400/1936+Dali+-+diving+suit+at+art+show.jpg" width="400" /></a></div>
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Salvador Dalí, wearing a diving suit at the London International Surrealist Exhibition, in 1936.</div>
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Fun fact: he almost died from suffocation there, as no one knew how to take the helmet off.</div>
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<b>The underlying philosophy of the period:</b></div>
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The main idea of this movement was that one could use automatic art making as a form of psychotherapy, not only to know who you really are, but thereby, to help you find answers to all of life’s questions. It’s all buried somewhere in your head, and you just have to let it out, and if the whole world got into it, this could change people’s perceptions, bring greater freedom, and shape humanity into a better society. It’s all rather romantic if you think about it. </div>
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<b>How was it represented in the other arts – music, architecture, film, and literature?</b></div>
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There were several Surrealist writers, including Breton, Apollinaire, Artaud, Aragon, Crevel, Péret, and Lorca. There were also several famous Surrealist films, directed by Buñuel, Dalí, Man Ray, and Cocteau. They filmed <i>Un Chien Andelou</i> and L'Age D'Or. Some composers experimented with Surrealism, including Martinu, Satie, Souris, and Varèse.</div>
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<b>Was it great?</b></div>
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It was wild. Certain works are absolutely great, but Surrealism was all about experimentation, and not every experiment succeeds. Funny enough, a lot of the work feels repetitive – the same long-legged blobs walking drunkenly through an empty wasteland with blue skies and funny little shapes and lines scattered about, and the occasional insect. Dalí and Magritte are the two exceptions who consistently made new and surprising artworks that required actual skill and time to produce.</div>
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<b>Some leading figures:</b></div>
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Francis Picabia (1879-1953)</div>
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Jean (Hans) Arp (1886-1966)</div>
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Giorgio De Chirico (1888-1978)</div>
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Man Ray (1890-1976)</div>
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Max Ernst (1891-1976)</div>
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Joan Miró (1893-1983)</div>
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André Breton (1896-1966)</div>
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André Masson (1896-1987)</div>
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Rene Magritte (1898-1967)</div>
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Yves Tanguy (1900-1955)</div>
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Luis Buñuel (1900-1983) (filmmaker)</div>
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Salvador Dalí (1904-1989)</div>
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Wolfgang Paalen (1905-1959)</div>
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Frida Kahlo (1907-1954)</div>
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Méret Elisabeth Oppenheim (1913-1985)<br />
Ilene Meyer (1939-2009)</div>
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<b>Some of the greatest artworks of the movement:</b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAwjOAPhq2RBkhT4qZHhOJAlzD-CZAi8FEjsPdg9N9oqeX9Fki0m57ZjrVee7VNLINXDk0PCdVxs2r_6o-oaIN6VxEI7FqT7lNUABR3nd1p77mLYHnB-brvBmyAH4Avn20-rdjDQWiW6Xr/s1600/1926+Magritte+-+Panorama+Populaire+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="660" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAwjOAPhq2RBkhT4qZHhOJAlzD-CZAi8FEjsPdg9N9oqeX9Fki0m57ZjrVee7VNLINXDk0PCdVxs2r_6o-oaIN6VxEI7FqT7lNUABR3nd1p77mLYHnB-brvBmyAH4Avn20-rdjDQWiW6Xr/s320/1926+Magritte+-+Panorama+Populaire+thumb.jpg" width="211" /></a></div>
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'Panorama Populaire', by Rene Magritte, 1927</div>
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'The Treachery of Images', by Rene Magritte, 1929</div>
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'The Persistence of Memory', by Salvador Dalí, 1931</div>
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'The Dream', by Salvador Dalí, 1931</div>
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'The Voice of Space', by Rene Magritte, 1931</div>
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'Tears', by Man Ray, 1932</div>
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'The Enigma of William Tell', by Salvador Dalí, 1933</div>
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'L Condition Humaine II', by Rene Magritte, 1935</div>
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'Lobster Telephone', by Salvador Dalí, 1936</div>
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'The Enigma of Hitler', by Salvador Dalí, 1937</div>
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'La Reproduction Interdite', by Rene Magritte, 1937</div>
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'Apparition of a Face & Fruit Dish on a Beach', by Salvador Dalí, 1938</div>
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'The Face of War', by Salvador Dalí, 1940</div>
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'Christ of St. John of the Cross', by Salvador Dalí, 1951</div>
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'Crucifixion', by Salvador Dalí, 1954</div>
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'Rinoceronte Vestido con Puntillas', Puerto José Banús, by Salvador Dalí, 1956</div>
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'Le Château des Pyrénées', by Rene Magritte, 1959</div>
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'Moon Bird', by Joan Miró, 1966</div>
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'Jeune fille s'évadant', by Joan Miró, 1967-75</div>
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'Dalí pintando a Gal', by Salvador Dalí, 1973</div>
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'Gala Contemplating the Mediterranean Sea, Which, at 20m Becomes Abraham Lincoln, Homage to Rothko II', by Salvador Dalí, 1976</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-52240084077209980292020-07-12T02:46:00.001-07:002020-07-12T02:46:26.578-07:00Dadaism (1912-1922)<i>“Dada artists were ironists. Duchamp was their star and his masterpiece was a urinal. He ended his life playing chess. He claimed he was making an art statement. My grandfather had a sense of humor too. And he ended his life playing chess. But since he did it to keep from being bored, no one thought it proved anything. This suggests that Dada artists are exempt from the general rule that ironists are the biggest victims of their own irony.”</i> – Brad Holland<br />
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<b>What was it about? What were the goals?</b><br />
Dadaism, also called Anti-Art, was a protest movement, starting just before WWI, that used new forms of art to criticize the violence, war, fascism, and poverty found in modern capitalist society, as well as the acceptance of these atrocities by the bourgeoisie (upper-middle class). Dadaist art included sculpture, collage, assemblage, installation art, “sound poetry”, and “cut-up writing”. It was irrational and ridiculous, serving as an attack on modern society and industry––that what most people considered logical and normal was actually just as irrational and silly as their work. Politically, most Dadaist artists favoured communism and/or anarchy. Dadaist work was supposed to be offensive and ugly.<br />
Dadaism was inspired by Cubism, Expressionism, and Futurism, which all allowed artists to dismiss realism and beauty, focusing instead on other issues. It also introduced the idea of using cheap, mass-produced materials. Where Dadaism differed was in allowing random chance to dictate art. Jean Arp would throw bits of paper on the ground and glue them to a background, wherever they lay.<br />
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Untitled (Collage with Squares Arranged according to the Laws of Chance), by Jean Arp, 1916-17<br />
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Dadaists also started the practice of installation art – transforming a room through a variety of decorations and objects. Although short-lived, Dadaism was hugely influential on 20th century art, guiding the way for Abstract Expressionists like Pollack, Pop Artists like Warhol, and all kinds of conceptual artists.<br />
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<b>A bit of history:</b><br />
Dadaism, although short lived, was an international art movement, starting in Zurich, Switzerland, by a group of artists who all had one thing in common – they had all fled to Zurich to avoid the horrors of WWI. Dadaism soon spread to New York City (NYC), Berlin, and Paris as these artists travelled around. It was in NYC that Duchamp met Picabia and Man Ray. This is where Duchamp exhibited his readymades, and it was also a centre for Dadaist writing.<br />
Although Dadaism was an art movement, its proponents, in true Dadaist fashion, denied this, calling it an anti-movement, whatever the hell that means. This didn’t stop them from making journals, and artist Hugo Ball’s Dadaist Manifesto in 1916. Tzara wrote another, the following year.<br />
No one is sure where the movement got its name. It sounds like a baby’s babble, suggesting a childish art. One story is that the Austrian artist Hulsenbeck stabbed a French dictionary with a knife and it landed on the word dada, meaning “toy horse”. Another theory is that the name came from Romanian artists Tzara and Janco always saying, “Da, da,” meaning “yes, yes.”<br />
Two of the earliest Dadaist works were the play, Ubu Roi, by Alfred Jarry, performed in 1896, and the ballet Parade, composed by Erik Satie. Towards the end of Dadaism, which centred in Paris, many Dadaist artists were intrigued by psychology and moved on to become Surrealists. Dadaism returned to prominence as Neo-Dada in the 1960’s.<br />
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<b>The underlying philosophy of the not-a-movement:</b><br />
Like the romantics before, Dadaists believed that they needed to somehow break down all the social beliefs, institutions, and practices that allowed for war, and to reinvent a better society, and they thought they could somehow do this through art. They failed, miserably, but it was a noble effort. Where they succeeded was in redefining art and art making, with a variety of new methods and techniques.<br />
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<b>How was it represented in other arts: music, architecture, and literature?</b><br />
As stated earlier, Dadaism found its place early in theatre and music. It also found its part in literature, with books like <i>The Blind Man</i>, <i>Rongwrong</i>, <i>New York Dada</i>, and Marsden Hartley’s essay “The Importance of Being ‘Dada.’ ”<br />
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<b>Was Dadaism great?</b><br />
It’s unclear that they made great art, or any art at all for that matter (it’s anti-art, remember), but they certainly made a great debate that still rages on a hundred years later. Having said that, Dadaists made many works that are memorable, evocative, humorous, and influential. That’s something.<br />
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<b>Some leading figures:</b><br />
It tells you something, when the leader of an intellectual group is the youngest one there...<br />
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Éric Alfred Leslie Satie (1866-1925) composer<br />
Alfred Jarry (1873-1907) playwright<br />
Francis Picabia (1879-1953)<br />
Emmy Hennings (1884-1948) wife of Hugo Ball<br />
Hugo Ball (1886-1927)<br />
Hans/Jean Arp (1886-1966)<br />
Kurt Schwitters (1887-1948)<br />
Marcel Duchamp (1887-1968)<br />
Sophie Taeuber (1889-1943)<br />
Hannah Hoch (1889-1978)<br />
Man Ray (1890-1976)<br />
John Heartfield (1891-1968)<br />
Max Ernst (1891-1976)<br />
Carl Wilhelm Richard Hülsenbeck (1892-1974)<br />
Tristan Tzara (1896-1963) defacto leader and strategist for the group in Zurich.<br />
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<b>Some of the most famous artworks of the time:</b><br />
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Duchamp’s Ready-Mades: Duchamp picked a total of thirteen objects that he elevated to fine art status, in most cases simply by signing them. Objects included a urinal, a snow shovel, a comb, and a typewriter cover. This was in response to a 1917 art exhibit in New York City that promised to accept everything, no matter what. Duchamp wanted to test their honesty, and it turned out they had lied. The Society of Independent Artists hid his “fountain” and Duchamp soon quit the group. Duchamp selected these items as a form of trolling, but also to force debate on a new definition of art, one which the world is still wrestling with. He wanted these works to be impersonal and uninteresting, lacking any handmade craftsmanship, and having nothing to do with taste, which he called the enemy of art.</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-76779864349402293222020-07-12T02:37:00.004-07:002020-07-12T02:37:46.792-07:00(Italian) Futurism (1910-1920)<i>“This was a movement of intellectuals who wanted to replace tradition with the modern world of machinery, speed, violence, and public relations. It proves that we should be careful what intellectuals wish for, because we might get it.”</i> – Brad Holland<br />
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<b>What was it about? What were the goals?</b><br />
This movement was an effort to radically change society for the better by embracing science and modernity, and through seeing the world in new ways. It was a movement that saw art as one of many tools to use in a greater effort. Unfortunately, it was hopelessly flawed by its misunderstanding of science, nature, and society – particularly in the acceptance of pseudo science like superior races, and a naive view of a future world transformed by man without any negative consequences. This is an example of people with great intentions, advocating terrible ideas, who simply didn’t know any better.<br />
Despite their flaws, Futurists did contribute some innovative artworks. They developed the notion of dynamism – of the interaction between people, places, and things. They also incorporated the idea of “simultaneity” in time––that the past, present, and future are connected. Balla said, “. . . moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”<br />
As these artists travelled to Paris, they became heavily influenced by Cubism, borrowing heavily. The best way to see the difference between these two movements is in their subjects. While Cubists enjoyed painting portraits, still lifes, and nature, Futurists preferred to paint cities and modern vehicles in motion.<br />
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<b>A bit of historical context:</b><br />
So, this was an avant-garde movement that began in Milan, Italy in 1909, with a poet named Marinetti, who wrote up a Futurist Manifesto. The paper actually said little about painting (many more manifestos followed, on every art form), and spoke optimistically about the future, embracing new technology, science, progress, and change. The past, he believed, was holding society back and so traditions and taste should be eradicated. Meanwhile, the future would bring man’s triumph over nature (This was before we learned of global warming).<br />
Marinetti was also very political, promoting nationalism, fascism, and freedom from Austria. His manifesto proclaimed, “We will glorify war —the world's only hygiene —militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.” Marinetti worked closely with Mussolini and tried to promote modern art as being Italian, nationalist, anti-foreign, and anti-Semitic. It didn’t work. Mussolini and Hitler saw modern art as degenerate. Nevertheless, Marinetti’s ideas attracted a group of young artists who became the Futurists. Many of these artists, including Marinetti fought in WWI & II, and some died.<br />
Fortunately the main thrust of this movement soon ended during WWI. Boccioni was killed in action, and the remaining artists separated into factions (Milan vs. Florence) and went separate ways. Marinetti tried to revive “il secondo Futurismo” in the 1960’s, but, by then, his influence was gone.<br />
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<b>The underlying philosophy of the period:</b><br />
The biggest problem with the Futurists was in creating a false choice between tradition and modernity. They thought society needed to erase everything and start over, and they even advocated violence to achieve this––the ends justified the means. This is also why they supported Mussolini and disliked democracy. They thought you needed a strong hand to force change quickly. In hindsight, it seems easy to say that modern isn’t always better. And we know now that the ends don’t always justify the means. But, they were just entering the modern world. They were naive, idealistic, foolhardy, and in some ways pig-headed.<br />
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<b>How was it represented in the other arts – music, architecture, and literature?</b><br />
Marinetti planned for Futurism to influence all areas of life: music, writing, architecture, design, and even food! Marinetti hated pasta, and wanted people to begin eating rice, grown in Italy. He even looked forward to a future of pills to replace food. However crazy this sounds, several followers did try to carry his ideas into different arts.<br />
Antonio Sant’Elia was a Futurist architect who designed “La Città Nuova” in 1912-14. He was killed in action before any of his ideas could be built, but his writings were influential, leading to several structures that still exist today, like the train stations in Florence and Trento. Rovegno has a ghost town built in a Futurist style that no one wants to live in.<br />
The two main composers of Futurist music were Pratella and Russolo, two people who scorned all the Italian composers of the past, and yet were never able to surpass them. I mean, have you ever heard of Pratella or Russolo? Enough said…<br />
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<b>Was it great?</b><br />
...No? Futurism is one of those examples where it’s hard to separate the art from the (awful) politics of its adherents. It’s a little like if Dr. Evil decided to paint his version of utopia. There are some works where I can admire the skill of conception and the impressive crafting of the image, but I’ve never seen a Futurist art work that really spoke to me or amazed me. Futurism answers the question, what happens when a new art form comes to a country where the people are generally dissatisfied and feel inferior, and so they think they’ve finally found a way to change things and get a bit delusional.<br />
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<b>Some leading figures:</b><br />
Giacomo Balla (1871-1958)<br />
Filippo Marinetti (1876-1944) (poet)<br />
Carlo Carrà (1881-1966)<br />
Umberto Boccioni (1882-1916)<br />
Gino Severini (1883-1966)<br />
Luigi Russolo (1885-1947) (composer)<br />
Antonio Sant’Elia (1888-1916) (architect)<br />
Anton Bragaglia (1890-1960) (photographer)<br />
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<b>Russian Futurists:</b><br />
Kazimir Malevich (1879-1935)<br />
Natalia Sergeevna Goncharova (1881-1962)<br />
Aleksei Kruchonykh (1886-1968) (poet & playwright)<br />
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<b>Some of the most famous artworks of the time:</b><br />
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'The City Rises', by Umberto Boccioni, 1910</div>
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'Dynamism of a Dog on a Leash', by Giacomo Balla, 1912</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA8mJKmTw-azrO_OaaZIlgFhaLiZFjnWZz1AhymfdU6r7_1liSnNWe0Mbrhy5wgk2fA8cOd3ZfVS9Kauqaqk6hYCTfGt7GknX0NJyh5mM2NnIO082L8VB_7hGSEN2gKWcGcfB9n5GgkNlB/s1600/1912+Boccioni%252C+Materia+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="660" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA8mJKmTw-azrO_OaaZIlgFhaLiZFjnWZz1AhymfdU6r7_1liSnNWe0Mbrhy5wgk2fA8cOd3ZfVS9Kauqaqk6hYCTfGt7GknX0NJyh5mM2NnIO082L8VB_7hGSEN2gKWcGcfB9n5GgkNlB/s320/1912+Boccioni%252C+Materia+thumb.jpg" width="211" /></a></div>
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'Materia', by Umberto Boccioni, 1912</div>
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'Nude Descending a Staircase II', by Marcel Duchamp, 1912</div>
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'Unique Forms of Continuity in Space', by Umberto Boccioni, 1913</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-51164403479485927462020-07-12T02:28:00.002-07:002020-07-12T02:28:30.455-07:00 (German) Expressionism (1900-1950)<i>“The Miracle of Authenticity: The faith that if we're all authentic and express ourselves, society will benefit. A charming ideal, but it overlooks the obvious. There are a lot of authentic jerks and idiots in the world. Encouraging them to express themselves will never do anybody much good, much less society.”</i> – Brad Holland<br />
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<b>What was it about? What were the goals?</b><br />
Expressionism was a form of social protest, hoping to revolutionize society through art. The goal of these artists was outlined in 1906 by Ernst Kirchner in his Expressionist Manifesto: “We call all young people together, and as young people, who carry the future in us, we want to wrest freedom for our actions and our lives from the older, comfortably established forces.”<br />
Kirchner and his friends looked at the world in a new way, attempting to visualize the emotional experience of a subject, rather than its realistic outward appearance. They didn’t want to simply paint a face, a building, or people in a city street. They wanted to explore what these things meant to them.<br />
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<b>The underlying philosophy of the movement:</b><br />
According to the art historian Antonin Matějček, Expressionists rejected Impressionism. They took the same observations as an Impressionist, and then interpreted through the “filter of the soul” to remove unnecessary details and get a clearer, more honest representation of what they saw. Artists of this movement were deeply influenced by the psychologist Sigmund Freud, and by philosophers like Kafka and Nietzsche, and so they explored emotions such as angst, nervousness, isolation, depression and self-doubt, finding ways to depict these feelings visually. This was one of the first art movements to look for something other than beauty as a subject. The notion that this art was more “honest” than other movements may be pretentious, but it was certainly more personal, and at times more revealing.<br />
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<b>But, wait a minute? Isn’t all art expressive? What makes Expressionism different?</b><br />
Of course all art is expressive. Just look back at Art Nouveau, the Pre-Raphaelites, and even Impressionism and Realism, which these artists despised. All these movements portrayed the world in ways a camera couldn’t. What made Expressionism different was its experimental approach, choosing selectively what to observe and include, and exclude, without a care for realism or academic training.<br />
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<b>A bit of historical context:</b><br />
Expressionism took inspiration from certain post-impressionist artists like Van Gogh, Bonnard, and Vuillard. Although it was international, Expressionism began in Germany with two different groups of artists, Die Brücke (The Bridge) in Dresden, and Der Blaue Reiter (The Blue Rider) in Munich (named after one of Kandinsky’s paintings). These artists looked to explore how life was changing, often for the worse, in new, large, cosmopolitan cities. They considered injustices like poverty, materialism, and war, and wondered how modern, civilized society could tolerate them. Ironically, their critique was much the same as the Realist artists Manet, Millet, and Courbet, back in the 1850’s and 60’s. But, the Expressionists rejected the look of realism, considering it a tradition forced on them by society, so they chose to embrace a level of primitivism, childishness, vulgarity, and ugliness to free themselves of social constraints and better express how they really felt.<br />
Die Brücke got its name from one of Nietzsche’s books, Thus Spoke Zarathustra, where he used a bridge as a metaphor for the barbaric past, and what should be a better future. Expressionists wanted to be that bridge, which makes their fate all the sadder. Both Franz Marc and August Macke died in combat in WWI. Expressionism fell out of favour in Germany with the rise of Hitler and the Nazi party in the 1930’s. Many of their artworks were burned. Hitler even organized an exhibition of “degenerate art” to make fun of it. The show included over 30 works by Kirchner, who committed suicide soon after. Other artists had to flee, and many died before WWII ended. By that point, however, Expressionism had spread out around the world where it continues to be a major artistic influence and inspiration.<br />
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<b>Was it great?</b><br />
I think so, at least some of it. Some people fail to appreciate it, but I enjoy a lot of these artists, their aesthetics, the feelings they invoke, the inventiveness, and the overall spirit of their experiments. I also recognize the difficulty in what they were doing, and see a level of expertise in these seemingly childish works that non-artists sometimes miss. At its best, with the works of Kathe Kollwitz, and Egon Schiele, it’s extremely powerful.<br />
Another common question concerns whether these artists were capable of drawing realistically, or if they were just bad at it. Having reviewed some of their earlier works, I’ve found they actually could draw quite well. They learned realism first, and then went on to abstraction.<br />
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<b>How is Expressionism any different from other modern movements, like Fauvism or Primitivism?</b><br />
Art historians agree that it’s very hard to differentiate these early modern movements. It mostly has to do with geography. Originally, Fauvists were French, Futurists were Italian, and Expressionists were German. Both movements showed a disdain for modern city life, and a longing nostalgia for nature and forests. Both were abstract and childlike. There was also a lot of blending of ideas, as these artists travelled and influenced each other. I would say, the biggest single difference is that Expressionist works are generally more dismal, sombre, and frightening, especially the later works.<br />
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<b>How was it represented in other arts – music, architecture, and literature?</b><br />
The first Expressionists also wrote poetry, and as the movement spread, it filtered into literature, dance, music, and even film. Mary Wigman was a major innovator in dance. Franz Kafka was the main novelist of the movement. Famous films include <i>The Cabinet of Dr. Caligari</i> by Robert Wiene, <i>Metropolis</i> by Fritz Lang, and <i>Nosferatu</i> by Murnau.<br />
The artist Oskar Kokoschka also wrote the first Expressionist play, <i>Murderer, The Hope of Women</i>, in 1909. The composer Paul Hindemith then arranged it into an opera. Other playwrights included Georg Kaiser, Ernst Toller, Bertolt Brecht, and, in America, Eugene O’Neill, Arthur Miller, and Tennessee Williams. Expressionist theatre often concerned a hero who becomes disillusioned by society and rebels, having a spiritual awakening, and many plays mirrored Jesus’ stations of the cross.<br />
Apart from Hindemith, the three main Expressionist composers were Arnold Schoenberg, Anton Webern, and Alban Berg, members of the “Second Viennese School”. They developed the “serial twelve-tone technique” in which all twelve tones are equally represented – no one note dominates. This results in music that’s virtually impossible to remember, as there is no key, no repetition, no melody, no motifs, etc. You’ll recognize it when you hear it, but you won’t be able to hum it after.<br />
Expressionism even worked its way into architecture but it wasn’t fully accepted there. The two most famous works are the Einstein Tower in Potsdam by Erich Mendelsohn and Bruno Taut’s Glass Pavilion in Cologne.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTi13zRT77QOy1TYpY-L8DZxGOteK5e8L1zWC_9WE4B1hd9I2BNUN2dokoFq_CN04__ViWkQdu5sDqVUF_eYcZkD-jLKro_eT0Mp1Tn-jXAMgCDJsYN0Y1uYnBNlc00AjiEm4wJJG1v1V/s1600/1921+Erich+Mendelsohn+-+Einstein+Tower%252C+Potsdam%252C+Germany.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTTi13zRT77QOy1TYpY-L8DZxGOteK5e8L1zWC_9WE4B1hd9I2BNUN2dokoFq_CN04__ViWkQdu5sDqVUF_eYcZkD-jLKro_eT0Mp1Tn-jXAMgCDJsYN0Y1uYnBNlc00AjiEm4wJJG1v1V/s320/1921+Erich+Mendelsohn+-+Einstein+Tower%252C+Potsdam%252C+Germany.jpg" width="240" /></a></div>
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The Einstein Tower in Potsdam, Germany, by Mendelsohn, 1921</div>
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<b>Some leading figures:</b><br />
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<b>Members of Der Blaue Reiter:</b><br />
Marianne von Werefkin (1860-1938)<br />
Alexej von Jawlensky (1864-1941)<br />
Wassily Kandinsky (1866-1944)<br />
Paul Klee (1879-1940)<br />
Franz Marc (1880-1916)<br />
August Macke (1887-1914)<br />
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<b>Members of Die Brücke:</b><br />
Emil Nolde (1867-1956)<br />
Otto Mueller (1874-1930)<br />
Fritz Bleyl (1880-1966)<br />
Ernst Ludwig Kirchner (1880-1938)<br />
Max Pechstein (1881-1955)<br />
Erich Heckel (1883-1970)<br />
Karl Schmidt-Rottluff (1884-1976)<br />
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<b>Other leading figures:</b><br />
Edvard Munch (Norwegian, 1863-1944)(Also considered a Symbolist)<br />
Kathe Kollwitz (German, 1867-1945)<br />
Paula Modersohn-Becker (German, 1876-1907)<br />
Marsden Hartley (American, 1877-1943)<br />
Arthur Dove (American, 1880-1946)<br />
Pablo Picasso (Spanish, 1881-1973)<br />
Amedeo Modigliani (Italian, 1884-1920)<br />
Max Beckmann (German,1884-1950)<br />
Marc Chagall (Russian-French, 1887-1985)<br />
Egon Schiele (Austrian, 1890-1918)<br />
Otto Dix (German, 1891-1969)<br />
Joan Miro (Spanish, 1893-1983)<br />
Henry Moore (English, 1898-1986)<br />
Estelle Ishigo (American, 1899-1990)<br />
Alice Neel (American, 1900-1984)<br />
Francis Bacon (English, 1909-1992)<br />
Lucian Freud (English, 1922-2011) (son of Sigmund Freud)<br />
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<b>Some of the most famous artworks of the time:</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQH6I1hBsymh4dl4d1Ztdav66qELaCjoXIXAwfrEcjIe5WZrNjZQl6xiHHcCWlF9ZPkwhdWUH1cqCwLLLqWk-1aMAgmZWvxG9Jg6dXqnfIcZ_mZuloRH4RYMg8uYESxJBReiolFfVYMmvq/s1600/1893+Edvard+Munch+-+Scream+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1209" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQH6I1hBsymh4dl4d1Ztdav66qELaCjoXIXAwfrEcjIe5WZrNjZQl6xiHHcCWlF9ZPkwhdWUH1cqCwLLLqWk-1aMAgmZWvxG9Jg6dXqnfIcZ_mZuloRH4RYMg8uYESxJBReiolFfVYMmvq/s320/1893+Edvard+Munch+-+Scream+thumb.jpg" width="257" /></a></div>
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'The Scream', by Edvard Munch, 1893</div>
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'Self-Portrait', Picasso, 1901</div>
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'Woman with Dead Child', by Kathe Kollwitz, 1903</div>
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'Portrait of Alexander Sakharoff', by Jawlensky, 1909</div>
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'Self-Portrait with Hand to Cheek', by Egon Schiele, 1910</div>
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'Portrait of Max Oppenheimer', by Egon Schiele, 1910</div>
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'Portrait of Marcela', by Kirchner, 1910</div>
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'Portrait of a Young Girl', by Modigliani, 1910</div>
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'The Rider', by Kandinsky, 1911</div>
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'Composition No. IV', by Kandinsky, 1911</div>
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'Blue Horse No. 1', by Marc, 1911</div>
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'In the Rain', by Marc, 1912</div>
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'The Tightrope Walker', by Macke, 1913</div>
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'Christ and the Woman Taken in Adultery', by Beckmann, 1917</div>
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'Warrior with a Pipe', by Otto Dix, 1918</div>
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'The Suicide Victim', by Dix, 1922</div>
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'The Dead Man', by Dix, 1924</div>
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'Members of Die Brucke', by Kirchner, 1927</div>
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'Trench Warfare', by Dix, 1932</div>
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'Town Castle', by Klee, 1932</div>
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'Abstract Head: The Word', by Jawlensky, 1933</div>
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'Death and the Mother', by Kollwitz, 1934</div>
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'The Triumph of Death', by Dix, 1934</div>
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'Prisoners of War', by Dix, 1948</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-54029957592628425282020-07-12T01:59:00.003-07:002020-07-12T01:59:55.174-07:00Fauvism (1898-1950)<i>“Over a hundred years ago, some French bohemians decreed the purpose of art was to shock the middle classes. It may have been a great idea back then. But these days, the middle classes aren't paying attention. They're all on Jerry Springer or Ricki Lake talking about their cross dressing experiences or sex with the baby-sitter. It's the cutting-edge artists who have to watch in silence and eat their hearts out, complaining about the state of American culture, and demanding even more grant money for more cutting-edge art. In the future, this spectacle of the middle classes shocking the avant-garde will probably become the textbook definition of Postmodernism.”</i> – Brad Holland<br />
<br />
<b>What was it about? What were the goals?</b><br />
The term fauvism, meaning wild and beastly, came from the art critic Louis Vauxcelles, who compared it to a false religion, with Matisse and Derain as the high priests. A better way to see them would be as inventors conducting artistic experiments. These artists were some of the first to explore abstract ways of seeing, finding beauty in abstraction, simplification, and pure colour. They typically used large, bold brush strokes, and strong, pure, vibrant colours, coming straight from the tube. It was a flat, bright, and colourful form of early Expressionism, similar to Van Gogh and Gauguin, who were both big influences on the artists. Fauves also studied African and tribal artefacts as art, and not simply anthropological curiosities, and used a lot of that imagery in their work.<br />
<br />
<b>The underlying philosophy of the period:</b><br />
These artists loved colour, and found a new way to use it that was more personal, emotional, and intuitive than the Impressionists, with whom they had tired. One can clearly see how they followed the basic idea of Synthetism, combining three concepts of a subject:<br />
<br />
1.<span style="white-space: pre;"> </span>The outward appearance of the subject.<br />
2.<span style="white-space: pre;"> </span>The artist’s personal feelings about the subject (a precursor of Expressionism).<br />
3.<span style="white-space: pre;"> </span>Aesthetic principles.<br />
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Other than this, though, they painted the same things: portraits, landscapes, and still-lifes.<br />
<br />
<b>A bit of historical context:</b><br />
Strictly speaking, Fauvism as an art movement only lasted from 1904-1908, but the artists associated with it continued working for decades. Many of these artists had the same teacher, the Symbolist Gustave Moreau, who emphasized the beauty of pure colours. Fauvist artists took this to heart, working with strong, bold, pure colours, especially the primary red, yellow and blue.<br />
Matisse said of Moreau, “He did not set us on the right roads, but off the roads. He disturbed our complacency.” When Moreau died in 1898, Matisse and Derain took over as leaders of the group. Matisse wrote “Notes of a Painter” in 1908, which was the closest they ever came to a manifesto. Shortly after, the group dissolved.<br />
Although they continued working in the following decades, their styles changed and evolved as they kept on experimenting. They made Fauvism, and then they went on to make new styles and ideas. Metzinger switched to Cubism. Matisse began cutting out coloured paper to make collages, his work always in reaction to his rival, Picasso. Derain and Friesz began to paint more realistically, while Rouault never learned how to paint.<br />
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<b>How was it represented in the other arts – music, architecture, and literature?</b><br />
It wasn’t.<br />
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<b>Was it great?</b><br />
I think some of it was. Matisse was the clear leader of the pack. You can see a love and almost nostalgia for everything he painted, in how he represented things with simple lines and colours, even if his work does appear a bit lazy. There’s a love for life that shows through in most Fauve artworks. It brings back feelings of optimism that came from early Impressionism. It’s like wave after wave of artists kept saying, “Life is grand, so long as you have a new way to paint.” Some critics complain about lack of skill or that the work is too confusing. But, if you look at their earlier works, many (but not all) of these artists knew how to paint realistically, and were simply experimenting.<br />
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<b>Some leading figures:</b><br />
Pierre Bonnard (1867-1947)<br />
Louis Valtat (1869-1952)<br />
Henri Matisse (1869-1954)<br />
Georges Rouault (1871-1958)<br />
Albert Marquet (1875-1947)<br />
Maurice de Vlaminck (1876-1958)<br />
Raoul Dufy (1877-1953)<br />
Kees van Dongen (1877-1968)<br />
Othon Friesz (1879-1949)<br />
Andre Derain (1880-1954)<br />
Georges Braque (1882-1963)<br />
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<b>Some of the best and most famous artworks of the time:</b><br />
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'House in Arcueil-Cachan', Albert Marquet, 1898</div>
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'Luxembourg Gardens', by Matisse, 1902</div>
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'Still Life', by De Vlaminck, 1903</div>
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'Portrait of Matisse', by Derain, 1905</div>
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'Landscape at Collioure', by Derain, 1905</div>
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'The Green Stripe', by Matisse, 1905</div>
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'Bonheur de Vivre', Matisse, 1905-6</div>
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'July 14th at Le Havre', by Dufy, 1906</div>
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'Posters at Trouville', by Marquet, 1906</div>
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'The Dance', by Matisse – 1909-10</div>
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'The Red Studio', by Matisse, 1911</div>
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'Interior with Goldfish', by Matisse, 1914</div>
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'Woman Before an Aquarium', by Matisse, 1921-3</div>
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'Blue Nude No. 1', by Matisse, 1952</div>
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'The Sheaf', by Matisse, 1953</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-20888120689322486922020-07-06T14:10:00.000-07:002020-07-06T14:13:15.113-07:00Art Nouveau (Secesia) (1890-1910)<b>What was it about? What were the goals?</b><br />
This was a trendy style of art and design, inspired by nature, particularly flowers and trees, which lasted from around 1890-1910. It was international, and had many names: Secessionsstil, Jugendstil, Style Jules Verne, Le Style Métro, Art Belle Époque, and Art fin de siècle, Style nouille, Stile Liberty (from the Liberty department store in London), Arte nova, Nieuwe Kunst, and Stile Floreal among others.<br />
The name Art Nouveau comes from a Parisian art gallery, the Maison de l'Art Nouveau, originally owned by Siegfried Bing. The German name comes from the Vienna Secession in 1897, where Gustav Klimt led a rebellion against the Vienna Künstlerhaus, leaving the group and forming his own – the Secessionsstil. So, you can see, this was linked with the Symbolists.<br />
This was one of the only art movements to focus almost exclusively on decoration. The goal was to raise craft making to a fine-art status, to create museum-worthy posters, furniture, jewellery, ceramics, and buildings, and to refashion the world in a new, ornate, modern style. There’s a certain sense of optimism to it all, of creating a better world.<br />
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<b>A bit of historical context:</b><br />
So, this movement started as a rebellion against previous styles. The biggest early influences were the textile designs of William Morris in England, and the work of French architect Viollet-le-Duc. The first Art Nouveau buildings were designed not in Paris, but Brussels in 1893. Belgian architects Horta and Van de Velde designed not only buildings, but the interiors with all the furniture, wallpaper, and carpeting. Guimard brought this style of architecture to Paris in 1895.<br />
Japanese woodblock prints were another influence, as Siegfried Bing founded a magazine to showcase it, Le Japon artistique in 1888. Features borrowed from Japanese art included long, flat figures and subjects, an emphasis in strong contour lines, strong compositions, and bold, bright colours.<br />
Art Nouveau quickly gained international attention and acclaim due to new printing technologies that allowed for the mass printing of magazines, for the first time. It gained its greatest glory at the 1900 Exposition Universelle in Paris, a huge showcase of art and design. By 1910, Art Nouveau fell out of fashion as designers latched onto the next big fad: Art Deco.<br />
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<b>The underlying philosophy of the period:</b><br />
The basic idea was that an artist could make high art from anything, even a chair or a dinner plate. The impulse was to elevate decoration to a high art form––to the realm of a genius. The idea was, it doesn’t matter what you make, but how you make it, and it influenced painting as well. In 1891 the painter Maurice Denis wrote, “I believe that before everything a painting must decorate. The choice of subjects or scenes is nothing. It is by the value of tones, the coloured surface and the harmony of lines that I can reach the spirit and wake up the emotions.”<br />
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<b>How was it represented in other arts – music, literature?</b><br />
It wasn’t. Art Nouveau was primarily a decorative movement of design, architecture, and graphic illustration. There’s not even much painting you could call Art Nouveau – most of these painters are described as either Symbolists or Post Impressionists.<br />
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<b>Was it great?</b><br />
Absolutely, Art Nouveau shows you what happens when someone intelligent takes a really simple concept, like a chair or a fork, and rethinks the look of it to such an extent that he completely reinvents it. Like all Modern art, this was a time of experimentation, so not every experiment succeeded, which is why some people criticize this movement for being too gaudy, meaning overly decorated, and for being at times tasteless, vulgar or kitsch. But, the best of these artists surpassed these hurdles to make truly breathtaking artworks.<br />
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<b>How did Art Nouveau differ from Rococo?</b><br />
Good question. Both these styles featured flowery decoration and asymmetrical designs. Art Nouveau emphasized more elongated, thinner, curving forms, and an intricate weaving of forms similar to how vines and seaweed grow. Pan magazine (1894) described them as, “sudden violent curves generated by the crack of a whip.” Art Nouveau also favoured parabolas and hyperbolas in windows, doors, and other designs, and looked even further into nature for inspiration, especially studying insects.<br />
Art Nouveau also favoured new materials, particularly stained glass and enamel, and prized iron, ivory, and exotic, imported wood, all mixed together, whereas Rococo tended to favour marble, porcelain, gold, and bronze. Rococo was a lighter, delicate variant of the Baroque style – still grandiose, proper, and geometric, only more sophisticated. Art Nouveau felt at times a bit more alien and strange. Geometry was thrown out in favour of long, swaying curves. It was more daring and rebellious. Still, there’s a bit of an echo back to the Rococo spirit of wealth, excess, and optimism for the future. And it was also short-lived.<br />
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<b>Alphonse Mucha’s Slavic Epic:</b><br />
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<b>Some leading figures:</b><br />
Eugène Emmanuel Viollet-le-Duc (1814-1879) (architect)<br />
William Morris (1834-1896) (textile designer)<br />
Otto Wagner (1841-1918) (architect)<br />
Louis Comfort Tiffany (1848-1933) (glass designer)<br />
Théophile Alexandre Steinlen (1859-1923) (illustrator)<br />
Louis Majorelle (1859-1926) (furniture designer)<br />
Alphonse Mucha (1860-1939) (illustrator & designer)<br />
Victor Horta (1861-1947) (architect & designer)<br />
Henry Clemens Van de Velde (1863-1957) (architect & designer)<br />
Henri de Toulouse-Lautrec (1864-1901)<br />
Jules Aimé Lavirotte (1864-1929) (architect)<br />
Archibald Knox (1864-1933) (jeweler)<br />
Félix Edouard Vallotton (1865-1925)<br />
Hector Guimard (1867-1942) (architect)<br />
Aubrey Beardsley (1872-1898)<br />
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<b>Some of the most famous artworks of the time:</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LtOCRiYV7Q3q-JLeJFQ8TTAzNTYUCkE1UczrOWpBP-S7FmP-JZwYl7kxgGIfLUiGUzp7zvl9VaDsFUkB_9-GwPDY-vOB487pacTcgh5O9qyJD2hdrq40Enz33rRkM3Tzr5R-4eCfXGV-/s1600/1894+Horta+-+Tassel+House+stairway%252C+Brussels.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1356" data-original-width="1600" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3LtOCRiYV7Q3q-JLeJFQ8TTAzNTYUCkE1UczrOWpBP-S7FmP-JZwYl7kxgGIfLUiGUzp7zvl9VaDsFUkB_9-GwPDY-vOB487pacTcgh5O9qyJD2hdrq40Enz33rRkM3Tzr5R-4eCfXGV-/s400/1894+Horta+-+Tassel+House+stairway%252C+Brussels.JPG" width="400" /></a></div>
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The Stairway of the Tassel House in Brussels, by Victor Horta in 1894</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveCMagBWbACbHl7eDy_DJfZY8VcGUS4SC_QUZFa0mYNQkWUGcfYbHKu2-DwyrAFD6lenrpQhphKpdXSs7jlYrz_StWWT4VaJqOnWqNbTZFWi-Eq7IB4Hy4EdNLhAHnB8f_D1XfDANECKY/s1600/1896+Mucha+-+Biscuits+LeF%25C3%25A8vre-Utile+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="723" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveCMagBWbACbHl7eDy_DJfZY8VcGUS4SC_QUZFa0mYNQkWUGcfYbHKu2-DwyrAFD6lenrpQhphKpdXSs7jlYrz_StWWT4VaJqOnWqNbTZFWi-Eq7IB4Hy4EdNLhAHnB8f_D1XfDANECKY/s320/1896+Mucha+-+Biscuits+LeF%25C3%25A8vre-Utile+thumb.jpg" width="231" /></a></div>
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'Biscuits LeFèvre-Utile', by Alphonse Mucha, 1896</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPT8uzpi3za_UYQgxSlocH3axkNTbpuwJlHc-FHzVnN3fa3J8iE-28XefW1REDwp6xEhHSYwS6tFaBY_-JY6QjSAtVeaFo6ehpOo7NOnYAd-nMXk3tsS5Ynk3gUg2ZGXpdIy4YovP9GJ_s/s1600/1896+Theophile-Alexandre+Steinlen+-+Le+Chat+noir+thumb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="711" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPT8uzpi3za_UYQgxSlocH3axkNTbpuwJlHc-FHzVnN3fa3J8iE-28XefW1REDwp6xEhHSYwS6tFaBY_-JY6QjSAtVeaFo6ehpOo7NOnYAd-nMXk3tsS5Ynk3gUg2ZGXpdIy4YovP9GJ_s/s320/1896+Theophile-Alexandre+Steinlen+-+Le+Chat+noir+thumb.jpg" width="227" /></a></div>
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'Le Chat Noir', by 1896 Theophile-Alexandre Steinlen, 1896</div>
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'Lilies of the Valley', Fabergé Egg by The House of Fabergé, 1898</div>
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Entrance to the Lavirotte Building, designed by Jules Lavirotte in 1901</div>
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Cobra chair & desk, designed by Carlo Bugatti in 1902</div>
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Church of St. Elizabeth, in Bratislava, designed by Ödön Lechner, built from 1909-13</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-45831345599426056222020-06-22T12:40:00.005-07:002020-06-22T12:40:46.537-07:00Art & Value<b>Monetary Versus Sentimental Value Versus Intrinsic Value</b><br />
There are many ways to describe the value of an object, whether it’s a work of art or anything else. One of the simplest to understand is in terms of money. We understand concepts like 50 cents, five euros, twenty, fifty, a couple hundred, 15,000, 30,000, 75,000, 150,000, etc. We know intimately, what it takes and how long it takes to save up these amounts, and what one typically saves it for: a piece of candy, a nice dinner, clothes shopping, a new car, a really nice new car, a new house…<br />
But, sometimes money isn’t enough to describe value, because money is all about buying and selling ––replacement value – not the love you feel for something that can’t be replaced. This sentimental value can make an ordinary object a treasure––to you. It could be a childhood toy, or blanket, a first car, a favorite hat, or, even an artwork. Sentimental value usually doesn’t raise the monetary value, but there can be exceptions. If you own something that’s rare and famous, and you refuse to sell it, despite many people begging to buy it off of you, then the price can climb dramatically.<br />
But, intrinsic value is different. It’s a value based on quality, immediately recognized and prized by everyone. When an artwork is excellent, people want it, even if they don’t know who made it. It’s not the sentimental love we have based on nostalgia, like your first videogame that no one else cares about, or the teddy bear your mom gave you when you were five. Intrinsic value is what makes art extremely valuable. It’s what makes the artist famous, it develops a reputation as a serious, knowledgeable, intelligent creator. Sometimes intrinsic value doesn’t match with monetary value – if you find an incredible artwork by someone no one’s ever heard of, you might be able to buy it cheap. When this happens, you’re lucky, and you should go for it, because if and when that artist becomes famous, the value will skyrocket.<br />
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<b>Factors to Value:</b><br />
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<b>Quality: </b>So, no matter what other factors come into play, a primary question has to do with the quality of an artwork. People don’t just want a work by that famous painter or sculptor, they want her best, most famous work. They want the one that’s most memorable, with the greatest message and emotional impact, that’s most representative of the artist, the magnum opus. That one will always demand the highest price.<br />
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<b>Taste:</b> This is why prices can rise and fall quickly. Taste represents changing trends. When an artwork is finished, the quality will never change, but people’s appreciation of it can change. Taste is problematic for many reasons. People form their tastes partially by worrying what others will think, and how they will be judged. Many art collectors today see art as a business investment. With many competing art movements to choose from, many collectors argue over the definition and meaning of great art, not as a philosophical issue, but a financial one––they don’t want to lose their money.<br />
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<b>Materials:</b> In terms of value, materials play the smallest role. The quality and name of the artist make the most difference. If an artwork is of high quality, it is worth much more than the cost of the materials. However, materials can affect the price as well. In terms of high prices, few artworks are more popular than oil on canvas. An oil painting will almost always demand more money than a watercolour or drawing by the same artist, or any other work on paper. It’s assumed that paintings allow for a greater range of colour and texture than works on paper, and require more time to finish, and are therefore greater artworks. It’s not necessarily true, but that’s the trend. Acrylic may look like oil, and might sell for as much, but some collectors fear it as a new material, which may degrade or spoil over time. Oil paint is seen as time-tested, having been used by all the greatest artists in history.<br />
A finely crafted sculpture may demand a higher price, but collectors typically prefer paintings because it’s easier to collect and store many of them. Sculptures take up more space.<br />
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<b>Size: </b>Generally, the larger an artwork, the more expensive it is.<br />
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<b>Artistic Fame:</b> This is probably most important in determining price. The same artwork could fetch a wildly different price if made by a famous artist. Many people consider this unfair, without considering all the work and thought that artist did in order to become famous. Anyone has the opportunity to become a famous artist, but only a few ever do so. One can argue that certain artists have become famous for silly and unethical reasons, such as Richard Prince, who took other people’s photos from Instagram, and sold prints for over $90,000. And, it’s true that the art market often helps these artists, as investor-collectors try to find new trends to profit from. But, the main reason why an artist’s name makes the work valuable is because, like any other consumer brand, that name tells you the artist was a dedicated professional, who spent her life making the best art she knew how, demanding the highest quality from herself, and only selling the best of her creations. A great artist won’t put her name on everything she does, only what she feels worthy of selling.<br />
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<b>Dealer Status: </b>There are some art dealers in the world who are famous for their great eye in spotting new talent. If they like your work, they will commission you to make new art for their gallery. If they like your work and showcase it, they can demand very high prices, even if you’re a new artist, and relatively unknown. Dealers like Saatchi have made many young art students into stars, helping them make millions of dollars.<br />
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<b>Originality: </b>Originality is important in art, although this concept can lead artists into making poor choices. Originality must still include quality. A new idea isn’t necessarily a good one. Artists should beware of gimmicks, which are silly, thoughtless ideas, meant more for selling a work than making it great. As an example, there’s an artist who 3D prints miniature sculptures, that you need a microscope to see. They don’t look so nice, but they’re really small. The 20th century saw an explosion of different artistic movements and styles, almost like a race to see who could think of the newest, most original idea. This race is still ongoing, but it’s important to also recognize the originality and subtle differences in the work of the past, between masters in the same genre, such as Monet and Renoir, or Frans Hals and Rembrandt. There are characteristics that make their art unique and original, you just have to look a bit closer.<br />
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<b>Historical Significance: </b>Historical significance is closely linked to originality, as I described above. There are many expensive artworks that have only one claim to fame–– they were the first to come up with the idea. Examples include blank canvases, Duchamp’s “Urinal” sculpture, and Manzoni’s “Artist’s Shit” in a can. When historical significance combines with a really good idea, such as the mystery of Mona Lisa’s smile (one of the first portraits to show any emotion in the sitter’s face) then the work can become priceless.<br />
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<b>Provenance:</b> Of all the factors in raising a price, this is the silliest to me, and it’s mostly about bragging rights. Provenance is the history of who owned an artwork after it was made. If an artwork was highly valued and owned by a famous person, say a politician, or a businessman, then the work becomes even more expensive. People who own it can say, “Hey, this was owned by a Kennedy,” or, “This used to hang in Rockefeller’s office.” It may be silly, but it matters to collectors.<br />
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<b>Methods of Sale</b><br />
How an artwork is sold can also affect it’s price.<br />
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<b>At Auction: </b>This form of sale typically demands the highest price, but it’s risky, because you never know if people in the audience will like a particular work of art. It can also take a lot of time to prepare and advertise.<br />
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<b>In a Gallery: </b>This form of sale is more open for change, based on demand. It’s generally more expensive, because the gallery charges a large commission (usually 50% of the price) for storing and showcasing the art.<br />
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<b>Direct From the Artist:</b> This is usually the cheapest and simplest way to get an original artwork, and you can request commissions as well. Artists are usually desperate for money, and will be happy to get artwork out of their studio.<br />
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<b>On the Black Market: </b>This can be even cheaper, depending on the artwork and people involved, but then you have to deal with criminals. It’s a situation where everyone involved is desperate. The thieves want as much money as possible, but they know they have to be very secretive, or they will be caught by police. And, if the artwork is famous, the buyer may be desperate to save the work. So, the price depends very much on negotiating skills.<br />
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<b>Typical Prices</b><br />
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<b>Works on Paper (Drawings, Prints, Photos, Watercolour):</b> Usually, if a work on paper is of exceptional quality, it can demand between $100-200, even if the artist is unknown, or a student. That’s a base price for an original artwork. If the artist is a professional, known locally, that price could go up to $500-1000, and if the artist is known internationally, they can ask anything for it. People and galleries are often willing to demand ridiculously high prices, and waiting twenty, fifty, even a hundred years before selling it at that price. Having said that, I imagine few works on paper are regularly sold at over $100,000. But, I could very well be wrong.<br />
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<b>Painting on Canvas: </b>A high quality work by a student or unknown artist could fetch between $150-500 for a smaller canvas, and maybe around $500-2,000 for a larger one. The materials involved for such a painting usually cost around $150. You can make a business out of this if you make high quality works on a regular basis, and can find people ready to spend so much for your work. This usually requires finding galleries, who are only interested, if you’ve worked long enough to establish your name–– typically requiring around ten years of constant painting. Famous paintings by internationally renowned artists regularly sell for over $1 million, and some for over $50 million.<br />
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<b>Sculpture:</b> The price of a sculpture can vary greatly depending on material, size, and all the factors listed above. Stone can be very expensive and hard to work with, typically demanding a higher price than wood, clay, or plaster. Any metal that requires casting, such as bronze or silver, also demands a higher price. But again, what’s most important is the artist who makes it, and the quality involved. A great artist can make a masterpiece of clay, whereas a student could ruin a bronze sculpture, and the result would be worthless. I imagine a small, quality sculpture by a student could fetch between $200-1000, depending on the material, and where it’s sold. From a famous artist, we’re again talking about millions.<br />
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<b>Murals: </b>Murals are very hard to sell because they’re large, and they are painted on walls, so they’re impossible to move. Artists are usually commissioned to make them, so the price may have more to do with the cost of materials, and the artist’s living expenses. It’s rare to find an artist so famous that she can demand a high price for a mural. Often, it’s the artist who finds the perfect wall, and begs the owners, or town for permission to paint there.<br />
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-76735037693865259202020-06-21T16:02:00.002-07:002020-06-21T16:09:27.666-07:00Neoclassicism – The French Revolution in Art (1780-1820)Some notes taken from Dr. Beth Gersh-Nesic, Dr. Claire McCoy, Ben Pollitt, Dana Martin, and from Khan Academy.<br />
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<b>What was it about? What were the goals?</b><br />
Neoclassicism was a complete rejection of Rococo – visually, ethically, socially, etc. They wanted their work to be serious and important, not frivolous or silly. It wasn’t supposed to please you, it was supposed to impress you. In design, neoclassical artists rejected graceful ornamentation and asymmetry of form, instead going back to the same stark simplicity and symmetry of the renaissance (i.e. Michelangelo).<br />
Neoclassical art promoted ideas of the time in which it was made, the Age of Enlightenment. This was a time of science and reason, encouraging people to think logically and to observe the natural world in order to learn and better oneself. They emphasized clarity of line, as used by the baroque artist Nicolas Poussin (1594-1665), because they saw line as logical while colour was too emotional. They illustrated stories from ancient Greece and Rome where ethics and reputation mattered, with virtues such as bravery and sacrifice, not simply living for pleasure.<br />
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<b>A bit of historical context:</b><br />
There are a couple simple ways to think of Neoclassicism: that it was a rejection of the monarchy in favour of a democratic revolution, and that it rejected Romantic notions of love and emotions, in favour of enlightenment logic. The problem is, it’s not that simple. For one thing, neoclassical artists had a lot of romantic notions. Secondly, the most important Neoclassical artists started their training under a monarchy, and got money for their training straight from the king, whom they supported. An artist who supported revolution, as David did, had to do so secretly.<br />
He joined the most extreme faction of the revolutionaries, the Jacobins. These were the leaders who decided to kill the king and queen of France. And, when the revolutionaries turned on the Jacobins, David was one of the lucky few they didn’t kill immediately, instead imprisoning him in, of all places, the Louvre. As the French revolutionaries spread their fight across Europe, they found a hero in their new general Napoleon, and he recognized David’s talents, released him, and commissioned him for several paintings, signifying Napoleon’s rise as the new emperor of Europe.<br />
Okay, so why did these artists look to ancient Greece and Rome for inspiration? Well, it had to do with ancient politics and philosophy, notions of nobility and heroics––the Greeks were all about heroes, and David saw Napoleon as “mon héros”. The Greeks and Romans used democracy to grow and expand for hundreds of years. They didn’t suffer kings. Plus, new archaeological excavations in Pompeii made it fashionable. For the first time Europeans could see how the ancient Romans lived, with all the buildings and artwork preserved. The greatest philosopher of the period, Johann Winklemann, was also an archaeologist who studied Greek and Roman art. He’s the one who first divided ancient art into different periods. Wealthy aristocrats went on “grand tours” through Italy to view these ancient wonders. It led to a new movement in neoclassical decorative design and art.<br />
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<b>The underlying philosophy of the period:</b><br />
Like with the Romantics, these artists felt they could teach and inspire people by providing them with morally upright images, telling stories of virtue. Neoclassical artists revered reason and logic in their stories, using heroic examples––people who did the right thing. These artists idealized their subjects (made them look beautiful) because, like the ancient Greeks, they saw a perfectly proportioned, athletic body as a symbol of moral virtue.<br />
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<b>Was it simply copying Michelangelo or Poussin? How was it different?</b><br />
Many of these artists, including David, travelled to Italy to copy from Michelangelo, Caravaggio, and others. Still, it’s fair to say that neoclassical art does hold some differences that distinguish it. Neoclassical artists picked and chose their favourite works from classical antiques, the renaissance, and the Baroque, and blended styles. One can see the anatomy of Michelangelo mixed with the light and shadow of Caravaggio, the costumes of Poussin, and so on. The results usually capture a moment, frozen in time. There’s not the same sense of movement as in Rococo painting. The poses feel like poses. Despite the emphasis on natural figures, few of the works really feel natural––there’s this otherworldly monumentality to the scenes. It’s a form of theatre, of idealization and nostalgia. In sculpture, there’s a higher level of polish and delicacy than is normally present with Michelangelo (excepting the Pieta). The muscles and proportions aren’t so exaggerated. Neoclassical sculptures are lighter, softer, and more refined––like that of Bernini, but without all the action. They’re more introspective.<br />
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<b>Was it great?</b><br />
In general, absolutely. There’s a great deal of power and drama to these artworks. Neoclassical artists had a specific goal in mind, and they achieved it. You can argue over the merits of their ideas–– patriotism over love, idealizing the tyrant Napoleon––and you can criticize the work itself as cold, sterile, frozen, unnatural, unnerving, sometimes cloying, even silly. But, even at its most ridiculous (Napoleon as the god of war) it’s still technically amazing. And, it’s worth noting how evocative their works can be, despite favouring reason over emotion. There is also a great selection of neoclassical sculptures by lesser known artists at the Louvre that is underrated and worth studying.<br />
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<b>How was it represented in other arts?</b><br />
Neoclassical architecture was immensely popular all across Europe and Britain, even coming to America (Canova even carved a sculpture of George Washington). Greek architecture was used to design homes, churches, museums, and so on. In Paris, Napoleon commissioned the Triumphal Arch and the Pantheon in this style, signifying his new empire. Besides this, the movement spread into furniture design (often labelled as ‘empire style’), Wedgwood ceramics, fashion, etc. Neoclassical literature was a big hit, with satirists like Jonathan Swift and Alexander Pope, who referenced classical stories in their works.<br />
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<b>Some leading figures:</b><br />
Angelica Kauffman (1741-1807)<br />
Jacques-Louis David (1748-1825) – The leading figure of the movement<br />
Antonio Canova (1757-1822) – sculptor<br />
Antoine-Jean Gros (1771-1835)<br />
Jean-Auguste-Dominique Ingres (1780-1867)<br />
Jean-Louis Ernest Meissonier (1815-1891)<br />
Frederic Leighton (English, 1830-1896)<br />
Lawrence Alma-Tadema (English, 1836-1912)<br />
Godward, John William (English, 1861-1922)<br />
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<b>Some of the most famous artworks of the time: </b><br />
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'Oath of the Horatii', by Jacques-Louis David, in 1785.</div>
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This painting shows three brothers pledging to fight Rome’s enemies, the Curatii of Alba. Rather than go to war, Rome and Alba chose to send three champions each to fight instead. Of the three brothers, only Publius survived, killing all three Curatii. To the right, the women of the Horatii weep – their family had been friends with the Curatii, and one sister, Camilla was engaged to one of the three enemy brothers. After the battle, Camilla cursed Rome so that Publius, in anger, killed her himself. The painting represents the importance of duty and loyalty over personal feelings––it’s supposed to be a virtue.<br />
Although this scene had been painted before, this new style was revolutionary. The modelling of figures is clear and precise. The wispy Rococo brushstrokes are gone––you can’t even see brushstrokes. The colours are muted, the poses of the men are straight and rigid as they, and the rest of the scene stand in flat profile, like a Roman frieze. The composition is divided into three arches, symbolizing the three brothers, with the vanishing point converging on the swords in the centre. The work emphasizes order, balance, and stability, a visual metaphor to explain the importance of the characters defending their home.<br />
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'The Death of Socrates', by Jacques-Louis David, 1787</div>
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Here, Socrates has been found guilty and his punishment is to drink a cup of poison. He could have fled, but chose to drink the cup in order to teach a lesson to his students, who sit with him, on the importance of honouring the law. In this painting, Socrates doesn’t fear death, believing in an afterlife. David changed this story a bit to add drama. He removed many people from the scene to make it simpler. While Plato was a young man at the time, he’s portrayed here as the old man sitting at the foot of the bed.</div>
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'Psyche Revived by Cupid’s Kiss', by Antonio Canova, 1787</div>
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This is a scene from The Metamorphoses of Apuleius, in which Cupid brings Psyche back to life with a kiss. It’s considered one of the greatest neoclassical sculptures.</div>
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'The Death of Marat', by Jacques-Louis David, 1793.</div>
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Marat was a book publisher who supported the French revolutionaries. He was killed by an assassin in his bath––a visitor who had asked to interview him, but then took out a knife and stabbed him. Her name was Charlotte Corday, and, although she also supported the revolution, she did not follow Marat’s extreme views. During her trial, she called him a monster.</div>
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David’s painting of the event uses Christian symbols to portray Marat as a martyr. The pose mimics many Pieta depictions of Christ. David emphasized the knife wound, similar to that in Christ’s side during the crucifixion. In this image, Marat is idealized. He didn’t look this good in real life, he had a skin disease that required medicinal baths. The setting and drapery in the room is simple. There is nothing ornate to suggest he was rich or materialistic. The way he was painted is clear and sculptural, giving a sense of stillness, and nobility, similar to Greek sculpture.</div>
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This work isn’t simply a memorial to Marat, it’s a call for a new social order, with a new contemporary story, a new secular martyr (the revolution sought to do away with the church), and even started a new calendar. In David’s signature, we don’t see 1793, but “year two” as in the second year of the revolution.</div>
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'Napoleon Crossing the Alps', by Jacques-Louis David, 1800-1.</div>
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This painting shows Napoleon on horseback, leading his soldiers up a mountain. The work commemorates Napoleon’s victory over Austria at the battle of Marengo. The horse rears on two legs as Napoleon points, telling us, the viewers, which way to go. He and his horse fill the canvas, dominating the view. The strong diagonal lines of the horse and mountain are counterbalanced by the clouds on the right. Napoleon’s name is carved into a rock, next to Hannibal and Charlemagne––a list of famous commanders who likewise led armies over the Alps and on to victory. It’s a dramatic image of a powerful emperor, riding a fiery horse over dangerous terrain. It’s also a lie. Napoleon actually followed his troops over the Alps, a couple days later, and rode in on a mule (much more practical for rough terrain). This painting is exactly the kind of propaganda Napoleon loved. This painting was first commissioned by the Spanish King Charles IV, but Napoleon loved it so much he ordered three more, to be hung in different parts of his empire. David completed a fifth to hang in his studio.</div>
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'Cornelia, Mother of the Gracchi, Presenting her Children as Her Treasures', by Angelica Kauffman, 1785.</div>
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This scene of a mother presenting her children serves as a moral lesson for the viewers. A visitor has come to show off her latest present, a gold necklace. She then asks Cornelia if she has anything comparable. Cornelia answers by presenting her children. Cornelia is a role model of virtue, and as a result her children, Tiberius and Gaius, grew up to be successful politicians and champions of the common citizen.</div>
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'The Repentant Magdalene', by Antonio Canova, 1794-6.</div>
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This sculpture shows Magdalene living alone as a hermit, dressed in rags, after the death of Jesus. Her pose, clothing, and body show her not as a calm, peaceful, idyllic figure, but as a humble, grieving, and suffering woman. The work was originally made in Venice, but a politician there sent it to Paris as a gift to Napoleon. It was very popular, partly as it showed France’s return to the Catholic church, after a decade of bloodshed as the revolutionary government separated from the church, took back all the church’s lands, and killed countless priests and nuns. The sculpture coincided with a new pact between Napoleon and the Pope. This Magdalene was also popular for her grief at the loss of Jesus, a pain and sorrow many French citizens felt, for the loss of so many loved ones, first during the revolution, and then the Napoleonic wars.</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-64082569797681678992020-06-21T15:51:00.000-07:002020-06-21T15:51:06.184-07:00Orientalism (1800-1870) - Romanticism Goes On The Road<b>What was it about? What were the goals?</b><br />
The art of eastern (oriental) cultures, was a major influence in European taste and style, becoming a popular genre of painting in the 19th century, as part of the Romantic movement. Oriental refers to any culture outside of Europe that was considered exotic, particularly in the Muslim and Asian worlds. Many European artists travelled to the orient to find subjects to paint, going to North Africa, the Middle East, and as far as India, China, and Japan. One of the first was Jean Baptiste Vanmour (French, 1671-1737) who lived and painted in Turkey.<br />
Oriental painting is unique for several reasons:<br />
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1. Practically all Orientalist painters were academically trained in composition and human anatomy, and displayed a high level of technical skill and realism.<br />
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2. It's often hard to see a personal style in many Orientalist works. It's hard to tell by looking, who painted what, unless you know the artists really well.<br />
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3. There's a sense of timelessness to Orientalist works. With little reference to modern technology or influences, these artists presented a nostalgia for older times and traditions.<br />
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<b>A bit of historical context:</b><br />
The Romantics were not the first to portray Muslims and other ethnicities. There are examples from medieval times up to the Baroque. But, Romantic Orientalists invested whole careers to the notion of travelling and presenting different, exotic people and their ways of life. Their works became fashionable, and many Europeans, including Lord Byron commissioned portraits in oriental dress. The Pre-Raphaelite, William Holman Hunt, travelled the orient in order to study the clothing and architecture, to use in his paintings of the Bible, to give the scenes a more realistic interpretation.<br />
Like all genre names, the term Orientalist began as a critic's joke, but soon stuck. Orientalist painters took pride in their subjects, even forming the Society of Orientalist Painters in 1893, with Jean-Léon Gérôme (the greatest Orientalist painter) as their first president. The golden age of Orientalism is over, although there are artists like Scott Burdick who paint some works in this genre today––no art genre ever really ends.<br />
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<b>The underlying philosophy of the genre:</b><br />
So, like with all Romantic endeavours, there’s a certain amount of idealism here, and a certain amount of failure. The ideal comes from artists who wanted to see and learn about the world beyond their borders, to get to know other societies and traditions and compare them to their own, contemporary, “normal” lives. They wanted to better know themselves by seeing how they might be different if brought up in another environment. And, they wanted to find a new aesthetic based on the importance of tradition and stability, of strict rules and codes.<br />
The failure comes from (sometimes) misrepresenting the places they painted, while eroticizing and fantasizing about their subjects, all of which came from varying amounts of prejudice.<br />
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<b>What makes it controversial?</b><br />
Many today see signs of arrogance and discrimination in European Orientalist art and studies. One scholar, Edward Said, wrote a famous book on the subject, Orientalism (1978), explaining how Orientalism was a western invention, based on prejudice and outsider-interpretation. He claimed it portrayed a fictional world, rather than the real one. He said that writers, particularly in French literature, showed the orient as static, unchanging, and undeveloped, while the west was rich, rational, flexible, and superior. Said complained that this prejudice had political ramifications. It, “. . . enables the political, economic, cultural and social domination of the West, not just during colonial times, but also in the present.”<br />
It’s true that many Orientalist works feature harem scenes, slave markets, and nudity. At the same time, it’s also worth noting that, while these great artists were travelling the orient in search of beautiful, traditional scenes to paint, other westerners were looking to profit in less ethical ways, through exploitation of the people, their history, and their resources.<br />
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<b>Was it great?</b><br />
Technically, compositionally, yes it was great––absolutely. These were some of the greatest academically trained artists in history. So far as intentions and subject matter, I would say the work is still great, although it’s debatable how you were supposed to look at the works at the time, versus how you might consider them now. Take a painting of a slave market, for example. There’s a pale, beautiful, naked woman presenting herself shyly to a group of (older) men. Why was this painted? Was the artist concerned with the rights of women in the Middle East? Was slave trade like this still going on at the time? Was he trying to portray the people in that region as sexist and backwards? Or was it a lurid fantasy for European men to wonder at this lifestyle where pretty young women could be bought and sold like animals? It can be hard to say if the artist was criticising or promoting the idea. The best of these works confront the viewer with these same questions, and treat the figures with an air of respect and dignity, naked or not.<br />
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<b>How was it represented in the other arts – music, architecture, and literature?</b><br />
Besides artists, many writers, linguists, and historians also traveled to these regions, becoming "Orientalist scholars." Oriental architecture has been fashionable in Europe at different times. Examples include the Royal Pavilion in Brighton, England, the Red Mosque in Schwetzingen, Germany, and the Chinese Tower in Munich.<br />
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<b>What’s an Odalisque?</b><br />
This is a French word for a Turkish chambermaid. Oda means room (or chamber) in Turkish. But, the word came to mean a concubine of a sultan. An odalisque is basically a slave woman.<br />
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<b>Some leading figures:</b><br />
Jean Baptiste Vanmour (French, 1671-1737)<br />
Antoine-Jean Gros (French, 1771-1835)<br />
Jean Auguste Dominique Ingres (French, 1780-1867)<br />
Eugène Delacroix (French, 1798-1863)<br />
John Frederick Lewis (English, 1804-1876)<br />
Jean-Léon Gérôme (French, 1824-1904)<br />
William Holman Hunt (English, 1827-1910)<br />
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<b>Some of the most famous artworks of the time:</b><br />
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'Bonaparte Visiting the Plague Victims of Jaffa', by Antoine-Jean Gros, 1804</div>
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Antoine-Jean Gros was a neoclassical painter and student of David. Napoleon commissioned him to paint this to show his support for his soldiers, some of whom contracted the plague while in Syria. It was also supposed to disprove a rumour that he had given these dying men fatal doses of opium – as if a painting could ever prove that! Apparently, he suggested this as a mercy killing to the troops, but the head doctor refused.</div>
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The work borrows several ideas from David’s Oath of the Horatii, such as the three arches above, each framing a different part of the story, and the stark lighting and muted colours. Napoleon stands in the middle, with the brightest light falling on him. He touches one of his sick soldiers, signifying his fearlessness and devotion to his men (touching a plague victim was considered suicide at the time). In the background, we can see the defeated city of Jaffa with its walls surrounded in cannon smoke and a French flag flying above.</div>
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'Murat Defeating the Turkish Army at the Battle of Abukir', by Antoine-Jean Gros, 1806</div>
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This painting tells the story of how the French defeated the Turks in Abu Qir, Egypt, in 1799. It was a great victory, where the French forces were able to drive their enemies into the sea, killing many of them as the Turks tried to swim to their British allies, whose boats could not get close due to shallow waters. Over 4,000 Turks drowned, and they suffered over 9,000 casualties to the French 820. Murat was the cavalry general, and was able to personally capture the Turkish commander by riding into his tent. This commander shot Murat in the jaw, nearly killing him. Luckily, he was operated on and was fine the next day, receiving a promotion.</div>
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'The Massacre at Chios', by Eugène Delacroix, 1824</div>
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This painting depicts a dark time in Greece’s long struggle for independence from the Ottoman Empire. In 1822, some Greeks went to the island of Chios, attacking a small Turkish outpost. In response, Turkish soldiers went to the island and killed over 50,000 civilians, over a period of four months, including any children under three, any men over 12, and any women over 40. About 20,000 people were able to flee. The remaining 50,000 people were taken into slavery. Delacroix painted this as part of a wave of protest and anger that spread throughout Europe, leading to their support of Greece, and its eventual success in securing independence in 1830. If you look at the work, you’ll see there are no heroes here to save the victims from their slaughter. There was only suffering and hopelessness.</div>
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'Greece, on the Ruins of Missolonghi', by Eugène Delacroix, 1827</div>
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This is another work where Delacroix shows the plight of the Greeks as they suffered a slaughter, this time after a long siege in the town of Missolonghi. Around 8,000 Greeks died. Greece here is symbolized by the kneeling woman in front, who uses common Christian iconography, such as her blue and white dress (after the Virgin Mary).</div>
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'The Turkish Bath', by Jean Auguste Dominique Ingres, 1862</div>
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This is a painting Ingres made at the age of 82. It depicts a harem of white young women, lounging nude in a large bath house. Ingres made it, apparently, as a way to show he was still virile, despite his age. Having never travelled to “the orient”, Ingres’s work doesn’t try for any realistic depiction of a Turkish harem, and is instead a Eurocentric male fantasy.</div>
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'Solomon’s Wall in Jerusalem', by Jean-Léon Gérôme, 1867</div>
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This painting shows people praying at the Western Wall, also called the Wailing Wall in Jerusalem. This is all that stands of King Herod’s Second Temple, built between 516 BC and 70 AD, after the Babylonians destroyed Solomon’s Temple in 586 BC. So, this isn’t really Solomon’s Wall – it’s Herod’s. But, it’s in the same place. Much of this temple was destroyed by the Romans in 70 AD, in retaliation for the Jewish revolt. A Third Temple has never been built.</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-12699168606283788632020-06-21T09:08:00.006-07:002020-08-20T12:07:26.155-07:00The Pre-Raphaelite Brotherhood (1845-1890)Some notes taken from Dr.’s Rebecca Jeffrey Easby, Chloe Portugeis, Steven Zucker, and Beth Harris, all from Khan Academy and Jason Rosenfeld from the Tate Gallery.<br />
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<b>What was it about? What were the goals?</b><br />
This was a British art movement, started by three artists in 1848, that protested against the Royal Academy in London, and the high renaissance art of Raphael and others, favouring instead earlier works like that of Paolo Ucello, Piero della Francesca, and others. Pre-Raphaelite artists wanted to go back to before Raphael, and develop art in a different direction, ignoring chiaroscuro, and favouring large flat areas filled with patterns, details, and brilliant colours. They also imbued their paintings with symbolism. Every object included takes on a second, hidden meaning.<br />
They developed a wet white-ground technique, and took their canvases outdoors to copy as many details from nature as possible. They were following the art critic John Ruskin’s advice to “go to nature in all singleness of heart . . . rejecting nothing, selecting nothing, and scorning nothing.”<br />
The three core members, Hunt, Rossetti, and Millais recruited four more artists into their brotherhood, a kind of secret club, and then sent artworks to the Royal Academy’s exhibits in 1849-50. At the same time, they produced an art magazine called The Germ. Critics, including Charles Dickens, hated them. Rossetti was so upset he never exhibited his art publicly again. But, luckily, John Ruskin supported them, allowing them to gain respectability.<br />
The group quickly fell apart as Hunt and others moved away, and then Millais joined the Royal Academy in 1853, which Rossetti saw as a betrayal. Millais became very popular and eventually became president of the Royal Academy.<br />
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<b>A bit of historical context:</b><br />
While the art of this short-lived brotherhood may look quaint and old-fashioned today, it was a forerunner for other acts of rebellion that would lead to modern art. A small group of artists rebelled against the establishment, developed a new aesthetic and new techniques, and won, taking over the Royal Academy. It was an inspiration for the Impressionists and other later movements. Also, since Rossetti and other Pre-Raphaelites later supported the Aesthetic Movement, or “Art For Art’s Sake”, this was an important stepping stone on the road to modern art – where artists abandoned the idea that art should be limited to illustrations of famous stories that promote good morals.<br />
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<b>The underlying philosophy of the period:</b><br />
Their belief in the importance of beauty above all else led to the “aesthetic movement”, which protested the moralizing of both romantic and neoclassical painting. A pretty picture should be enough. It was a radical idea during the proper and prudish Victorian era. Rossetti, Burne-Jones, and Whistler were the most prominent artists of this movement. While Ruskin had supported the Pre-Raphaelites, he rejected this notion, feeling that art should be moral and useful, promoting truth. He hated Whistler.<br />
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<b>How was it represented in the other arts – music, architecture, and literature?</b><br />
These movements were small with few parallels in other arts. The only notable exception was furniture design, with “aesthetic” furniture consisting of ebony stains, gilding, and Asian influences.<br />
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<b>What made it great?</b><br />
These artists were extremely skillful and had great vision. They made works that captured the imaginations of their viewers, filling each work with both detail and mystery. Since many of their works involved figures with no stories, it was up to the viewer to try and create one. These artists knew how to create a mystery, simply from the inscrutable expressions of their subjects’ faces.<br />
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<b>The three founding members:</b><br />
William Holman Hunt (1827-1910)<br />
Dante Gabriel Rossetti (1828-1882)<br />
John Everett Millais (1829-1896)<br />
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<b>Other Pre-Raphaelites:</b><br />
Ford Madox Brown (1821-1893)<br />
Charles Allston Collins (1828-1873)<br />
John Roddam Spencer Stanhope (1829-1908)<br />
Sir Edward Burne-Jones (1833-1898)<br />
William Morris (1834-1896)<br />
John William Waterhouse (1849-1917)<br />
John Maler Collier (1850-1934)<br />
Kate Elizabeth Bunce (1856-1927)<br /><a href="https://100greatestwomenartists.blogspot.com/2020/08/12-eleanor-fortesque-brickdale-1872-1945.html" target="_blank">Eleanor Fortesque-Brickdale</a> (1872-1945)<br />
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<b>Some of the most famous artworks of the movement:</b><br />
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'Isabella', by John Everett Millais, 1849</div>
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Millais painted this when he was just nineteen. It was inspired by the San. Benedetto Altarpiece by Lorenzo Monaco. If you look at Isabella on the right, with her love, Lorenzo, their pose mirrors that of two saints in Monaco’s work. The story of Isabella and Lorenzo comes from Bocaccio’s Decameron, a book of short stories written in 1353, but it was re-popularized through a poem written by John Keats in 1818. Isabella was the sister of two wealthy, Florentine merchants. Lorenzo was a clerk working for them. He and Isabella fell in love, and you can see at this party, he stares at her intensely. Her brothers noticed too, and decided to take Lorenzo into the woods, kill him, and bury him. Lorenzo’s ghost came back to Isabella, and led her into the forest where he was buried. She dug him up, but he was too heavy to lift. So, she cut his head off and took it home, where she buried it in a pot of basil. She loved the plant very much. You can see her callous and pretentious brothers on the left side, one hurting the dogs, while the other examines his wine.</div>
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'Ophelia', by John Everett Millais, 1852</div>
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This shows the death of Ophelia, the love of Hamlet in Shakespeare’s play. She’s drowned herself in a river. The detailed scene doesn’t detract from the main figure––it’s as if nature herself has provided a floral display for her funeral. The violet flowers around her neck symbolize her faithfulness and chastity. This work was painted outdoors. In fact, Millais was threatened with a law suit for walking through a farmer’s field and destroying the hay. His model lay in a bathtub for hours, and eventually caught cold, so Millais had to pay her doctor’s expenses. The result of all this is one of the most famous Pre-Raphaelite paintings.</div>
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'Our English Coasts (Strayed Sheep)', by William Holman Hunt, 1852</div>
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This painting was quite unique when it was painted for its asymmetrical composition, showing so little of the sky. Painted outdoors in Hastings, it is filled with colour and details and captures the sunlight beautifully. Surprisingly, there’s a hidden political message here, referring to the dangers of France’s new Napoleon III and England’s largely unguarded shores. There is no shepherd in the work, and the sheep, symbolizing the British, are alone on dangerous ground. That it was painted in Hastings was no accident, as it was on this shore, in 1066, that Britain lost in battle to the invading Normans.</div>
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'Work', by Ford Maddox-Brown, 1852-65</div>
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This work offers a snapshot of different social classes in Victorian England. Working-class labourers repair the road, while poor orphans play down below in the foreground. On the left, two upper-class women walk by, one offering a religious pamphlet to the workers. In the background, two rich men ride on horses. The two men on the right were Maurice and Carlyle, whom Brown referred to as “brainworkers”. They were writers. This work meant to identify the plight of the working class, their nobility, and the need for change, for better working rights and conditions.</div>
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One reason this work took so long to paint: Ford brought his canvas out to the middle of the street in Hampstead every day to work on it. He wanted every detail to be true to life. Although considered a Pre-Raphaelite, his works show a more contemporary interest, particularly in how England was changing.</div>
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'The Awakening Conscience', by William Holman Hunt, 1853</div>
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This painting portrays a “fallen” young woman, who is having a secret, and improper affair with this man. We know this because she is not fully dressed, nor is she wearing a wedding ring – her situation is also symbolized by the cat playing with a bird under the table. Luckily, the song the man plays on the piano (Thomas Moore’s Oft on the Stilly Night) reminds her of her childhood and causes her to jump up, finding a newly awakened conscience, so that she will leave the man and save her reputation. The idea of a woman falling into sin and prostitution was a popular subject at this time, but this picture is unique in offering her redemption, whereas most women were ostracized by their families and died young, in the cold. Hunt was a religious man, and presented morals in his work.</div>
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'Nameless & Friendless', by Emily Mary Osborn, 1857</div>
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This work shows a young painter with her little brother, in an art dealer’s shop. He’s looking at one of her works, appraising it, and considering whether to try selling it. As the two siblings are dressed in black, they’re likely orphans. Several clues indicate she will be rejected. While the dealer has a free chair, he doesn’t offer her a seat. A similar boy and girl walk out the door behind them, into the rain, likewise rejected. Most of the perspective lines in the work point to the door. The title of the work also suggests rejection. This work shows the hard times women artists had being taken seriously in a male-dominated art world.</div>
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'The Lady of Shalott', by John William Waterhouse, 1888</div>
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This work was seen as a Pre-Raphaelite revival. Waterhouse was inspired by them, viewing a retrospective of their works in 1886. The Lady of Shalott was actually the subject of two poems by Alfred Lloyd Tennyson, a favourite of the Pre-Raphaelites. In the story, the young woman is cursed, never allowed to leave her room nor look out the window. Instead, she looks out through the reflection of a mirror, and weaves what she sees into a tapestry. One day, she spies Sir Lancelot through her mirror, and falls in love. So, she decides to leave her castle and hop in a boat on a river down to Camelot to be with him. Unfortunately, she dies in her boat along the way, fulfilling the curse.</div>
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One way in which this work differs from the Pre-Raphaelites is in Waterhouse’s looser, more impressionist brushwork, leaving many details unfinished. This “Frenchification” of English artists was a growing trend that worried English critics.</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-47385956146343220112020-06-18T14:01:00.001-07:002020-06-18T14:01:49.636-07:00The French Barbizon School – France’s Other Impressionists (1830-1880)Some notes taken from Dita Amory for the MET Museum, and from the Walters Museum.<br />
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<b>What was the Barbizon School? What were its goals?</b><br />
This was a group of artists (not a formal school) who met and worked in the village of Barbizon, due to all the unrest (and cholera) in Paris during the 1848 revolution. These artists were connected by a common style, and by their interests, which lay somewhere between Romanticism and the newly emerging Realism. They were inspired by the English painter Constable, who painted outdoors and made nature his main subject, not merely a backdrop to the action; Constable showed his works in the 1824 Salon de Paris. Barbizon artists wanted to portray the French landscape with the same energy and enthusiasm. Since they were living in the countryside, they also began painting peasants and scenes of village life. Their common style consisted of loose brushwork, soft forms, and an earthy colour scheme.<br />
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It’s funny to see how each artist focused on different aspects of village life around them, almost like they were fighting over territory. Troyon painted cows. Jacque painted sheep. Dupre focused on trees and skies. Rousseau painted panoramic landscapes. Millet focused on peasants and farmers. Daubigny painted rivers, even building a floating studio he called his “little box”. You can imagine them at a table arguing over who would paint what.<br />
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<b>A bit of historical context:</b><br />
This is a lesser known group of artists, in between major movements. They were friends with romantic painters, like Corot who came to visit, and the later impressionists who also came to Fontainbleau to paint. When you see their works and loose brushwork, you see that the impressionists weren’t quite so revolutionary after all. You’d have a hard time telling apart some of their works, and you might even say that some of the Barbizon painters became impressionists themselves, especially as they also painted outside.<br />
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<b>The underlying philosophy of the school:</b><br />
These artists wanted to celebrate the nature and countryside of France. They also wanted to preserve it, campaigning for the government to create nature preserves in their Fontainebleau area.<br />
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<b>How was it represented in the other arts – music, architecture, and literature?</b><br />
It wasn’t.<br />
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<b>Was it great?</b><br />
Some of the works of these artists are truly breathtaking, especially their greatest pieces that were meant for Paris salons. Then, there are also a lot of sketches and less inspiring works. This is a point in art history where collectors started saving everything, the good and the bad, so it’s a bit like seeing an artist’s dirty laundry. Romantic poets of the time were treated similarly––every little scrap of poetry was saved. Barbizon painters make a good case study in landscape composition with common mistakes and how to fix them. Some people might complain of repetition, but if you love nature, these artists deliver.<br />
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<b>Some leading figures:</b><br />
Narcisse Virgilio Díaz de la Peña (1807-1876)<br />
Constant Troyon (1810-1865)<br />
Jules Dupré (1811-1889)<br />
Théodore Rousseau (1812-1867)<br />
Charles-Emile Jacque (1813-1894)<br />
Jean-François Millet (1814-1875)<br />
Charles-François Daubigny (1817-1878)<br />
Henri-Joseph Harpignies (1819-1916)<br />
Jeanna Bauck (Swedish, 1840-1926)<br />
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<b>Some of the greatest artworks of the school:</b><br />
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'The Little Bridge in the Forest', by Théodore Rousseau, 1828-30</div>
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Painted between the ages of sixteen to eighteen, this highly detailed and brightly coloured forest scene was one of his first works to appear in the Paris Salon, where he would struggle for acceptance for the next two decades. Between 1836-41 he was rejected nine times. The Neoclassical jurors rejected him as a romantic, but he was popular in the press. Note how his style will change over time.</div>
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'The Outskirts of Granville', by Théodore Rousseau, 1833</div>
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This wild landscape, painted in great detail, was another of his earlier works, and shows a great deal of John Constable’s influence. One can see a pair of children walking along a road while a farmer stops by a pond to let his horses drink. But these figures are small and far away. The main subject is the wild landscape with hills and rocks and scraggly trees.</div>
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'Crossroads at the Eagle's Nest, in the Forest of Fontainebleau', by Charles-François Daubigny, 1843-44</div>
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This work shows one of Daubigny’s first works after moving to Barbizon, before his style changed. Here, he works with the same colours and attention to detail as Rousseau. We see a dark, shadowy forest scene with a man and his dog walking along a road. We get a glimpse of a sunny clearing beyond the trees. Daubigny came from a family of painters and was a friend to Corot, Monet, and Cezanne.</div>
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Landscape near Crémieu, by Charles-François Daubigny, 1849</div>
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Another of Daubigny’s earlier works, this painting again demonstrates his attention to detail, and his love for capturing natural sunlight. This work shows a horse carrying a heavy load along a rocky road, while behind him, on a dramatic cliff, we see the wall of a town, and a bright clear sky above. Stark shadows along the road and under the trees highlight the intense beat of the sun.</div>
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A Cow in a Landscape, by Constant Troyon</div>
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This work is a study of Troyon’s favourite subject, cows. Note the difference in the highly detailed cow, and the loose, blurry background, which is there more for contrast than anything else. Note how the dark trees on the left bring out the brightness of the cow’s white back, while the light green trees around its head make a kind of halo effect, its bright white face and dark features creating a focal area of high contrast.</div>
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Dogs in the Chase, by Constant Troyon, 1853</div>
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Troyon developed greatly after travelling to the Netherlands to paint in 1846. He was influenced by the works of Potter, Cuyp, and Rembrandt, and studied them extensively. When he came back to Barbizon he made a name for himself as an animal painter. This study of two white dogs shows a painterly brushwork reflecting his years of childhood working as a porcelain painter at Sevres.</div>
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Fox in a Trap, by Constant Troyon, 1855-65</div>
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This study shows a fox howling in pain, its paw caught in a hunter’s trap.</div>
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The Big Valley of Optevoz, by Charles-François Daubigny, 1857</div>
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This work shows Daubigny’s progress after fourteen years at Barbizon. The work, showing a river with a high bank on the right, and a few small trees on the left, shows how his brushwork loosened up. There’s still attention to detail, but it feels more open and painterly. Ironically, the work feels more realistic than his earlier, more detailed works, due to his direct observation of the sky, and capturing the colours exactly as one would see them in real life. The work mirrors what you would expect from any of the early impressionists.</div>
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Forest Interior, by Théodore Rousseau, 1857</div>
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This work exemplifies Rousseau’s style after working many years in Barbizon, after he gave up on salon acceptance and went off in his own direction. It’s hard to believe this is the same man who painted The Little Bridge in the Forest, thirty years earlier. The colours and impasto brushwork are so wild and expressive, it looks post-impressionistic. Still, impressionists would have complained of his use of black.</div>
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The Sheepfold, Moonlight, by Jean-François Millet, 1860</div>
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This work shows a window into the solitary life of a shepherd as he gathers his sheep at night. Millet said, “Oh, how I wish I could make those who see my work feel the splendours and terrors of the night! One ought to be able to make people hear the songs, the silences, and murmurings of the air. They should feel the infinite. . . .”</div>
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'Starry Night,' by Jean-François Millet, circa 1850-65</div>
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I'm just showing this in case you thought Van Gogh came up with this idea all by himself. Millet painted this at least twenty years earlier.</div>
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Spring, by Jean-François Millet, 1868-73</div>
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This work was part of a series Millet worked on, illustrating the seasons. He painted a work devoted to summer, but died before he got to winter. This work includes all the important elements of spring: stormy weather and rain leading to fresh green grass and blossoming trees. A solitary farmer in the back represents man’s proper relationship with nature, respecting it while building his road, orchard, and fences.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNt34cT2fQCdpFXIhXim271xIhc3TkUC-cWAyOls9KA0iHQkBZ7iPVWuSVoXypqYk32sUcj8uut0C3_E-kFl9lQQNjm8KiXpgNLwdNsvlpUmDTlVUbn3kytCGBCMpsxs-2uQCUqhCTKlKg/s1600/1870+Dupre+-+Old+Oak+1+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1170" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNt34cT2fQCdpFXIhXim271xIhc3TkUC-cWAyOls9KA0iHQkBZ7iPVWuSVoXypqYk32sUcj8uut0C3_E-kFl9lQQNjm8KiXpgNLwdNsvlpUmDTlVUbn3kytCGBCMpsxs-2uQCUqhCTKlKg/s320/1870+Dupre+-+Old+Oak+1+web.jpg" width="320" /></a></div>
<div>
<div style="text-align: center;">
The Old Oak, by Jules Dupré, 1870</div>
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<div>
This work exemplifies many of Dupré’s paintings, with a loose, impressionist style, focusing on singular trees, with an emphasis on the shifting warm and cool colours of the scene.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQ1H5M6kjUE4Ie42b6sdhyphenhyphenbzhlgN3_FrZ6AbBSqK_JQaK0iShu7CYztdgqjRdCLsXmKS_wDUbiZo0lDxhsVVa_vWiVFqI2mCmF_S6aroC5xzx1-VoyADsza_Q7CGlbZNHo-lQTgyzrItO/s1600/1880+Jacque+-+Shepherd+%2526+His+Flock+3+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="724" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVQ1H5M6kjUE4Ie42b6sdhyphenhyphenbzhlgN3_FrZ6AbBSqK_JQaK0iShu7CYztdgqjRdCLsXmKS_wDUbiZo0lDxhsVVa_vWiVFqI2mCmF_S6aroC5xzx1-VoyADsza_Q7CGlbZNHo-lQTgyzrItO/s320/1880+Jacque+-+Shepherd+%2526+His+Flock+3+web.jpg" width="257" /></a></div>
<div>
<div style="text-align: center;">
A Shepherd and His Flock, by Charles-Emile Jacque, 1880</div>
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<div>
Jacque painted many works of sheep. This is probably his best, with the stark light showing off his mastery of detail in the textures and colours of these sheep. A shepherd in the mid ground leads a mass of sheep to the right, towards the viewer. They’re in a wide open landscape. A grey day that threatens to rain, while a bit of sun peeks through, hitting the man and the sheep around him. His light colours behind the dark grey sky highlight him as well.</div>
</div>
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<br /></div>
T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-32318556787756926502019-03-29T23:33:00.001-07:002019-03-29T23:33:17.018-07:00A History of Disney<br />
<div class="MsoNormal">
<span style="font-family: Webdings; text-indent: -0.25in;">®<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><span style="text-indent: -0.25in;">Disney
started in 1923 as the Disney Brother's Cartoon Studio, headed by Walt and Roy
Disney. </span></div>
<div class="MsoNormal">
<span style="text-indent: -0.25in;"> Today it's the second biggest mass media conglomerate in the world,
second only to Comcast.</span></div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
1928, Walt created his most important character, Mickey Mouse, which was an
instant hit and launched Disney's career.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->Mickey
Mouse starred in Steamboat Willie that same year, the first animated film with
sound. Disney made a dozen short films a year, introducing new characters.
These cartoons would appear in theatres before feature presentations. Disney
also began printing comics.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->Mickey
was also popular with politicians, especially during WWII. Mickey Mouse was the
code word for the allied invasion of Normandy on D-Day. Nazi Germany hated
Mickey, which only boosted his popularity more.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
1978 Mickey became the first cartoon character to get a star on Hollywood
Boulevard. According to <i>Time Magazine</i> (2008), "Mickey had a 98%
awareness rate among children between ages 3-11 worldwide."</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
1937, Disney produced the first feature-length animated film, <i>Snow White and
the Seven Dwarfs</i>. It was soon followed by such classics as <i>Pinocchio</i>,
<i>Fantasia</i>, <i>Dumbo</i>, <i>Bambi, Cinderella, Alice in Wonderland, Peter
Pan, </i>and countless others.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->Walt
Disney has the distinction of winning the most Academy Awards (22) and
nominations (59) in history. He died in 1966 of lung cancer, age 65.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->Walt
Disney was always trying to find some new form of entertainment. As his
business grew, he expanded into many new areas. In 1950 Disney produced its
first live-action film, <i>Treasure Island</i>.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
1955 Disney opened its first theme park, Disneyland, in California. There are
now 14 Disney theme parks around the world. That same year it began televising
its <i>Mickey Mouse Club</i>.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->Disney
also bought the rights to as many story lines as possible, a trend it continues
today. Disney now owns Winnie-the-Pooh, Pokemon, Pixar, The Muppets, Marvel
Comics, <i>The Chronicles of Narnia</i>, and Lucas Films, including <i>Star
Wars</i> and <i>Indiana Jones</i>.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'81, Disney began its <i>Disney's World on Ice</i> skating tours.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'83 the Disney Channel began on basic cable.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'84 Disney began <b>Touchstone Pictures</b>, a new film studio to produce films
to more mature audiences. It created <b>Hollywood Pictures</b> in 1990 for the
same reason. These studios have produced: <i>Down & Out in Beverly Hills</i>,
<i>Pretty Woman</i>, <i>The Dead Poets' Society</i>, <i>The Rock</i>, <i>Con
Air</i>, <i>Sister Act</i>, and <i>The Sixth Sense</i>.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'85 Disney began producing television cartoons: <i>The Gummi Bears</i>, <i>Ducktales</i>,
and <i>Winnie-the-Pooh</i>.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'86 Disney began a partnership with Ghibli Studios in Japan to show their films
in the US.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'87 Disney opened its first retail store.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'88 Disney began making its first videogames. In 2002 it began its most famous
game <i>Kingdom Hearts</i>.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'94 Disney began the show <i>Beauty & the Beast</i> on Broadway.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'96 it bought ABC, the American Broadcasting Company. Disney also owns and operates ESPN, and A+E. Disney also owns Hyperion Press.</div>
<div class="MsoNormal" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: Webdings; mso-bidi-font-family: Webdings; mso-fareast-font-family: Webdings;"><span style="mso-list: Ignore;">®<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]-->In
'98 Disney started its first line of cruise ships.</div>
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<b>Disney Controversies:<o:p></o:p></b></div>
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<br /></div>
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<b>In Films:<o:p></o:p></b></div>
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<b><br /></b></div>
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<b>1. Racial Stereotypes</b></div>
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Many of Disney's classic films portray stereotypical views
of non-white characters. In one cartoon, Mickey Mouse dressed in blackface. The
Indians in <i>Peter Pan</i>, the Siamese cats in <i>Lady & The Tramp</i>,
and the entire film <i>Song of the South</i> all perpetuate racism. At least
one of his Jewish artists claimed Disney said anti-semitic things, but also
said he owed everything to Disney.</div>
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<br /></div>
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<b>2. Subliminal Messages<o:p></o:p></b></div>
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Several of Disney's films have hidden, sexual content
including nudity, sometimes put in secretly by animators, and sometimes
misinterpreted when it's hard to hear what a character is saying. In Aladdin,
the main character says, "<i><span lang="EN" style="mso-ansi-language: EN;">Come
on... good kitty, take off and go...." </span></i><span lang="EN" style="mso-ansi-language: EN;"><span style="mso-spacerun: yes;"> </span>But, the
tiger growls at the same time, confusing some audiences into hearing, "<i>Good
teenagers, take off your clothes."</i> In another example, t</span>he box art to <i>A Little Mermaid</i> had a phallic symbol painted on a building. In each and every controversy, Disney
has reanimated the film or changed the art so that there's no sexual content.</div>
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<span lang="EN" style="mso-ansi-language: EN;">Besides this, Disney films sometimes insert hidden images of Mickey Mouse.
They've made it a game for people to find as many "hidden Mickeys" as
possible.</span></div>
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<br /></div>
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<b>3. Bullying Pixar<o:p></o:p></b></div>
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Before buying Pixar, Disney worked as an equal partner in <i>Toy
Story</i> and other films. But the partnership wasn't truly equal, because
Disney owned the stories and sequel rights to all of Pixar's films, even though
Pixar was the one who created and developed all their original stories. All
Disney provided was marketing, and then they charged Pixar a distribution fee.
Pixar tried to negotiate a fair deal in 2004, led by Steve Jobs, but it fell
through, and instead Disney bought it.</div>
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<br /></div>
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<b>4. Handling of Foreign Films<o:p></o:p></b></div>
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For a while, Disney owned Miramax studios, which became
infamous for its treatment of Asian films. Miramax would buy films and never
show them. Or, they would re-edit them, cutting out scenes, and changing the
subtitles to remove political content, etc. They would completely change the
films. Examples include <i>Iron Monkey</i>, <i>Shaolin Soccer</i>, <i>Farewell
My Concubine</i>, <i>Fist of Legend</i>, and <i>Hero</i>, which had been lost
for years before being found and released thanks to Quentin Tarantino.</div>
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<b>At it's parks:</b></div>
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<br /></div>
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<b>5. Worker & Animal Rights</b></div>
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Working conditions are poor and pay is low for employees in the factories that make Disney merchandise, as well as for the workers who wear Disney costumes at their theme parks. Some are even paid so little, they're <a href="https://www.theguardian.com/us-news/2017/jul/17/disneyland-low-wages-anaheim-orange-county-homelessness" target="_blank">homeless</a>. Animal rights groups worry about treatment at Disney's Animal Kingdom parks.</div>
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<br />
<br />
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<b>6. LGTB Rights:</b></div>
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Disney has been a strong supporter of LGTB rights, to the consternation of America's religious right. Disney has unofficial gay and lesbian days at their resorts.
They supported Ellen Degeneres on her ABC show, and have offered benefits to gay
employees with domestic partnerships. While initially controversial, this has gradually become more accepted in the US.</div>
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<o:p><b>DISNEY'S FILMOGRAPHY</b></o:p></div>
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1950 Cinderella</div>
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1951 Alice in Wonderland</div>
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1952 Uncle Scrooge Comics</div>
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1953 Peter Pan</div>
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1955 Lady & The Tramp</div>
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1957 Old Yeller</div>
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1959 Sleeping Beauty</div>
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1960 Swiss Family Robinson</div>
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1961 One Hundred & One Dalmations, Parent Trap</div>
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1963 Sword in the Stone</div>
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1964 Mary Poppins</div>
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1967 Disney World begins construction, The Jungle Book</div>
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1971 Disney World opens</div>
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1973 Robin Hood</div>
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1976 Freaky Friday</div>
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1982 Tron</div>
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1984 1st film is <i>Splash</i></div>
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1985 The Black Cauldron, </div>
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1986 Down & Out in Beverly Hills, 1st R rated film</div>
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1987 Ernest Goes to Camp, Good Morning Vietnam, 3 Men &
Baby, Duck Tales</div>
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1988 Who Framed Roger Rabbit, </div>
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1989 MGM Studios opens at Disney World, The Little Mermaid,
Honey I Shrunk the Kids, Dead Poet's Society</div>
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1990 Pretty woman, Arachnophobia, Dick Tracy</div>
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1991 Beauty & the Beast, Rocketeer, Darkwing Duck TV
show</div>
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1992 Aladdin, Sister Act, Mighty Ducks, Euro Disney opens</div>
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1993 Disney buys Miramax, Nightmare before Christmas</div>
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1994 The Lion King</div>
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1995 Pocahantas, Toy Story,</div>
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1996 The Rock</div>
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1997 Con Air, Disney buys baseball team, Anaheim Angels</div>
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1998 Mulan, Armageddon, A Bug's Life</div>
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1999 Tarzan, 6th Sense, Dogma</div>
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2001 Monsters Inc, Pearl Harbor</div>
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2002 Miramax buys rights to Pokemon, Lilo & Stitch</div>
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2003 Finding Nemo, Pirates of the Caribbean, Brother Bear,
Power Rangers TV and Digimon TV shows</div>
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2004 The Incredibles, National Treasure, Hidalgo</div>
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2006 Disney buys Pixar, formerly they just worked together,
Cars, High School Musical, Hannah Montana</div>
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2007 Buena Vista name dropped, Ratatouille</div>
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2008 Wall-E</div>
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2009 Up</div>
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2010 Disney sells Miramax, Power Rangers, Digimon, and ends
Hannah Montana</div>
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2011 Disney buys rights to Avatar</div>
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2012 Disney buys Lucasfilm and rights to Star Wars &
Indiana Jones, The Avengers, Brave, Lincoln</div>
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2013 Frozen - highest grossing animated film ever, Iron Man
3, Thor, Monsters University</div>
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2014, Captain America, Maleficent, Guardians of the Galaxy,
Big Hero 6</div>
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2015 Disney buys Marvel Comics, Inside Out, Ant-Man,
Avengers Ultron, Star Wars</div>
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<br />T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-23960100888639663002019-02-28T21:22:00.003-08:002019-02-28T21:53:00.271-08:00Harley J. Earl - A Biography<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPG4JGb-HQBh_anRbIjN5LX0t-AVr0JXTD1ivBqYmS3QJdj_0J9adzpcZKGgJnKutPwkcsGShEC3oEfu8S2uK8T6_6QqU_-WrnU5p-wYdRs43C_wKuPjVWQopNqguF30dsmPlQjVBZP-rH/s1600/Harley_Earl.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="292" data-original-width="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPG4JGb-HQBh_anRbIjN5LX0t-AVr0JXTD1ivBqYmS3QJdj_0J9adzpcZKGgJnKutPwkcsGShEC3oEfu8S2uK8T6_6QqU_-WrnU5p-wYdRs43C_wKuPjVWQopNqguF30dsmPlQjVBZP-rH/s1600/Harley_Earl.JPG" /></a></div>
<div class="MsoNormal" style="text-align: center;">
Harley J. Earl (1893-1969)</div>
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</span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Harley
Earl was the first artistic director of a large car company, working for
General Motors (GM) from 1927-1959. This was due to the popularity of his first
big design, the 1928 La Salle Phaeton.<o:p></o:p></span></span></div>
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</span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Before
Earl, car companies designed their cars with engineers, based on function and
cost, and didn’t care much for styling. If a car company wanted to sell a
luxury car, they would build a chassis, and send it to a custom body shop to
make the coach on top.<o:p></o:p></span></span></div>
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</span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Harley
Earl’s father, J.W., owned such a custom shop, making unique, designer cars for
movie stars in </span></span><st1:city><st1:place><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Hollywood</span></st1:place></st1:city><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">. He taught his son, Harley, everything he knew. His
job was basically, “to turn turkeys into eagles.”<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "webdings"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;"><span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Harley
brought several innovations to car design:<o:p></o:p></span></span></div>
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<br /></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">As
the first head of the Art & Color Section, he designed all the coaches, so
they could be completed in the factory, without sending chassis to custom
shops.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He
opened an all-woman design team to create controversial new models and designs.
When he retired, a lot of women designers lost their influence, and jobs.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He
used clay to build models for his designs.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He
designed the very first prototype car, the Buick Y-Job, for the sole purpose of
watching and learning from viewers’ reactions. <o:p></o:p></span></span></div>
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<span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3VgVEHsj3HHEUIxbVxVg6JkOd1zoIHnO_BF85fVu3WJ-Gf7gb5cA9I4RSbfaCF3nzci7q_O7kJaLQS8lTMNaHIFfnXezONGA0hJjgx3CxrjMm-h_3v5Dof-MSvTnJ8c09Mvlq8lx2bkLW/s1600/1939+Harley_Earl_and__The_Y_Job_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1200" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3VgVEHsj3HHEUIxbVxVg6JkOd1zoIHnO_BF85fVu3WJ-Gf7gb5cA9I4RSbfaCF3nzci7q_O7kJaLQS8lTMNaHIFfnXezONGA0hJjgx3CxrjMm-h_3v5Dof-MSvTnJ8c09Mvlq8lx2bkLW/s320/1939+Harley_Earl_and__The_Y_Job_.jpg" width="320" /></a></div>
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Harley Earl driving the 1939 Buick Y Job</div>
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<span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He would drive his prototypes to see how people reacted</span><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">. “<span style="background: white;">If you go by a
school and the kids don't whistle… back to the drawing board.”</span></span><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He
also developed the idea of <b style="mso-bidi-font-weight: normal;">dynamic
obsolescence</b> in car manufacture, by changing the style of a car model every
year or two. This was the first time you could see if a car was new or old, and
how old, just by the styling. The idea was, fashionable people would treat
their cars like clothes, always wanting to show off the latest trend. It’s an
idea that’s standard today.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He
also designed the first hardtop roof, wrap-around windshields, tail fins, and
two-tone paint jobs.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;">He
also designed the first Chevy Corvette and the GM Firebird.<o:p></o:p></span></span></div>
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<span dir="LTR"><span style="font-family: "times new roman"; mso-ansi-language: EN-US;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgorwxNAeq-GgvIibtr1iF6nqhxMWG5jaiCAcblvd-OLJaow3-XXTc0IclkXC_Z8j0n47TRbXnsNcM_t4LXpKFQWbOvJhEJAhn3_uOYPgZLF21bpJKq5CwjLAvLkJF6tsM8xHRER7No71v-/s1600/1953+Harley+Earl%2527s+Chevrolet_Corvette_blue_vr_EMS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="925" data-original-width="1600" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgorwxNAeq-GgvIibtr1iF6nqhxMWG5jaiCAcblvd-OLJaow3-XXTc0IclkXC_Z8j0n47TRbXnsNcM_t4LXpKFQWbOvJhEJAhn3_uOYPgZLF21bpJKq5CwjLAvLkJF6tsM8xHRER7No71v-/s320/1953+Harley+Earl%2527s+Chevrolet_Corvette_blue_vr_EMS.jpg" width="320" /></a></div>
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1953 Chevrolet Corvette</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11OHaEaRpmc7Unulhm09AIH0ZuPAl3fFTJyOM08IPY1Cekse82nTfZtt5JsRair91V9C-LW8Jcfo8iIfF58tmKXV9MerFlpHiivet7dUTuo7gDIXfGWdtfwiosHeGINE_PG0eholDMz_h/s1600/1953+Harley+Earl%2527s+GM+Firebird+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="799" data-original-width="1600" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh11OHaEaRpmc7Unulhm09AIH0ZuPAl3fFTJyOM08IPY1Cekse82nTfZtt5JsRair91V9C-LW8Jcfo8iIfF58tmKXV9MerFlpHiivet7dUTuo7gDIXfGWdtfwiosHeGINE_PG0eholDMz_h/s320/1953+Harley+Earl%2527s+GM+Firebird+1.jpg" width="320" /></a></div>
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1953 GM Firebird 1</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx08M-2TGRhR1QIPqseIig7NC1qfexYPhdR3NMXXG2DoAlHLD0HduVxF-Lyn3HiEID4DfDjyd5pzk-tlLOyB_po9_oooY_PUbr8TD8m2YJKlgPQvm03MvZRZjnsiaHz0GYWQAjsnzbBMQz/s1600/1959+Firebird+III+by+Harley+Earl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="812" data-original-width="1600" height="162" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx08M-2TGRhR1QIPqseIig7NC1qfexYPhdR3NMXXG2DoAlHLD0HduVxF-Lyn3HiEID4DfDjyd5pzk-tlLOyB_po9_oooY_PUbr8TD8m2YJKlgPQvm03MvZRZjnsiaHz0GYWQAjsnzbBMQz/s320/1959+Firebird+III+by+Harley+Earl.jpg" width="320" /></a></div>
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1959 GM Firebird 3</div>
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<br /></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Earl’s
designs won popularity contests at every Detroit Auto Show for his entire
career.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">When
Earl left GM, it was the largest and most successful car maker in the world,
earning 50% of the market, mostly due to his designs.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Earl once said, <span style="background: white;">"My
primary purpose for twenty-eight years has been to lengthen and lower the
American automobile, at times in reality and always at least in
appearance."</span><o:p></o:p></span></span></div>
<div class="OdsekzoznamuCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; tab-stops: .25in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Earl died from a stroke at his home in </span></span><st1:place><st1:city><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Palm Beach</span></st1:city><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">
</span><st1:state><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">Florida</span></st1:state></st1:place><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">, age 75.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">In 1986, he was added into the Automotive Hall of
Fame.<o:p></o:p></span></span></div>
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<!--[if !supportLists]--><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;"><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span dir="LTR"><span style="font-family: "times new roman"; font-size: 12.0pt; line-height: 115%;">His designs are still popular today. Many of his cars
from the 1950’s sell for millions of dollars today at auction.</span></span></div>
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<span style="font-size: 12pt; line-height: 115%; text-indent: -0.25in;">4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><span dir="LTR" style="text-indent: -0.25in;"><span style="font-size: 12pt; line-height: 115%;">Every year, NASCAR gives the Harley J. Earl Trophy to
the winner of the season-opening Daytona 500 race. The trophy has his design
for the first Firebird on top.</span></span><br />
<span dir="LTR" style="text-indent: -0.25in;"><span style="font-size: 12pt; line-height: 115%;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW7r9je2F6WBnCId1o8YpXspJA5cKs_Alrs-JjlwUOLRJ21C2d9ZAkQ_YI4ZVcmr1jmiBUrJMGqMBK74mB6a9iNbz4Tww6b3C8LVKfrqEsPYkAdkFf6OV9Y-UQvyVxlKSgkXf-aIypudW4/s1600/indycar-indy-500-2010-the-harley-j-earl-trophy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW7r9je2F6WBnCId1o8YpXspJA5cKs_Alrs-JjlwUOLRJ21C2d9ZAkQ_YI4ZVcmr1jmiBUrJMGqMBK74mB6a9iNbz4Tww6b3C8LVKfrqEsPYkAdkFf6OV9Y-UQvyVxlKSgkXf-aIypudW4/s320/indycar-indy-500-2010-the-harley-j-earl-trophy.jpg" width="320" /></a></div>
<span dir="LTR" style="text-indent: -0.25in;"><span style="font-size: 12pt; line-height: 115%;"><br /></span></span></div>
<div class="OdsekzoznamuCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo2; tab-stops: .25in; text-indent: -.25in;">
<span style="font-size: 12pt; line-height: 115%; text-indent: -0.25in;">5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><span dir="LTR" style="text-indent: -0.25in;"><span style="font-size: 12pt; line-height: 115%;">According to the Detroit Free Press, he’s the third
greatest artist who worked in </span></span><st1:state style="text-indent: -0.25in;"><st1:place><span style="font-size: 12pt; line-height: 115%;">Michigan</span></st1:place></st1:state><span style="font-size: 12pt; line-height: 115%; text-indent: -0.25in;">, behind Aretha Franklin and Stevie Wonder.</span></div>
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<br />T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-53841438191827296352019-02-06T08:40:00.001-08:002020-07-06T02:05:05.796-07:00Suprematism - Russia's Artistic Revolution<br />
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was it about? What were the goals?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Not to be
confused with Supremacism (meaning racism, basically), this was an art movement
founded by Kasimir Malevich in 1913, focusing on simple geometric shapes,
arranged in compositions of varying complexity and limited colours, emphasizing
dynamic placement of shapes. The goal was to ignore the real world and
everything in it, and break everything we see and know into simple, pure
abstract shapes, and see what kind of feelings and qualities they emote.
Malevich wrote, <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: 22.5pt; margin-top: 0in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">“</span><i><span style="background: white;">Under Suprematism I understand
the primacy of pure feeling in creative art. To the Suprematist, the visual
phenomena of the objective world are, in themselves, meaningless; the
significant thing is feeling, as such, quite apart from the environment in
which it is called forth.”</span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">It was a
kind of experimentation, and Malevich even went so far as to say there was a
spiritual aspect to his work.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of historical context:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Malevich
began painting around 1900, experimenting in a number of different art styles:
Symbolism, Post-Impressionism, Fauvism, Cubism, and then Futurism. In 1913, he
began to form his new style while designing the sets and costumes for
Kruchenykh’s Futurist opera, <i style="mso-bidi-font-style: normal;">Victory Over
the Sun</i>. This led him to a series of works he displayed in 1915 at the Last
Futurist Exhibition of Paintings ,10 in Petrograd. With a slightly distorted
black square hanging in the corner of the room, like a Russian icon, he
launched the movement.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXCl4JAGAivXa4AgGwUz_hTv42NsooyStkqdoT-XtYUbWXYDghbqUhM1SW117CxN9T6wTpM4suvEabO8ODOzRg9yE7v8-zNobTSuVvN6zq3NFkCh5jJ-4c8-_7Rn0YUFTvefBZaaTDdBja/s1600/1882+Vasili+Maximov+-+Sick+Man+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="901" data-original-width="1136" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXCl4JAGAivXa4AgGwUz_hTv42NsooyStkqdoT-XtYUbWXYDghbqUhM1SW117CxN9T6wTpM4suvEabO8ODOzRg9yE7v8-zNobTSuVvN6zq3NFkCh5jJ-4c8-_7Rn0YUFTvefBZaaTDdBja/s320/1882+Vasili+Maximov+-+Sick+Man+web.jpg" width="320" /></a></div>
<br />
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: -.5in; margin-right: -.5in; margin-top: 0in; text-align: center;">
<i><span lang="EN-GB">The Sick Man</span></i><span lang="EN-GB">,
by Vasili Maximov, 1882 (not a Suprematist)<o:p></o:p></span></div>
<br />
<span style="text-align: center;"> This artwork shows a typical Russian
iconic corner. People would pray to these for help.</span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTZduX7jYm-ic7kHlvAVv6WgxpO2UC_VcMAg6igSZkIAlL7ChxWBETOCWwWAEbBd5xtrU7qjCdg4eAKb345wK1JIpuADhnT3kHOr0xONIBibtXihe_gE8QCc6wW5rxDsE2CbnRKUcbk1d/s1600/1915+Malevich+exhibition+at+0.10+Exhibition%252C+Petrograd+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="871" data-original-width="1200" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitTZduX7jYm-ic7kHlvAVv6WgxpO2UC_VcMAg6igSZkIAlL7ChxWBETOCWwWAEbBd5xtrU7qjCdg4eAKb345wK1JIpuADhnT3kHOr0xONIBibtXihe_gE8QCc6wW5rxDsE2CbnRKUcbk1d/s320/1915+Malevich+exhibition+at+0.10+Exhibition%252C+Petrograd+web.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: -.5in; margin-right: -.5in; margin-top: 0in; text-align: center;">
<span lang="EN-GB">Last Futurist Exhibition of
Paintings ,10 in Petrograd, 1915.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Malevich wrote a great deal to explain his
ideas. When he first exhibited his 1915 show, he wrote “</span><span style="background: white;">From Cubism and Futurism to Suprematism.” It was a big
success, and Malevich formed a group of like-minded artists. They started a
journal, and Malevich then got a job teaching art in Moscow.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<span style="background: white;">In
1928, Stalin decided he didn’t like abstract art. He confiscated Malevich’s
paintings, and forbade him to continue his Suprematism. Part of this had to do
with Malevich’s anti-political views, writing:<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .25in; margin-right: .25in; margin-top: 0in; tab-stops: .25in;">
<i><span style="background: white;">“Art no longer cares to serve the state and religion,
it no longer wishes to illustrate the history of manners, it wants to have
nothing further to do with the object, as such, and believes that it can exist,
in and for itself, without ‘things’. . . ”</span></i><span style="background: white;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<br /></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<span style="background: white;">Malevich
kept painting, trying to reinvent representational art in his portraits of
everyday peasants and workers. However, he still wrote in protest, <i>The Non-Objective
World: The Manifesto of Suprematism, </i><span style="mso-bidi-font-style: italic;">so
that his works would be understood. In 1930 he visited Poland and Germany,
where the Soviet Union suspected he was spreading his artistic ideas, so they
put him in prison for two months.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: 13.5pt;">
<span style="background: white; mso-bidi-font-style: italic;">Malevich continued to paint realistically for five
more years until he died of cancer (he signed all his works with a small black
square). At his funeral in 1935, his casket, tombstone, and the car that drove him
there were all decorated with a black square.</span></div>
<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN41Sd0cUHzBzJS9bzMmgzhXySoFu21LBCPE-oBeEn5OfcUrN6dEmAYQ7Pm_pY0TMu1EbGoaVpIUZVnK2aPEb4NinS-KiPZm4fonKMBekH31XKP3TuCM0suucBrQY6J6QDKH8_Syr-1QiF/s1600/1935+malevich-in-his-deathbed-surrounded-by-his-works+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="815" data-original-width="1200" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN41Sd0cUHzBzJS9bzMmgzhXySoFu21LBCPE-oBeEn5OfcUrN6dEmAYQ7Pm_pY0TMu1EbGoaVpIUZVnK2aPEb4NinS-KiPZm4fonKMBekH31XKP3TuCM0suucBrQY6J6QDKH8_Syr-1QiF/s320/1935+malevich-in-his-deathbed-surrounded-by-his-works+web.jpg" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2UIr6scSdCJ46EJC9sB59GLoeGl7U5cAouF2jfiVQKJ2PWBfM6cyx1furxg7Pk5ldYvarlBKLvlGkBHIsb6BZu18vhUvQv0Z_bvVwblUNR0i2jt6GXrma6RWZTrB2VnIShVPVjGqKX_35/s1600/1935+malevich+funeral+car+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1175" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2UIr6scSdCJ46EJC9sB59GLoeGl7U5cAouF2jfiVQKJ2PWBfM6cyx1furxg7Pk5ldYvarlBKLvlGkBHIsb6BZu18vhUvQv0Z_bvVwblUNR0i2jt6GXrma6RWZTrB2VnIShVPVjGqKX_35/s320/1935+malevich+funeral+car+web.jpg" width="320" /></a></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9X149GVeiEhRt0CEdnjiOokg-yMma9Sd_I8g8Ofi_YZC11u-fGyOdM6fZASXlo3C95vpWsg3rWdRVGjvRwYjo2aSyqv0gbetpiep0xZlQ-bzV90du8AldnCSeRS9fQXud0hmipnzEmgw1/s1600/1935+Malevich+Tombstone+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="638" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9X149GVeiEhRt0CEdnjiOokg-yMma9Sd_I8g8Ofi_YZC11u-fGyOdM6fZASXlo3C95vpWsg3rWdRVGjvRwYjo2aSyqv0gbetpiep0xZlQ-bzV90du8AldnCSeRS9fQXud0hmipnzEmgw1/s320/1935+Malevich+Tombstone+web.jpg" width="226" /></a></div>
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was it represented in the other arts –
music, architecture, and literature?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Although
less famous, Malevich began to draw 3D views of his compositions, taking them
in a more architectural direction, and then began building plaster models of
his works. Although they weren’t buildings, per se, they were suggestive of
buildings, and were a huge inspiration for Zaha Hadid, who was one of the
leading, international architects of our time.<o:p></o:p></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xlLvVlNrr4iN903R5JDmmIhToObp69XmLR7z3lS3fAR_UII17sIw8x8utZlqvEyWiJRHwGYTpfUrkBbyKf67Eo2N2ek8TCPZQVEZXyzeyu0EWqbcwx4lvnrOLwI1YvCvgCs63RCRpxNl/s1600/1923-8+malevich+-+Architecton+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="861" data-original-width="1200" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4xlLvVlNrr4iN903R5JDmmIhToObp69XmLR7z3lS3fAR_UII17sIw8x8utZlqvEyWiJRHwGYTpfUrkBbyKf67Eo2N2ek8TCPZQVEZXyzeyu0EWqbcwx4lvnrOLwI1YvCvgCs63RCRpxNl/s320/1923-8+malevich+-+Architecton+web.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Architecton</i>, 1923-8, Malevich</div>
<br /></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Besides this, Lazar Khidekel managed to become a successful Suprematist
architect in Russia, surviving Stalin, and building the Club for Red Sport Int.
Stadium and a cafe for the Paris World Fair of 1937.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was it great?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">No. Not in
comparison to the greatest artists of other movements. But, that doesn’t mean
it wasn’t successful, attractive, or inspiring. It was all these things, at
least to some extent. Suprematism is basically the culmination of one artist
trying his hand at many different styles of art, and in the end deciding to
start over from scratch – to reinvent art, one shape at a time. It’s easy to
look at his simplest works, and think, “This emperor has no clothes.” But, you
shouldn’t look at these as individual artworks. Back in 1915, they were all
hung together in such a strange, haphazard way that they formed one large art
installation. Think of them as a sequence, like an animation.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ok, so maybe it’s still not that impressive, but the big simple squares
shouldn’t be thought of as artworks so much as building blocks, almost like
one-celled organisms, from which Malevich’s other artworks evolved. And in
these works, he showed a good sense for design as he created compositions that
were asymmetrical yet balanced, playful, and dynamic. Some are better than
others – that’s how experiments work. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">You might be surprised to learn that many artists do this same thing as
an exercise to improve their compositions. Here’s an example of illustrator
William O’Connor drawing thumbnail sketches in the style of Franz Kline (not a Suprematist), to
find the best composition for his work:</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdmODFTPzX6_6EnmicmfSWXlii16LKM9rwLOK9VKefCU3HiFQjHiaRo9O1ozixI2lC7WK7DX_gAXM3VSm3TKtb7Y_Vj4qmksyR_R10Ht-LHTWZT31xXB2dRJ5W7uoX5K5xs88-OvOsScB/s1600/kline-comps+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1050" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEdmODFTPzX6_6EnmicmfSWXlii16LKM9rwLOK9VKefCU3HiFQjHiaRo9O1ozixI2lC7WK7DX_gAXM3VSm3TKtb7Y_Vj4qmksyR_R10Ht-LHTWZT31xXB2dRJ5W7uoX5K5xs88-OvOsScB/s320/kline-comps+web.jpg" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKTlqSN9JBYq_E87K84UP3P0KeDfuFg4fbjkL9xPbL5p7LLdPB8D6SvKdlMBCAbINTQ4Yku_es5V-Lc6XPPAO5RI-H3EgXG6ZFf4xJwVUkdVIU9_eD-hjWzrttPORiNXVbwERrwAL00jb/s1600/echoes+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZKTlqSN9JBYq_E87K84UP3P0KeDfuFg4fbjkL9xPbL5p7LLdPB8D6SvKdlMBCAbINTQ4Yku_es5V-Lc6XPPAO5RI-H3EgXG6ZFf4xJwVUkdVIU9_eD-hjWzrttPORiNXVbwERrwAL00jb/s320/echoes+web.jpg" width="256" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Echoes</i>, by <a href="http://www.wocstudios.com/" target="_blank">William O'Connor</a></div>
<br /></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Were Malevich’s works really spiritual? Evocative? Are the feelings you
get from his work any more “pure” than when you see a Rembrandt, Klimt, or
Michelangelo? I would say no, that was just his arrogance getting the best of
him. But, I still see value in his art. Malevich was on to something, and it’s
a tragedy that Stalin prevented him from continuing his work, right when it was
developing into something close to great. In the end, Malevich’s black square
became impressive, not as art, but as a sign of protest against Stalin’s
tyranny.</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Wait a minute. Didn’t Kandinsky do all this
before Malevich?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Nope. It’s
true that Kandinsky was older, and went into pure abstraction around 1911, and
both he and Malevich were showing abstract art in the <b><span style="background: white; color: #222222;">Der Blaue Reiter</span></b> group. But
Kandinsky’s improvisations were more globular, brightly coloured, Fauvist, and
messy. He didn’t mimic Malevich’s geometric work till the 1920’s. Both artists
used abstraction to explore ideas of spirituality and inner feelings, so they
had a lot in common, but both were distinct.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Wait another minute, did Malevich just do this
because he couldn’t draw or paint realistically?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">No, he was
a decent painter both before and after Suprematism – not the best, but decent,
for the times:<o:p></o:p></span></div>
<div class="MsoNormal">
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3OS5MZYupRfZCamiVlJtoWWiAeBIicpIHOcFp5ZLJuT41FP_Pvb43AYZaKmbde_2Xut6e49LJmKBmF6IEdH9j3wUFeLGkku3vcbkomKqjqPCIwNHwqV7vbCMTLhj6Qn9qO5e2t6wM5saC/s1600/1908-9+Malevich+-+Self-Portrait+2+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="815" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3OS5MZYupRfZCamiVlJtoWWiAeBIicpIHOcFp5ZLJuT41FP_Pvb43AYZaKmbde_2Xut6e49LJmKBmF6IEdH9j3wUFeLGkku3vcbkomKqjqPCIwNHwqV7vbCMTLhj6Qn9qO5e2t6wM5saC/s320/1908-9+Malevich+-+Self-Portrait+2+web.jpg" width="289" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
Self-Portrait, 1908-9</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6jY0USXKV2oQNuBLH7Hg6IYe7gWfue1RV1UksJb6XUZJPGn114Ol850xFQUCDUM9BHMr3fovAx7Mr_2bzLpss860f2lAX71PbsOPZ321WxgYu5esg1NtkGQMZmOrWOiG1OJCUoI3u15j/s1600/1933+Malevich+-+Self-Portrait+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="816" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm6jY0USXKV2oQNuBLH7Hg6IYe7gWfue1RV1UksJb6XUZJPGn114Ol850xFQUCDUM9BHMr3fovAx7Mr_2bzLpss860f2lAX71PbsOPZ321WxgYu5esg1NtkGQMZmOrWOiG1OJCUoI3u15j/s320/1933+Malevich+-+Self-Portrait+web.jpg" width="290" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
Self-Portrait, 1933</div>
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
leading figures:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Wassily
Kandinsky (1866-1944)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Kasimir
Malevich (1879-1935)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #222222;">Aleksandra Ekster (1882-1949)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #222222;">Lyubov Popova (1889-1924)</span></div>
<div class="MsoNormal">
<span lang="EN" style="mso-ansi-language: EN;">El Lissitzky
(1890-1941)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #222222;">Sergei Senkin</span><span style="background: white; color: #222222;"> (1894–1963)</span><span lang="EN" style="mso-ansi-language: EN;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #222222;">Ilya Chashnik (1902-1929)<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="background: white; color: #222222;">Lazar Khidekel</span><span style="background: white; color: #222222;"> (1904-1986)</span><span lang="EN" style="mso-ansi-language: EN;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A look at how Malevich's ideas evolved:<o:p></o:p></span></b></div>
<div class="MsoNormal">
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Black Square</div>
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Black Circle</div>
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Four Squares</div>
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Painterly Realism - Boy with a Knapsack</div>
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Black Rectangle, Blue Triangle</div>
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Rectangle and Circle</div>
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Eight Red Rectangles</div>
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Airplane Flying</div>
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Suprematist Composition</div>
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Supremus No. 50</div>
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Suprematist Composition</div>
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Suprematist Composition</div>
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Suprematist Composition</div>
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Supremus No. 58</div>
<br />T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-78031031481215417192019-01-28T03:26:00.000-08:002020-07-26T03:55:59.489-07:00Symbolism - Art's 2nd Romantic Movement<span style="color: #666666;"><span style="color: #999999;"><br /></span>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="color: #666666; font-family: inherit;">“. . . you want me
to look for truth and lies at the end of a stick with weasel hair tied to it? …
I have knives, big knives… I’ll give you a fifty-yard head start... and take my
glasses off. Good luck...” </span><o:p></o:p></span></i></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">- Ilaekae,
from conceptart.org<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was it about? What were the goals?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Symbolism
is basically a confusing name for what should be called Late/Gothic Romantic
art, made in the second half of the 19<sup>th</sup> century (of course, calling
it Gothic is confusing, because that usually refers to art made before the
Renaissance from 1200-1400 AD). This was a small, short-lived movement having
more to do with poetry than painting, and centering in France. And, since
Symbolism had more to do with theory and less to do with style it’s hard to
tell just by looking whether an artwork is Symbolist or not.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Symbolism was a rebellion against Realism. Whereas Realists only painted
what they saw, portraying reality, however brutal or banal, Symbolists focused
on spirituality and chose to portray the supernatural, exploring dreams,
ideals, and their own imaginations. They wanted their work to express pure
emotions as does music and poetry. Like Realists, Symbolists also claimed to
paint what’s “true”, whatever that means, but stressed the importance of
metaphor and, well symbolism. They felt the greatest truths couldn’t be painted
directly or objectively, but subjectively––that any attempt by an artist to
look at the world objectively was a form of denial and therefore dishonest. As
the artist Cazalis wrote, he wanted, “<span style="background: white;">to depict
not the thing but the effect it produces.” You may wonder how this is possible
without painting both, and how this differs from any previous artists and their
work. So do I.<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Even weirder, try this quote by the poet Gustave
Khan, <i style="mso-bidi-font-style: normal;">“</i><em><span style="border: none windowtext 1.0pt; font-style: normal; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0in; padding: 0in;">The essential aim of our art is to objectify the subjective (the
externalization of the Idea) instead of subjectifying the objective (nature
seen through the eyes of a temperament).” Good luck trying to figure that out…</span></em></span><i style="mso-bidi-font-style: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></i></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of historical context:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Symbolism was one of the first art movements to have a manifesto,
written in 1886 by Jean Mor<span style="color: #222222; mso-bidi-font-weight: bold;">é</span>as. It describes Symbolism primarily as a new literary movement,
and makes the same arguments outlined above.</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> Symbolism was promoted by the art critic (and
occultist), <span style="background: white;">Joséphin Péladan</span>, who hosted
several exhibitions in the 1890’s. While short-lived, Symbolist art is seen as
a major influence in modern art, especially Expressionism and Surrealism.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
underlying philosophy of the period:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Symbolist
writers were influenced by Arthur Schopenhauer, known as the philosopher of
pessimism. He argued that art was, “a refuge from the world of strife of the
will.” Schopenhauer argued that a person’s basic state is one of suffering,
based on insatiable cravings and urges, primarily of “the will”––our urge to
procreate and continue our existence, a base and meaningless urge simply to
live. And, even when we get what we want, and our desire is satisfied, we
immediately replace it with another, so that we can never be happy. Art helps
us ignore these urges and problems for a time, while at the same time teaching
us about the world in a way that science and logic can’t.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">If that makes sense, this next bit won’t. Schopenhauer went further to
say that a great artist must be such a genius that, while working, he
completely forgets who he is, what his desires are, and thereby frees himself
from the will. My first reaction to this: doesn’t the artist desire to complete
a good painting? How is this different from any other desired project or
undertaking? And after he or she finishes it, doesn’t he want to start another?
Anyway, from this argument we get the stereotype of the Schopenhauerian artist
– a misunderstood genius who neglects “the business of life” being obsessed
with his art.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was it represented in the other arts –
music, architecture, and literature?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Symbolism
was primarily a movement in French poetry, with the leaders being Baudelaire, <span style="background: white;">Stéphane Mallarmé<span style="color: #222222;">, and
Paul Verlaine</span>. The most famous novelist was Paul Adam. Playwrights
included Maeterlinck and Auguste Villiers de l'Isle-Adam. Symbolism played a
big role in music too, as Schopenhauer considered it the highest art form. Symbolist
writers loved the music of Wagner. In turn, these writers were a great
influence for Claude Debussy, who used many of Verlaine’s and Maeterlinck’s
writings in his works. They also influenced Scriabin and Schoenberg.<span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></span></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was it great?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">While
there’s a lot of variety in style and quality, it’s fair to say some Symbolist
art is really great. The greatest star is far-and-away Gustav Klimt. However
complicated and confusing the philosophy may have been, it worked for Klimt.
His artworks rank among some of the best of all time. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some leading figures:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Charles Baudelaire (1821-1867) poet<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Théodore de Banville (1823-1891) poet</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Pierre Puvis de Chavannes (1824-1898)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Gustave Moreau (1826-1898)<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Arnold Böcklin (1827-1901)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Félicien Rops (1833-1898)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Odilon
Redon (1840-1916)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Stéphane Mallarmé (1842-1898) poet<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Paul Verlaine (1844-1896) poet</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Jacek Malczewski</span><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"> (1854-1929)<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Jean Mor<span style="mso-bidi-font-weight: bold;">é</span>as (1856-1910)
poet<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Jan Toorop (1858-1928)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Gustave Khan (1859-1936) poet<span style="mso-bidi-font-weight: bold;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gustav
Klimt (1862-1918)<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Gaston Bussière</span><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"> (1862-1929)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Edvard
Munch (1863-1944)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Carlos
Schwabe (1866-1926)<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Alfred Jarry (1873-1907)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some of the most famous artworks of the time:</span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></b>
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdmguKPXhCIfieMOE0QsTb82S1ix-SUkFAaRGTTgOOjG4J1-_UNz9A9YBD7V_iALZ5uyRCgq5E5CYOCbd-Rh1L61WxA-ixV-91hEmBxzzRbK1KgnxQohd-Uhgrkw13uk-rMnnsOkZEvHrN/s1600/1865+Moreau+-+Jason+%2526+Medea+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdmguKPXhCIfieMOE0QsTb82S1ix-SUkFAaRGTTgOOjG4J1-_UNz9A9YBD7V_iALZ5uyRCgq5E5CYOCbd-Rh1L61WxA-ixV-91hEmBxzzRbK1KgnxQohd-Uhgrkw13uk-rMnnsOkZEvHrN/s320/1865+Moreau+-+Jason+%2526+Medea+web.jpg" width="177" /></a></div>
<div style="text-align: center;">
'Jason and Medea', by Gustave Moreau, 1865</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpZjLt7sqjtIgx3MNodzjTL1__r04nazNeNQiVNUaVXOG5fcmk5j1gYhZn3hu49fFviyp8XTJP3xhFgdb8TzBptzALRYkZ_RJ994tphja_mRHvRheVn9hQ1hGMX8vUvaR1TQa091Wzq-7g/s1600/1872+Bocklin+-+Self-portrait+w+fiddling+Death+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="727" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpZjLt7sqjtIgx3MNodzjTL1__r04nazNeNQiVNUaVXOG5fcmk5j1gYhZn3hu49fFviyp8XTJP3xhFgdb8TzBptzALRYkZ_RJ994tphja_mRHvRheVn9hQ1hGMX8vUvaR1TQa091Wzq-7g/s320/1872+Bocklin+-+Self-portrait+w+fiddling+Death+web.jpg" width="258" /></a></div>
<div style="text-align: center;">
'Self-Portrait with Fiddling Death', by Arnold Böcklin, 1872</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUJSla1sHmtuczyoIBLGGomi7OcTZIGSnf7SynrRd8sNTgF4NhRkLCX1WGTrCwNVG2lMDmHZqNnfrcJKT5_IZAWbrP5aeT0DIDO08NJigqxhudNqkpauPvtErHEkGB9qw1SDOgTG4vyxOe/s1600/1880+Arnold+B%25C3%25B6cklin+-+Die+Toteninsel+I+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1262" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUJSla1sHmtuczyoIBLGGomi7OcTZIGSnf7SynrRd8sNTgF4NhRkLCX1WGTrCwNVG2lMDmHZqNnfrcJKT5_IZAWbrP5aeT0DIDO08NJigqxhudNqkpauPvtErHEkGB9qw1SDOgTG4vyxOe/s320/1880+Arnold+B%25C3%25B6cklin+-+Die+Toteninsel+I+web.jpg" width="320" /></a></div>
<div style="text-align: center;">
'Isle of the Dead', by Arnold Böcklin, 1880</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipGjtHQf3GObZNWCIhsmXnh8hzAJ3uE4PEHNllK7VTocjMdBVU3NB4pAtlhnriuuE7fGoFNp6q-imNlbN8xeQqbLGFwg9QvJmrRK9bKdK2xEsi900YjkmrPeD1TgNDY0Po4KlbfktNwGhyphenhyphen/s1600/1886+Klimt+-+Theatre+of+Shakespeare+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="502" data-original-width="1200" height="133" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipGjtHQf3GObZNWCIhsmXnh8hzAJ3uE4PEHNllK7VTocjMdBVU3NB4pAtlhnriuuE7fGoFNp6q-imNlbN8xeQqbLGFwg9QvJmrRK9bKdK2xEsi900YjkmrPeD1TgNDY0Po4KlbfktNwGhyphenhyphen/s320/1886+Klimt+-+Theatre+of+Shakespeare+web.jpg" width="320" /></a></div>
<div style="text-align: center;">
'The Theatre of Shakespeare', by Gustave Klimt, 1886</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUI-A3ril6DYcDsmPkzWYX64OCvArnKVa6Ffw43tXKdaFcS9c8_xZuwv86WFvmcipcmkd5YvTIxzGEdB-TcnxG_jUHI6UNuhQZ4DUKL1zkXUpjxhEjtPsEbHCjLoRQp9dyRy8MIuok2sk5/s1600/1891+Fernand+Khnopff+-+I+lock+my+door+upon+myself+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="658" data-original-width="1300" height="161" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUI-A3ril6DYcDsmPkzWYX64OCvArnKVa6Ffw43tXKdaFcS9c8_xZuwv86WFvmcipcmkd5YvTIxzGEdB-TcnxG_jUHI6UNuhQZ4DUKL1zkXUpjxhEjtPsEbHCjLoRQp9dyRy8MIuok2sk5/s320/1891+Fernand+Khnopff+-+I+lock+my+door+upon+myself+web.jpg" width="320" /></a></div>
<div style="text-align: center;">
'I Lock My Door Upon Myself', Fernand Khnopff, 1891</div>
<br />
This painting’s title quotes a poem by Christina Rossetti (sister of the Pre-Raphaelite painter, Dante Rossetti), and her poem quotes a Bible passage (Romans 7:24) dealing with inner-conflict. This causes us to wonder what the painting has to do with internal conflict – is it in the woman’s calm expression? The wilting flowers in the foreground? The geometric shapes of the background? Is Khnopff suggesting that looking yourself in is a good thing? It’s hard to say. Much of this painting is deliberately mysterious. Is that a spear beside the woman? Who is she anyway? Where is she? Why is there a bust of the Greek god Hypnos? We don’t know, and yet, something about the mood of this painting is clear. The puzzle it presents mirrors the existential struggles we face daily – to find meaning in life and our actions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmBum1Z5_k78zTjOYPnoF6CWwpu5hTo6jkhBK5a9AxIjmTCyrfaSl44UAjQSPeoBdtt4PWjibkYORdbdyxC5jjWSxT9sGoD43nguphBpytNPh5S4Y2Q55Kk5aaDv3JnHgMiqSfM8Xz2qq/s1600/1893+Edvard+Munch+-+Scream+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="725" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNmBum1Z5_k78zTjOYPnoF6CWwpu5hTo6jkhBK5a9AxIjmTCyrfaSl44UAjQSPeoBdtt4PWjibkYORdbdyxC5jjWSxT9sGoD43nguphBpytNPh5S4Y2Q55Kk5aaDv3JnHgMiqSfM8Xz2qq/s320/1893+Edvard+Munch+-+Scream+web.jpg" width="257" /></a></div>
<div style="text-align: center;">
'The Scream', by Edvard Munch, 1893</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiiCj969dNX-ky3awBt16fDknKYQVJb5yJfWMoBjZ8TjTI0ehr-YmksVzEmp0hQM7fjgTBLryNPGymqVh6yIHbybUX6t_1LXUNVzoV9ufQXiVRSGD8zSGErGhJRzzjftWQFI_OPkDK5QZ0/s1600/1895+Edvard_Munch+-+Vampire+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1099" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiiCj969dNX-ky3awBt16fDknKYQVJb5yJfWMoBjZ8TjTI0ehr-YmksVzEmp0hQM7fjgTBLryNPGymqVh6yIHbybUX6t_1LXUNVzoV9ufQXiVRSGD8zSGErGhJRzzjftWQFI_OPkDK5QZ0/s320/1895+Edvard_Munch+-+Vampire+web.jpg" width="320" /></a></div>
<div style="text-align: center;">
'The Vampire', by Edvard Munch, 1895</div>
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<div style="text-align: center;">
'Death and the Grave Digger', by Carlos Schwabe, 1895</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZQD0y765Cq-x0TVAeO1gVtqJiDkK12zvYFn8K9yoZTyxqxjAgflPTdVB6niYL9SfnZtkRVaVwtj5tdXizR3qMOc7Esof6ML5xPVwpGfC_19YkeykpHOFrXwCxlPJp1XwjZ5BEZ8D6rb1l/s1600/1899+Klimt+-+Schubert+at+Piano+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="822" data-original-width="1200" height="219" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZQD0y765Cq-x0TVAeO1gVtqJiDkK12zvYFn8K9yoZTyxqxjAgflPTdVB6niYL9SfnZtkRVaVwtj5tdXizR3qMOc7Esof6ML5xPVwpGfC_19YkeykpHOFrXwCxlPJp1XwjZ5BEZ8D6rb1l/s320/1899+Klimt+-+Schubert+at+Piano+web.jpg" width="320" /></a></div>
<div style="text-align: center;">
'Schubert at the Piano', by Gustav Klimt, 1899</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6xFlcoDhwa56lh6R-FWU0PWnAs-yPgrKH29RcwhudiAqfJL5i9XML5MC7ZxmNHseDIHMvdTG33kScrd8xOiBT4qwNMRixxUiJA0Y_njnAs90nBwk7fNEAVqklwdEV_eV6tzotKTa9L9-b/s1600/1907+Klimt+-+Adele+Bloch-Bauer+I+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="900" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6xFlcoDhwa56lh6R-FWU0PWnAs-yPgrKH29RcwhudiAqfJL5i9XML5MC7ZxmNHseDIHMvdTG33kScrd8xOiBT4qwNMRixxUiJA0Y_njnAs90nBwk7fNEAVqklwdEV_eV6tzotKTa9L9-b/s320/1907+Klimt+-+Adele+Bloch-Bauer+I+web.jpg" width="320" /></a></div>
<div style="text-align: center;">
'Adele Bloch-Bauer I', by Gustav Klimt, 1907</div>
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<div style="text-align: center;">
'The Kiss', by Gustav Klimt, 1907-8</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-sl_pVn2bStplpWOD8NQQ1oteePuHxOUANCgb6p_fRQJM6I-63Yal7ex-o8k-l5oArTTjuYOmTaopB08FgrAHCioCpgsHyS67LouepIJODgAQ-e8W43K4TRX8sogC71upB7dTWFyAw7t/s1600/1915+Gustav+Klimt+-+Death+%2526+Life+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1034" height="278" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD-sl_pVn2bStplpWOD8NQQ1oteePuHxOUANCgb6p_fRQJM6I-63Yal7ex-o8k-l5oArTTjuYOmTaopB08FgrAHCioCpgsHyS67LouepIJODgAQ-e8W43K4TRX8sogC71upB7dTWFyAw7t/s320/1915+Gustav+Klimt+-+Death+%2526+Life+web.jpg" width="320" /></a></div>
<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span><br />
<div style="text-align: center;">
'Death and Life', by Gustav Klimt, 1915</div>
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T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-5651218064411370012018-12-14T01:09:00.000-08:002018-12-14T01:10:50.436-08:00Impressionism – Modernism Takes HoldSome notes
taken from Waldemar Januszczak’s documentary series <i>The Impressionists:
Painting & Revolution</i>.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was
it about? What were the goals?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Impressionism
was an art movement based on several ideas:</span></div>
<div class="MsoNormal" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<div class="MsoListParagraphCxSpFirst" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">It
was an act of artistic rebellion, in which artists who had been rejected by the
Paris Salon formed their own club, and held their own independent art
exhibitions––what art historian Waldemar Januszczak called “eight art shows
that changed the world.”<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">Impressionist
painting was cheerful and optimistic, celebrating the new modern world: the
transformation of Paris, new technology such as railroads, and the rising,
liberated middle class. It studied modernity in detail, inspired by realists
like Courbet and Manet.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">Stylistically,
Impressionists cared very much for the nature of light and colour and how it
was affected by time of day, weather, reflections, and atmospheric conditions.
They believed in painting outdoors, ignoring little details and eschewing
precise drawing. Instead, they cared about working quickly, capturing the
essence of a subject, getting the colours and shapes right with big bold,
expressive brushstrokes.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">They
painted on a white background––we take it for granted today, but before the
Impressionists, artists preferred working on dark-ground under paintings.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">They
also avoided black paint, instead mixing complimentary colours for darks and
greys.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">Since
they tried to finish most works in one sitting, there was no use of transparent
glazing, so the works are all opaque.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">Impressionism
also worked with optical mixing, placing colours side-by-side without blending,
an idea that would be explored further with <b>Pointillism</b>.<o:p></o:p></span></div>
<br />
<div class="MsoListParagraphCxSpLast" style="mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Symbol; mso-ansi-language: EN-GB; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;">·<span style="font-family: "Times New Roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-GB">Impressionism
began to end as the optimism of modern life gave way to anger over growing
poverty, lack of worker’s rights, and class struggle. It gave way to the
pessimism of expressionist art.<o:p></o:p></span></div>
</div>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of
historical context, and what made it modern?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">To
understand how Impressionists were revolutionary, you have to understand the
salon system and how it worked. A salon was a juried exhibition, and the jurors
were the professors of the Academie des Beaux-Arts. They only accepted artwork
that fit their taste and sensibilities. Likewise, they only admitted students
they liked into the Academie, and only suggested their best students to paint
commissions for the state, and then to join their ranks as new professors.
Getting a place in the Academie assured one of success and fame, but meant you
had to paint exactly what they wanted. It stifled freedom and creativity. As
noted earlier, many artists and movements struggled to gain acceptance under
this system. The Impressionists failed too, but then they decided to undermine
the whole system by holding their own revolutionary shows, helped by the great
art dealer <b style="mso-bidi-font-weight: normal;">Durand-Ruel</b>.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Impressionism couldn’t have existed without new technology:<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Paint tubes</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">,
that allowed artists to leave the studio, painting outdoors.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">New
<b>synthetic colours</b> in these tubes, such as: cobalt blue, ultramarine blue,
cerulean blue, viridian, and cadmium yellow.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Folding easels</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">,
that folded up into a light, convenient box, easy for travel.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Brushes
with <b>tin</b> <b>ferrules</b>, for flat brushes and clean, thin lines.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Brushes
made from coarse <b>pig’s hair</b>, for scratching around thick globs of paint.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">New
<b>pastels</b>, made of pigment and chalk, allowed for drawing quickly in
colour.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Railways</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, to
transport artists to many different towns and places.<o:p></o:p></span></div>
<div class="MsoListParagraphCxSpLast" style="margin-left: .75in; mso-add-space: auto; mso-list: l1 level1 lfo2; text-indent: -.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-fareast-font-family: "Times New Roman";"><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Photography</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">,
showed artists how people and animals look when moving, and influenced compositions.
Before them, most artists chose a main subject as the focal point, and
everything else was secondary. The Impressionists challenged this, at times
placing several focal points, putting into question if a work was about the sitter
or the background, creating an effect like a camera snapshot, as if you were
really there. The Impressionists’ loose, painterly style was also a reaction to
photography, which devalued the notion of precise, realistic rendering.
Impressionists instead focused on the aspects of picture making that
photography lacked – colour and subjectivity.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In addition to new technology, Impressionism was also influenced by the
asymmetrical compositions and colours of Japanese printmaking which was very
popular in the 19<sup>th</sup> century.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The underlying
philosophy of the period:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">There are
several core concepts to great Impressionist painting. They shared the Realist
belief you should only paint what you see right in front of you. They felt,
like the Barbizon School, you should go out and find your subjects around you.
They also felt an artist is like a record keeper of history, and should record
real life, whatever’s happening now, so that future generations may gain a
greater understanding of the times. Since this was of fundamental importance, little
details were insignificant clutter. Impressionists believed in creating beauty,
but found it in the basic forms and colours of light.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was
it represented in other arts – music, architecture, and literature?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Impressionism
was popular in a number of other arts. Impressionist cinema came into fashion
from 1919-1929 with Abel Gance, Epstein, Dulac, Delluc, and others. In music,
Debussy and Ravel are considered the greatest Impressionist composers. Their
music favoured shorter works with bigger chords (5 and 6 part harmonies, not
just 3), major 7<sup>th</sup> chords, and whole tone scales.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In
literature, Impressionism refers to works that describe, rather than interpret,
the little things going around the characters and the thoughts in their heads,
much like stream-of-consciousness. Writers include Baudelaire, Rimbaud,
Virginia Woolf, D.H. Lawrence, and Joseph Conrad.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What
made it great? <o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Any art
teacher will agree that colour is the most evocative element in painting. It
might not be the most important to the structure of a composition, but we have
all kinds of mental associations with different colours, and we react
automatically with joy to certain colour combinations. The Impressionists knew
this and studied these effects in detail. As a result, they became some of the
most popular artists who ever lived, their works being some of the most
expensive, memorable, and well-loved in history. There’s a reason why so many
pens, napkins, calendars, and coffee mugs use Impressionist art as decoration.
Impressionists are favourites among crowds of people with no art training, from
all over the globe. This also explains why it’s still in demand and there are
so many Impressionist artists still working today.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Critics of Impressionism come in two forms. There were the 19<sup>th</sup>
century academics who complained of the lack of finish, precision, skill that
made it inferior, to their eyes. Then, there are the Modernist critics of today
who look back at this time and see quaint, traditional family scenes, and
idealized cityscapes, creating false narratives of nostalgia and even promoting
male oppression of women, etc. All of these critics attack Impressionism on an
intellectual level; they tell you to ignore your lying eyes, and listen to
their theories. Luckily, most people would rather look and enjoy the relaxing,
beautiful pictures than listen to some half-baked theories about art.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What
ruined it?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some people
will tell you that Impressionism ended as other experiments in art became
fashionable – the constructivist approach of Cezanne, the vivid, expressive
colours of Gauguin and Van Gogh, the wild lines of Toulouse Lautrec. It’s true
that Impressionism fell out of fashion, and a wave of pessimism at modernity,
as art historian Januszczak described it, may have turned audiences against it,
for a time. But, impressionism keeps coming back, again and again. It’s the
default way to paint and to teach painting all over the world. It’s considered
the best practice for training as an artist.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What’s
with the haystacks?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Monet is
credited with painting haystacks as a popular subject for impressionist study.
It was one of his favourite subjects at Giverny, and he would set up several
easels in a row, painting the same haystacks over time as the light changed.
The farmers, however didn’t like his work, and would actually remove the
haystacks early just to spite him. Monet wasn’t the first to paint haystacks,
either. Millet painted them fifteen years earlier, granted they were the
backdrop for his gleaners and farmhands.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
leading figures:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Camille
Pisarro (1830-1903)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Edouard
Manet (1832-1883)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Edgar Degas
(1834-1917)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Alfred
Sisley (1839-1899)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Auguste
Rodin (1840-1917) (sculptor)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Oscar-Claude
Monet (1840-1926) <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Frederic
Bazille (1841-1870)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Berthe
Morisot (1841-1895)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Pierre-Auguste
Renoir (1841-1919)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gustave
Caillebotte (1848-1894)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Leading
American Impressionists:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Winslow
Homer (1836-1910)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Mary
Cassatt (1844-1926)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">William
Merritt Chase (1849-1916)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">John Singer
Sargent (1856-1925)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Childe
Hassam (1859-1935)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Frederic
Remington (1861-1909)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Other
Famous Impressionists:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Giovanni
Boldini (Italian, 1842-1931)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Anders Zorn
(Swedish, 1860-1920)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joaquin
Sorolla y Bastida (Spanish, 1863-1923)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Nicolai
Fechin (Russian-American, 1881-1955)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some of
the most famous artworks of the time:</span></b></div>
T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-5702836514341392832018-12-14T00:41:00.001-08:002020-07-06T06:57:44.892-07:00Realism – Modernism’s First Big Step<br />
<div class="MsoNormal">
Notes taken
from Beth Gersh-Nesic, Ben Politt, and Dr.’s Beth Harris and Steven Zucker of
Khan Academy.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was
it about? What were the goals?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">A simple
way to think of the Realists is to see it as another step towards Modernism.
Realists, mostly French painters who worked at the same time as
Pre-Raphaelites, still used academic training, styles and techniques, while shifting
interests away from the classics, and toward modern life and society. This was
a time of rapid transformation as the industrial revolution changed technology,
cities, and previous ways of life. Realist artists wanted to examine and
critique these changes in their art. Gustave Courbet, the de-facto leader of
this group, wanted to make “history paintings” about real life––what was
happening now. He felt, if he couldn’t see it, he shouldn’t paint it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A word
about modernism:<o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“In the Stone Age, artists expressed
themselves with crude pictures on the walls of their caves. Then there was a
period of transition that lasted roughly 10,000 years. Then came Modern Art.
Now we can express ourselves again. If you want to know the details, you can go
to art school and spend thousands of dollars, but this is basically what
they'll teach you. I've boiled it down.”</span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> – Brad Holland<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of
historical context<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">So, what
changed during the industrial revolution? Basically, everything. This was one
of the first times in history when population and wealth grew consistently,
year to year, at unprecedented levels. One of the earliest and largest
businesses to industrialize was textile manufacturing. Gas was used for heating
homes and for street lights, starting around 1812 in London, and lasting until
around 1890 when electric lights began to replace them. Lights at night allowed
factories to run longer and created a new nightlife in cities. Modern
sanitation made cities cleaner. New railways, roads, and canals made travelling
faster, safer, and cheaper. People began taking weekend trips out into the
country, just for fun.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Paris, a centre of artistic development, had transformed as well, with
ambitious new projects that tore down old buildings to create broad new
boulevards. The city reinvented itself in a modern style with multi-class
buildings, where the rich lived on the first floors, and the poor up at the
top. This allowed for more social mixing and mobility.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
underlying philosophy of the period:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">If you
can’t see it, you shouldn’t paint it. Don’t dwell on the distant past because
you weren’t there, so you can’t possibly know what really happened. Focus on
the present and what’s happening now. You’re living in important, exciting
times. You need to record it so others can understand what life was like when
your present becomes the past––and painting is the best way to do it, because
so many of the changes are visual. Also, don’t be fooled into only presenting
“important people”. Every life matters equally, so everyone is important, not
just the rich and famous. Use your art to draw attention to people who need it,
not simply those who want it. Art critic Baudelaire also recommended that
artists be a <em><span style="background: white; border: none 1.0pt; color: #21242c; padding: 0in;">flâneur, </span></em><em><span style="background: white; border: none 1.0pt; color: #21242c; font-style: normal; padding: 0in;">or stroller,</span><span style="background: white; border: none 1.0pt; color: #21242c; padding: 0in;"> </span></em><em><span style="background: white; border: none 1.0pt; color: #21242c; font-style: normal; padding: 0in;">joining the city crowds, but quietly
observing, so he could better understand and paint them.</span></em><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was
it represented in the other arts – music, architecture, and literature?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Realism is
a major movement in literature, philosophy, the theatre, and cinema. Realist
writers include Balzac, Flaubert, Tolstoy, Chekhov, Henrik Ibsen, and Emile
Zola. English writers include George Eliot, Henry Fielding, and American
realists include Mark Twain, Jack London, Stephen Crane, and John Steinbeck.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What
made it great?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Far and
away, the clearest star of the Realists was Edouard Manet, for his ability to
get into the heads of his subjects and present complex, conflicting emotions
with longing and pain that you can only guess at, no matter how long you look.
Manet painted people who speak to you with their eyes. His revolutionary
subjects and style have led some critics to call him the first modern artist.
Beyond this, many realist painters learned and imitated the Romantics in
landscape, using the light of the sun to evoke feelings and add drama. Having
said that, some of the work these artists produced is a bit mediocre, just like
with any art movement.<b><o:p></o:p></b></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Why was
it so short-lived?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Much of
what one might consider “realist” art of this movement is limited to 1845-1870.
It’s a short amount of time. I would say the biggest factors in this were the
small number of artists who fit the criteria, few students of note to continue
the style and aesthetic onto a second generation, and a rising tide of new,
fashionable styles that swept away interest for a time. Of course, there are
many artists today who create highly realistic art that could be considered
“realist” in treatment of subject. But, they don’t get much recognition, and
it’s hard to draw a connection from the contemporary art world to a tradition
that died over 100 years ago.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was it
really more realistic than other periods?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Yes and no,
so it’s not the best name for the movement. The two main facets of realism were
in the brushwork itself and the realist, objective construction of
compositions, showing things as they would look in real life, with no attempt
at idealization. If you look back you can find precursors to realism, for
example many golden-age Dutch masters, as well as the anti-Rococo painter
Chardin, who seems to have been a major influence on Millet and others. If you
look back at the Pre-Raphaelites, their colours and subjects may have been
otherworldly, but their attention to detail, perspective, and proportions were
highly realistic. Waterhouse even subdued his colours to increase the realism
of his works. What’s more, as many so-called “realists” got older, their works
became less and less photorealistic as the influence and appreciation for
impressionism grew. Many “realist” paintings feel unfinished and rough, and not
what one might consider <i>realistic</i>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
leading figures:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Jean-Baptiste-Camille Corot (1796-1875)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Honoré-Victorin Daumier (1808-1879)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Jean-François </span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Millet
(1814-1875) (Barbizon School)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gustave
Courbet (1819-1877)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Charles
Baudelaire (1821-1867) (poet & art critic)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rosa
Bonheur (1822-1899)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Édouard Manet</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
(1832-1883)<o:p></o:p></span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jules Bastien-Lepage (1848-1884)</span><br />
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><a href="https://100greatestwomenartists.blogspot.com/2020/06/82-ivana-kobilca-1861-1926.html" target="_blank">Ivana Kobilca</a> (Slovenian, 1861-1926)</span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Philip
Alexius de Laszlo (Hungarian, 1869-1937)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">American
Realists (Ashcan School):<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="DE" style="mso-ansi-language: DE;">Robert Henri
(1865-1929)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DE" style="mso-ansi-language: DE;">George Benjamin
Luks (1866-1933)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">William
Glackens (1870-1938)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">John Sloan
(1871-1951)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Everitt
Shin (1876-1953)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">George
Bellows (1882-1925)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Edward
Hopper (1882-1967)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Peredvizhniki (Russian Realists):<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ivan
Shishkin (1832-1898)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Vasily
Perov (1833-1882)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ilja Repin
(1844-1930)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Vladimir Makovsky (1846-1920)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"><br /></span></div>
<div class="MsoNormal">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some of
the most famous artworks of the time:<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p><br /></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMqEL4VF-N952rOOwI2z1teBjo3UfEPyNG3-_iYxPXFckcA6XJIaV2hI23tCdbUw8RV1ivutFm5YrQOo9co4-dNkAfCKhVp8C2gjVMmXHX_BVFtjOevUCOFzUxrs65x8DIz3K_SSpRws6/s1600/1848+Courbet+-+stone+breakers+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="732" data-original-width="1200" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHMqEL4VF-N952rOOwI2z1teBjo3UfEPyNG3-_iYxPXFckcA6XJIaV2hI23tCdbUw8RV1ivutFm5YrQOo9co4-dNkAfCKhVp8C2gjVMmXHX_BVFtjOevUCOFzUxrs65x8DIz3K_SSpRws6/s320/1848+Courbet+-+stone+breakers+web.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal">
<b><i><span lang="EN-GB">The
Stone Breakers</span></i></b><span lang="EN-GB">,
by Gustave Courbet, 1848<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">In this
painting, two men break rocks to clear a path for a road. Nothing here is
idealized. One worker looks too old for the job, while the other is only a boy.
Their clothing is torn and ragged. The low-angle perspective shows only the men
working in the foreground, with just a touch of sky and landscape high off to
the right, making the men feel isolated and trapped. Their poses suggest
exhaustion and pain. There’s nothing heroic about them. The brushwork is rough
and uneven, like the stones themselves. Where most painters would focus on the
faces and hands of the figures, Courbet treats them the same as everything
else. They lack the monumentality of Ford Maddox Brown’s <i>Work</i>, but feel
more “real”.<o:p></o:p></span></div>
<div class="MsoNormal">
<br />
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<br /></div>
<div class="MsoNormal">
<b><i><span lang="EN-GB">A
Burial at Ornans</span></i></b><span lang="EN-GB">,
by Gustave Courbet, 1849-50<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This painting
shows a funeral of an ordinary man in Ornans––Courbet’s great uncle, although
he didn’t add the name in the title. Courbet painted it large-scale and listed
it as a history painting––something unheard of at the time. Most people would
have considered it a genre painting since it depicted everyday life, but
Courbet wanted to present this as an important part in history.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB">Other than the immense size, three other facts stand out that add to its
realism. First of all, the man in front in the middle is a common grave digger,
and Courbet paints him with a level of importance and dignity, signifying the
importance of labourers. Second, there’s no real focal point in this work. Your
eyes wander along like you would in real life. You see a variety of faces and
expressions, some mourning, but some simply distracted or pensive––people who
might not have known the deceased, or cared. There’s even a dog that seems to
have wandered its way into the foreground, oblivious to what’s going on, and
symbolizing nothing. Three groups of figures are treated equally here, the clergy
on the left, the town officials and leaders in the middle, and a group of women
on the right. There’s little interaction among them. Each figure seems alone in
his or her thoughts.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB">Finally, there are no angels above or mystical lights from heaven.
There’s nothing to suggest heaven actually exists. Courbet painted only what he
saw, nothing more.<o:p></o:p></span></div>
<div class="MsoNormal">
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<br /></div>
<div class="MsoNormal">
<b><i><span lang="EN-GB">Ploughing
in the Nivernais</span></i></b><span lang="EN-GB">,
by Rosa Bonhuer, 1849<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This work
may seem a bit boring until you learn some of the history surrounding it. In
1848, France went through yet another revolution, with yet another king being
deposed in favour of yet another Napoleon. Politically, France was not doing
well, but this painting seeks to show a different story. This simple picture of
a farmer ploughing a field with his cows shows the strength of the French
spirit along with its rich, fertile land. It calls for courage and calm in hard
times.<o:p></o:p></span></div>
<div class="MsoNormal">
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<br /></div>
<div class="MsoNormal">
<b><i><span lang="EN-GB">The
Gleaners</span></i></b><span lang="EN-GB">, by <span style="background: white;">Jean-François</span></span><span lang="EN-GB" style="background: white; color: #545454; font-family: "arial" , "sans-serif";"> </span><span lang="EN-GB">Millet, 1857<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This
painting depicts three poor beggar women who are gleaning, or picking through
the field, looking for bits of corn to take home and cook for their families.
They carry what little they can find in their skirts, which are tied up to
serve as sacks for the grain. In the distant background, one can see the main
crop, with large piles of grain and many workers engaged in similar activity,
gathering it. But they have plenty of food while these three women have little.
While the scene is harsh, Millet’s treatment is kind and gentle. He paints the
women with soft round shapes, muted colours, all in similar pose to unify them.
They are treated here with respect and solemnity, as Millet addresses this
issue of poverty. At the same time, he hides their faces, emphasizing their
anonymity – ignored by everyone in society.<o:p></o:p></span></div>
<div class="MsoNormal">
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<br /></div>
<div class="MsoNormal">
<b><i><span lang="EN-GB">L’Angelus</span></i></b><span lang="EN-GB">, by <span style="background: white;">Jean-François</span></span><span lang="EN-GB" style="background: white; color: #545454; font-family: "arial" , "sans-serif";"> </span><span lang="EN-GB">Millet, 1857-59<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This work
shows a farming couple stop their work as they hear the church bell ringing in
the distance, so they stop to say a prayer, the Angelus, in honour of the
annunciation of Mary. The work is sentimental, showing an example of moral
life. The couple works hard every day, even to sundown, but they stop to pray.
They know their place in the universe, and so on. The couple looks iconic and
monumental. They’re back-lit so you can’t really see their faces, making them
represent every man and woman who lives this simple, honest farming life.<o:p></o:p></span></div>
<div class="MsoNormal">
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<br /></div>
<div class="MsoNormal">
<b><i><span lang="EN-GB">Music
in the Tuileries Gardens</span></i></b><span lang="EN-GB">, by Edouard Manet, 1862<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB">This
painting shows a concert in a garden near the Louvre, which was held twice
weekly, and attracted the rich and wealthy of Napoleon III’s Second Empire.
Manet included several famous people here, the artists Bazille and
Fantin-Latour, the writer Champfleury, and the composer Offenbach. Manet also
included himself as a <em><span style="background: white; border: none windowtext 1.0pt; mso-border-alt: none windowtext 0in; padding: 0in;">flâneur,</span></em></span><em><span lang="EN-GB" style="background: white; border: none 1.0pt; color: #21242c; font-family: "helvetica" , "sans-serif"; font-size: 10.0pt; padding: 0in;"> </span></em><span lang="EN-GB">standing on the far left, in the
grey slacks. We, the viewers, are where the musicians should be, which is why
so many of the sitters are gazing at us.<o:p></o:p></span></div>
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<span lang="EN-GB">The work was mocked when shown, partly for Manet’s loose brushwork, that
looked unfinished. Manet deliberately left some places unfinished to represent
the way our eyes focus on one thing and disregard others. But, mostly people
were shocked at the idea of such a large, monumental painting devoted to such
an unimportant scene of modern life. This work was shown the same year Whistler
exhibited the portrait of his mother, so the idea of devoting large works to
ordinary people and things was still new. And, while the Pre-Raphaelites and
Romantics had painted ordinary scenes before, it was rarely at this size, and they
were always filled with symbolism. But, there’s no symbolism present here. It’s
just a concert in the woods, nothing more.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipsRz9HTDPgPW4H2mqHsJgQV5B5lZuLK6JqxZBqIF-ZOSFjQ68J0NnYh2FpVSgZuHL71H6rRIWUSb8OnBq4vqxo3MMZlGBFdZn3HTCYskSL6yKa0l6Xa6LQLJfnYs05MMKdwZMniEEjpvC/s1600/1872+Manet+-+Railway+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1105" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipsRz9HTDPgPW4H2mqHsJgQV5B5lZuLK6JqxZBqIF-ZOSFjQ68J0NnYh2FpVSgZuHL71H6rRIWUSb8OnBq4vqxo3MMZlGBFdZn3HTCYskSL6yKa0l6Xa6LQLJfnYs05MMKdwZMniEEjpvC/s320/1872+Manet+-+Railway+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB">The
Railway,</span></i></b><b><span lang="EN-GB"> <em><span style="background: white; border: none 1.0pt; color: #21242c; padding: 0in;">Gare Saint-Lazare</span></em>,</span></b><span lang="EN-GB"> by Edouard Manet, 1872-3<o:p></o:p></span></div>
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<span lang="EN-GB">This
simple, straightforward painting is actually quite mysterious. We see a young
woman sitting by an iron railing, a young girl standing next to her, her back
turned to us as she watches a train go by. All we see is its steam. We have no
idea who the two people are, but the woman has paused in her reading, and looks
up at us, with a mix of curiosity and possible annoyance. Critics have debated
what the point was to this picture, which shows Manet’s own studio off in the
background to the left. Are the two figures trapped in a modern cage, or are
they happily enjoying the new modern life? What do you think?<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHGGel1Nzi6ut82KLKPsyKuKPn0C2IUWBckTFqNLk9GUyEUg5bc_p5dlTM2DMNOTdWj8SDL7-P6P-WistVphi0Z5vf0ahR55F1PYfrjHOMBeqWDeBa2xpVL1iWHlOhxhKkq5fucI4ZhM8p/s1600/1882+Manet+-+Bar_at_the_Folies-Berg%25C3%25A8re+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="897" data-original-width="1200" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHGGel1Nzi6ut82KLKPsyKuKPn0C2IUWBckTFqNLk9GUyEUg5bc_p5dlTM2DMNOTdWj8SDL7-P6P-WistVphi0Z5vf0ahR55F1PYfrjHOMBeqWDeBa2xpVL1iWHlOhxhKkq5fucI4ZhM8p/s320/1882+Manet+-+Bar_at_the_Folies-Berg%25C3%25A8re+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">A Bar at the Folies-Bergère</span></i></b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">, by Edouard Manet, 1882</span><span lang="EN-GB"><o:p></o:p></span></div>
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<span lang="EN-GB">This
painting shows a barmaid at her counter, in a large, boisterous theatre. There
are acrobats above in the background, and couples flirting everywhere. You see
them reflected in a large mirror placed behind her. The mirror is tilted so
that you can see her back reflected to the right, and you even see your own
reflection, as a young Parisian man, speaking to her. Like with <i>The Railway</i>,
this work presents a mystery as we don’t know what the young woman is thinking.
Her eyes look sad and thoughtful. She looks hesitant, knowing that her job will
attract many men looking to flirt with her. While the counter top pushes her
farther from us, we see in the reflection that we’re actually quite near her.
This painting illustrates the kind of tension that people felt when in these
situations – does the man just want a drink or something more? Will he make
promises and is he telling the truth? She looks like she’s been hurt before and
nervous about starting again.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p> </o:p></span></div>
<br />T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-49216753612673125902018-11-23T04:12:00.000-08:002020-06-21T15:53:43.728-07:00(Hopeless) Romantic Art<br />
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Some notes
taken from Dr. Noelle Paulson, Christine Zappella, and Khan Academy.</div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; text-autospace: none;">
<i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“Romantic artists start with the
belief that human imperfection is caused by imperfect societies. Unfortunately,
this often leads them to believe they can improve people by smuggling
improvements into society through the Trojan Horse of art.” </span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">– Brad Holland<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was
it about? What were the goals?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Romanticism
was an artistic and intellectual movement that started in the second half of
the 18<sup>th</sup> century and continued all through the 19<sup>th</sup>. It
was a reaction against the <b>Age of Enlightenment</b>, in defence of the
passions and emotions which enlightenment philosophers rejected. Caspar David Friedrich
said, “the artist’s feeling is his law.” Rousseau said, "To feel is to
exist. And, our feelings come, most incontestably, before our thoughts."<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Romanticism wasn’t simply about love or devotion. They explored all
emotions: excitement, awe, anger, fear, horror. It’s all part of the human
experience. Romantic artists felt that emotions were just as important to
humanity as logic, and that to ignore one’s emotions was to live a lie. So,
they looked for the emotional impact of everything they painted. They sometimes
painted classical and Biblical themes, but also about modern life and problems.
Romantics lamented the changing landscape, as the industrial revolution
transformed it with factories and urban slums. Romantic artists rejected
Classical art (in general), finding inspiration and nostalgia in medieval European
stories. They also explored supernatural ideas and spirituality – believing
there was more to the universe than what we could see through science. One
other thing they rejected was the hero worship of neo-classical art. Gone are
the morally upright role models. Instead, most of the figures in romantic
paintings face insurmountable problems and mysteries, with no clear answers.
The artist Gericault even focused on portraits of the insane.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">About
the name:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">It’s funny
that <i>romantic</i> comes from <i>Rome</i>, and yet romantic art was anti-classical
(rejecting Greek and Roman art). In the 18<sup>th</sup> century, <i>romantic</i>
was used to mean <i>natural</i>, having to do with beautiful landscapes and
sunsets. So, <i>romantic</i> art wasn’t <i>Roman</i>. It’s just another bad
label for an art movement.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of
historical context:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In Europe,
the romantic period, 1780-1880, was a time of turmoil, poverty, revolution, and
injustice. Romantics hoped to change the world with their art, to guide people
in a better direction––this is what Brad Holland was joking about. <o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Hudson River School:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This was
America’s companion to European romanticism. These artists painted beautiful
landscapes along the Hudson River in New York. They studied the beauty and
mystery of American nature.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was
it represented in the other arts – music, architecture, and literature?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Romantic literature got its start with British poetry, with writers like
William Blake, Wordsworth, Lord Byron, and John Keats writing some of the
greatest works in English literature. Gothic novels were also popular, such as
Mary Shelley's <i>Frankenstein</i>. The best known romantic authors today are
Jane Austen, Sir Walter Scott, Charles Dickens, Edgar Allen Poe, William
Hawthorne, and Herman Melville.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Romantic music is also considered some of the best of all time, with
works by Brahms, Dvorak, Chopin, and others still being played today, all
around the world.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Due to nostalgia for medieval Europe, architects began a Gothic Revival.
Famous examples include the Palace of Westminster (containing the houses of
parliament) in London, the houses of parliament in Budapest, and the church of
St. Ludmila in Prague.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What
made it great?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Romantic
artists were incredibly skilled. Their vision and imaginations were vivid and
exciting. They were ambitious, making huge, iconic masterpieces that are some
of the most well-known and loved in art history.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
leading figures:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Henry
Fuseli (Swiss-English, 1741-1825)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Francisco
de Goya (Spanish, 1746-1828)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">William
Blake (English, 1757-1827)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Pierre-Paul
Prud’hon (French, 1758-1823)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Caspar
David Friedrich (German, 1774-1840)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Joseph
Mallord William Turner (English, 1775-1851)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">John
Constable (English, 1776-1837)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jean Louis
Theodore Gericault (French, 1791-1824)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jean-Baptiste
Camille Corot (French, 1796-1875)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Ferdinand
Victor Eug<span style="background: white;">è</span>ne Delacroix (French, 1798-1863)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jean-Léon
Gérôme (French, 1824-1904)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">George
Inness (American, 1825-1894)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">William
Adolphe Bouguereau (French, 1825-1905)<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Thomas
Moran (1837-1926)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DE" style="mso-ansi-language: DE;">Ferdinand Keller
(German, 1842-1922)<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="DE" style="mso-ansi-language: DE;">Edmund Kanoldt (German,
1845-1904)<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some of
the most famous artworks of the time:<o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIaN0p8ac78kj81xSQS1GoAqqxlX4awW1Qx9uhnkdjEdSLfQ69ZqhrOvC-miAK6207QU2ryoClOGdLBh533Gjcv18I63Q4RehcKXBnZ-eEioUJGwuggVgcs1QQ_lfhxd5Rux3yxiS7JpBg/s1600/1781+Fuseli+-+Nightmare+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1119" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIaN0p8ac78kj81xSQS1GoAqqxlX4awW1Qx9uhnkdjEdSLfQ69ZqhrOvC-miAK6207QU2ryoClOGdLBh533Gjcv18I63Q4RehcKXBnZ-eEioUJGwuggVgcs1QQ_lfhxd5Rux3yxiS7JpBg/s320/1781+Fuseli+-+Nightmare+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Nightmare</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by
Henry Fuseli, 1781<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting shows a monster (sometimes called an imp, incubus, or mara) that sits
on his victim’s stomach as she sleeps, causing her to have a nightmare, and
suffocating her. The demonic horse may be a part of her dream or a friend to
the mara. This painting has no moral lesson. Its goal is to frighten you with
wonder at the dark mysteries of life.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZInaTg0Qwzif0PMl6Vw6qjklyWErkmPopY3sL2ksublbNaRt6vpiazxrWEL3pRyA4sluo-SlMSFdZWdjH7yAxfi210gQaTx3BwVIJ5Q2WFhjx9H8MikCzPMLQIOXl4r0b06XtihiQA2DN/s1600/1809-10+Friedrich%252C+Casper+-+Abtei+im+Eichwald+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="769" data-original-width="1200" height="205" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZInaTg0Qwzif0PMl6Vw6qjklyWErkmPopY3sL2ksublbNaRt6vpiazxrWEL3pRyA4sluo-SlMSFdZWdjH7yAxfi210gQaTx3BwVIJ5Q2WFhjx9H8MikCzPMLQIOXl4r0b06XtihiQA2DN/s320/1809-10+Friedrich%252C+Casper+-+Abtei+im+Eichwald+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Abbey in the Oak Wood</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Caspar David Friedrich, 1809-10.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting shows a funeral procession, as a line of monks carry a coffin into a
ruined abbey for burial, at twilight. It’s the dead of winter and the few trees
surrounding the ruin are tall, stumpy, gnarled, and bare. The mood is quiet and
sombre. There’s an uncomfortable tension created by the dark forest beneath and
the cold grey sky above, with its sickly yellow highlight. The tree branches
seem to point up like arthritic fingers. Everything looks incredibly old, and
the painting illustrates the vastness of time, and our tiny place in the universe.
Human time is represented by the ruined abbey and the funeral. Natural time is
shown with the old, tortured trees. And cosmic time is shown by the crescent
moon, barely visible in the centre right sky. It’s the only positive element in
the work, as it reminds us of cycles and rebirth. This painting exemplifies how
Romantics viewed nature and landscapes – not as simple pretty trees, but as
metaphors for life and universal mysteries. It’s not just a funeral in the
woods in winter. It asks larger questions about where we come from, where we’re
heading, what exists beyond death, etc.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJMnK6AYI_pq_uw76ZdeCN_cu4ERCseVxHYi8lOKkut7r7DxjTuy_-iI1fLZWj_O7qNlmlygXPNtXUC1I-pnPf52xFy0rIA9EiG0jcgWgzkpEYHKK9CeVlsbi807b0MIQ9zRh8lhCeEiqw/s1600/1814+-+goya+The+3rd+of+May+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1171" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJMnK6AYI_pq_uw76ZdeCN_cu4ERCseVxHYi8lOKkut7r7DxjTuy_-iI1fLZWj_O7qNlmlygXPNtXUC1I-pnPf52xFy0rIA9EiG0jcgWgzkpEYHKK9CeVlsbi807b0MIQ9zRh8lhCeEiqw/s320/1814+-+goya+The+3rd+of+May+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Third of May, 1808</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Francisco de Goya, 1814<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In this
painting, part of a series, Goya protests the war crimes of Napoleon in Spain.
France and Spain had signed an alliance, allowing Napoleon to send his army
through to war with Portugal. But, it was a trick, and Napoleon quickly used
his army to depose the king and install his brother, Joseph Bonaparte, as the
new king of Spain. When the people of Madrid rebelled, they were massacred.
This image shows Spanish patriots being shot by a French firing squad, at
night. A lantern casts an intense, spiritual light on the main figure, a martyr
who takes on a Christ-like pose with his hands above his head. His hands even
bear stigmata marks, like Jesus did.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This painting was one of the first to portray war as terrible, not
glorious or noble. There’s no honour in these killings, no fair fight. It’s a
mass execution, a war crime, and the closeness of the faceless killers to their
victims emphasizes the brutality of their actions. This work represents Goya’s
own opinion, not that of the state or church, and all this explains why some
people consider this “the first modern painting”. Additionally, instead of the
Neoclassical approach, this work is more painterly and gestural: figures are
loosely painted and unfinished, almost blurry, giving a sense of motion and night-time
vision.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7XckbKZO0fMP0w9NxAPB97qifY3VyNe7C-tPnmOFR5uYSQLVvNWf8eqBgXz1Bfrx-r3jK_tLZaxpCgfi4PMUMwpF2cAIYfrvj7cPPBQGcmlgAleQ0AzrI8nOQ-FuMw-BAtSbxfcZMxnB/s1600/1818+Friedrich%252C+Caspar+David+-+Der+Wanderer+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="703" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7XckbKZO0fMP0w9NxAPB97qifY3VyNe7C-tPnmOFR5uYSQLVvNWf8eqBgXz1Bfrx-r3jK_tLZaxpCgfi4PMUMwpF2cAIYfrvj7cPPBQGcmlgAleQ0AzrI8nOQ-FuMw-BAtSbxfcZMxnB/s320/1818+Friedrich%252C+Caspar+David+-+Der+Wanderer+web.jpg" width="249" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Wanderer Above the Sea of Fog</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Caspar David Friedrich, 1818<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting shows a man who has hiked up one of the Elbe sandstone mountains
(between Germany and the Czech republic) and views the land around him. The
foggy landscape represents a metaphor of the mysterious world in which we, and
the man in the painting, live. We can contemplate that mystery, but who knows
if the fog will ever lift?<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBP6kLJBUn4lmsa3CfkSaY5PssgfLfNAGSREY_ROhn0rpnkrTdZaBxwjdocOLjrrA0e8hyphenhyphenf2It7sMsXeu7aK5xPJdVRwgxuWqMrCrOvpmRlMN4TkIBy7zJsJqN1M5bNlB7dad5Wb_gdrph/s1600/1818-19+Gericault+-+Raft+of+the+Medusa+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="819" data-original-width="1200" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBP6kLJBUn4lmsa3CfkSaY5PssgfLfNAGSREY_ROhn0rpnkrTdZaBxwjdocOLjrrA0e8hyphenhyphenf2It7sMsXeu7aK5xPJdVRwgxuWqMrCrOvpmRlMN4TkIBy7zJsJqN1M5bNlB7dad5Wb_gdrph/s320/1818-19+Gericault+-+Raft+of+the+Medusa+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Raft of the Medusa</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Jean Louis Theodore Gericault, 1818-19<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting illustrates a terrible tragedy and political scandal. The Medusa was a
French ship taking settlers to Senegal. It ran aground at sea and sank, and
there weren’t enough life-boats (same situation as the Titanic). The captain
and all the other wealthy passengers took the life boats, and promised to tow
the other passengers on a raft built by one of the carpenters, using wreckage
from the ship. But, the captain soon saw that they couldn’t tow such a large
raft so he cut the rope, leaving over 150 people to drift away. These people
quickly resorted to murder and cannibalism and only fifteen survived over
thirteen gruesome days. <o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gericault put a lot of research into this painting. He interviewed the
survivors, he had carpenters recreate the raft in his studio, he modelled clay
figures to organize his composition (which captures the same feel as Ruben’s
works), and even brought in body parts from a morgue to study dead and decaying
flesh. The people on the raft show a level of detail reminiscent of the
renaissance and Greek statues, but it’s still more painterly and gestural than
Neoclassical works, and gone is any sense of moral lesson or virtue. This
painting shows humanity in its worst, most desperate state. It shows the
struggle between man and nature to survive. It also shows the failure of the
recently restored monarchy, since the ship’s captain was appointed by the new
King Louis XVIII. Politically, the painting served as a metaphor for France,
and many Frenchmen felt they were all on the raft of the Medusa, having
witnessed the failure of their revolution and empire.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzDAoMJsPjX_gMdR6Seaa-_2X64ryK2PCruTFYCGQQanThyphenhyphenFnN4BJKtPnCUwFFlqhjV30s1eEKNP48_jrNTbBdUe7u-3qD8hCw8K1rD52X3ImdGouGhZVjh0fPf9ERLaYx8oVP2uvkIWX/s1600/1822-3+Goya+saturn+eating+his+son+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="516" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzDAoMJsPjX_gMdR6Seaa-_2X64ryK2PCruTFYCGQQanThyphenhyphenFnN4BJKtPnCUwFFlqhjV30s1eEKNP48_jrNTbBdUe7u-3qD8hCw8K1rD52X3ImdGouGhZVjh0fPf9ERLaYx8oVP2uvkIWX/s320/1822-3+Goya+saturn+eating+his+son+web.jpg" width="183" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Saturn
Devouring One of His Sons</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Francisco de Goya, 1822-3<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting tells the story of Saturn, god of time, eating one of his sons to try
to avoid a prophecy – that one of his sons would one day kill him and take over
as king of the Gods. Goya painted this to decorate his own home, and it makes a
political statement – the ruler abusing and destroying his own children to
remain in power. Goya saw this happen countless time in Spain, from the King to
Napoleon, and so on. If you look at Saturn’s face, you’ll see the desperation
and pain in his eyes – he knows what he’s doing is wrong, he knows it’s a
terrible situation and he hates it too, it’s the fear that makes him do it.
Goya saw many parallels to this in politics, the question being, how long can
we let this continue?<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg16iw_qTNIP5ExYZ2qLme7Eg1ikqRZLXGiU-a1R6LulO55YmjBPevKuJ1LGjyX7j3G_YpmbbA6KJb7PqU1XAIpKHPk-roLE35fQH3CyHZzB2DfEhDQzWkGZMMrOSs4oSLGjzMhmZHlRZRv/s1600/1827+Delacroix+-+Death+of+Sardanapalus+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1115" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg16iw_qTNIP5ExYZ2qLme7Eg1ikqRZLXGiU-a1R6LulO55YmjBPevKuJ1LGjyX7j3G_YpmbbA6KJb7PqU1XAIpKHPk-roLE35fQH3CyHZzB2DfEhDQzWkGZMMrOSs4oSLGjzMhmZHlRZRv/s320/1827+Delacroix+-+Death+of+Sardanapalus+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Death of Sardanapalus</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Eug<span style="background: white;">è</span>ne Delacroix, 1827<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting is based on a play written by Lord Byron, in which Sardanapalus was an
Assyrian king. He devoted his life to a decadent lifestyle of parties and
orgies, and he had a large harem. This angered his people and they rebelled, joining
forces with rival city states, and laying siege to him, at his city of Ninevah.
Rather than let his enemies take his women, he had them all killed and burned
with him in a large funeral pyre, filled with all his most precious treasure.
As with most Romantic takes on history, there’s no evidence Sardanapalus really
existed.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW2hN9Gs0pcVVFQRpueTAVt_I78SiywNvkC7TZLgM4hwXdBirofIv48fRb2nZjo8rvuRsYrgILgIYhqGIutKXN6DPvhwOUT4fW7AMiQ60EoeOxseIq4khGoV3shwZkbWJPg_v7Ifuqm9rl/s1600/1830+delacroix+Liberty+leading+the+People+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1135" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW2hN9Gs0pcVVFQRpueTAVt_I78SiywNvkC7TZLgM4hwXdBirofIv48fRb2nZjo8rvuRsYrgILgIYhqGIutKXN6DPvhwOUT4fW7AMiQ60EoeOxseIq4khGoV3shwZkbWJPg_v7Ifuqm9rl/s320/1830+delacroix+Liberty+leading+the+People+web.jpg" width="320" /></a></div>
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<b><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Liberty
Leading the People</span></i></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, by Eug<span style="background: white;">è</span>ne Delacroix, 1830.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
painting celebrates the second revolution that took place in 1830, and the
“three glorious days” when rebels barricaded streets in Paris, and overthrew
the Bourbon king Charles X. The bare-chested woman waving the flag represents
the spirit of France. This celebration was premature. Charles X was deposed,
but a new “citizen king” named Louis-Philippe took power until he was also
deposed in 1848, leading to yet another coup and empire under Napoleon III. All
this goes to show how frustrating politics was in France. So much fighting and
death and revolution to put down an old order and create a democratic republic,
only to have it ruined again and again.<o:p></o:p></span></div>
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<br />T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-76027679520098161852018-11-19T12:02:00.001-08:002020-06-28T00:24:57.244-07:00Cubism & Picasso<span style="color: #444444;"><br /></span>
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<span style="color: #444444;"><i><span lang="EN-GB" style="mso-ansi-language: EN-GB;">“This was a movement started by
Picasso and Braque to distinguish their work from what Cezanne had already
done, but failed to give a name to. In Modern Art, naming your art movement is
a must. Cubism is still the most important art movement for the same reason
that John D. is still the most important Rockefeller. All the other art
movements are like downtown Rockefellers, and you can forget about them unless
you expect to encounter an art category on ‘Jeopardy’.”</span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> – Brad Holland<o:p></o:p></span></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">What was it about? What were the goals?<o:p></o:p></span></b></div>
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<span style="color: #444444;"><span lang="EN-GB" style="background: white;">In Cubist artwork, objects are analyzed, broken up and
reassembled in an abstracted form—instead of depicting objects from a single
viewpoint, the artist depicts the subject from a multitude of viewpoints (and </span><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">points in time) to
represent the subject in a greater context. It’s a form of puzzle making that’s
supposed to tell you “the whole story” while at the same time suggesting, you
might not really know this subject as well as you thought. Don’t judge by
appearances.<o:p></o:p></span></span></div>
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<span style="color: #444444;"><span lang="EN-GB" style="background: white;">Not all Cubists had the same
goals. Kupka and Delaunay painted purely abstract, non-representational images,
meant to express metaphysical ideas. This subgroup was labeled <b style="mso-bidi-font-weight: normal;">Orphism</b>.</span><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="background: white; color: #444444;">A bit of historical context:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="background: white; color: #444444;">This movement began around 1907 in Paris with Picasso and Braque, who
developed the idea. The name came from a critic who made fun of what he called
“cubic oddities.” Fun fact, the first cubist exhibition in 1911 showed neither
of these artists’ works, instead showing off that of their followers. This was
due to the core members signing a contract with the art dealer Daniel-Henry
Kahnweiler. He promised them an annual salary, for the right to buy all their
artworks and sell them through his gallery. So, they became known as the <b style="mso-bidi-font-weight: normal;">Kahnweiler Cubists</b>, while the rest were
called the <b style="mso-bidi-font-weight: normal;">Salle 41 Cubists</b>.<o:p></o:p></span></div>
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<span style="color: #444444;"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Cubism made a big splash in the art world,
inspiring and influencing a host of movements that came right after: Futurism,
Suprematism, Constructivism, Dadaism<span style="color: #222222;">, Art Deco, and
De Stijl. Ideas borrowed include <b style="mso-bidi-font-weight: normal;">simultaneity</b>––fusing
the past, present and future, <b style="mso-bidi-font-weight: normal;">multiple
perspectives</b>, combining <b style="mso-bidi-font-weight: normal;">various
materials</b> including found objects, and simplifying forms to their basic<b style="mso-bidi-font-weight: normal;"> geometric shapes</b>.</span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></span><br />
<span style="color: #444444;"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"><span style="color: #222222;"><br /></span></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip6CKmiqYrgo_SZFaiqs9rWuEMysb7I_4lm_RQuPhBGbjkfHNbVmHtqw-W3iyg3RTQc5VqXl0apXLtlTw4fPZjBYyDXEBjLfh5NDduHnbJMidVoJJkwVyHuGm3Ve-Iiov58cplL6OIY-C0/s1600/C%25C3%25A9zanne%252C+Paul+-+Im+Wald+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="862" data-original-width="1200" height="229" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip6CKmiqYrgo_SZFaiqs9rWuEMysb7I_4lm_RQuPhBGbjkfHNbVmHtqw-W3iyg3RTQc5VqXl0apXLtlTw4fPZjBYyDXEBjLfh5NDduHnbJMidVoJJkwVyHuGm3Ve-Iiov58cplL6OIY-C0/s320/C%25C3%25A9zanne%252C+Paul+-+Im+Wald+web.jpg" width="320" /></a></div>
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<i>In the Forest</i>, by Paul Cezanne, 1898</div>
<span style="color: #444444;"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"><span style="color: #222222;"><br /></span></span></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="background: white; color: #444444;">A primary influence of Cubism was Paul
Cézanne, who had many exhibitions in Paris in that time, up to and after his
death in 1906. He once said, “. . .treat nature by means of the cylinder, the
sphere, the cone, everything brought into proper perspective so that each side
of an object or a plane is directed towards a central point.” Another big
influence was Gauguin who, although dead, was also represented in some big art
shows in Paris at that time. This spurred Picasso’s interest in tribal art and
African masks.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; color: #444444;">Another influence was Da Vinci, who wrote about
the <b style="mso-bidi-font-weight: normal;">golden ratio</b> (used to make ideal
compositions). Certain Cubists, like Metzinger and Gleizes, felt this ratio was
so important they called themselves the <b style="mso-bidi-font-weight: normal;">Section
d’Or</b>.<o:p></o:p></span></div>
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<span lang="EN-GB" style="background: white; color: #444444;">Cubism wasn’t exactly political, but it was
politicized. Conservatives complained in 1912 that public funds were being used
to put up a Cubists art exhibit (with over 200 works and a “cubist house”
installation) at the Grand Palais in Paris.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7CvSbXS3obY13yBjAl011xgtnv5N882TlSzXHHomyNBUFMe83i0ttlgYPqj8lyxtwJ0FsCXz0nP6C1MWi-QDkTE2VOZZUQIJwkpBBg9B68Z7i_tbOODeOjRRqhL-tVTckMd8zJNL18yL/s1600/1912+Raymond+Duchamp-Villon+-+fa%25C3%25A7ade+de+la+Maison+Cubiste+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="1200" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-7CvSbXS3obY13yBjAl011xgtnv5N882TlSzXHHomyNBUFMe83i0ttlgYPqj8lyxtwJ0FsCXz0nP6C1MWi-QDkTE2VOZZUQIJwkpBBg9B68Z7i_tbOODeOjRRqhL-tVTckMd8zJNL18yL/s320/1912+Raymond+Duchamp-Villon+-+fa%25C3%25A7ade+de+la+Maison+Cubiste+web.jpg" width="320" /></a></div>
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Concept Design for the Cubist House, by Raymond Duchamp-Villon, 1912</div>
<span style="background-color: white; color: #444444; text-indent: 0.25in;"><br /></span>
<span style="background-color: white; color: #444444; text-indent: 0.25in;">The artists were defended by
socialists in the government. The debate led Gleizes and Metzinger to write </span><i style="color: #444444; text-indent: 0.25in;">Du Cubisme</i><span style="background-color: white; color: #444444; text-indent: 0.25in;"> that year, a book defending
their movement.</span></div>
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<span lang="EN-GB" style="background: white; color: #444444;">Cubism went out of fashion in the 1920’s as
Surrealism developed, but it keeps popping up in our visual culture. It’s been
used frequently in advertising, and even in film composition.<o:p></o:p></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">The underlying philosophy of the period:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Good
question. Everyone knows about Picasso, but there were a number of other
artists who dabbled in cubism, like Marcel Duchamp, Le Corbusier, and others,
who wanted to define it for themselves. So, the definition depends on who you
talk to, or whose manifesto you read. One core idea of the movement was that
you don’t know the world as well as you think you do. You should look closer.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Some ideas about cubism relate a lot to other movements of the time,
such as that art was much more than simply decoration. Metzinger wrote that
decoration was “<span style="background: white;">antithesis of the picture. The
true picture bears its <i>raison d'être</i> within itself. It can be
moved from a church to a drawing-room, from a museum to a study.
Essentially independent, necessarily complete, it need not immediately satisfy
the mind: on the contrary, it should lead it, little by little, towards the
fictitious depths in which the coordinative light resides. It does not
harmonize with this or that ensemble; it harmonizes with things in general,
with the universe: it is an organism...”</span><o:p></o:p></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">How was it represented in the other arts –
music, architecture, and literature?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Cubism
branched out into literature and architecture. The most famous Cubist
architects were Walter Gropius and Le Corbusier, who later distinguished his
style of Cubism by labelling it <b style="mso-bidi-font-weight: normal;">Purism</b>.
In Purism, objects weren’t broken up into little pieces, but merely simplified
to their basic outlines.</span><br />
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KEtjiahIhzMf2z8PH2mhVUsdxHwbfLlZG9lq_NXoD8lAQ_vyYFHJIctKVkj3Tk7KeHqUPPlcwgGzShc8fc2oz7Ibq5sjASANlCopLFenAJ92p1dR2waX2ngOB4kbaNlsiHO9to2h2gCb/s1600/1922+Le+Corbusier+-+Vertical+Still+Life+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="545" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8KEtjiahIhzMf2z8PH2mhVUsdxHwbfLlZG9lq_NXoD8lAQ_vyYFHJIctKVkj3Tk7KeHqUPPlcwgGzShc8fc2oz7Ibq5sjASANlCopLFenAJ92p1dR2waX2ngOB4kbaNlsiHO9to2h2gCb/s320/1922+Le+Corbusier+-+Vertical+Still+Life+web.jpg" width="193" /></a></div>
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<i>Vertical Still Life</i>, by Le Corbusier, 1922</div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">The result appears Cubist, but is much easier to read.
You can tell what the objects are. These designers used simple, geometric
shapes, industrial materials, and lots of glass to make playful, odd, and often
towering new buildings that defy description. Cubist ideas mixed with Futurism,
De Stijl, and Purism around this time, which is why we typically think of these
buildings as simply Modern.<o:p></o:p></span><br />
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbX_jjN9KYyCnyrZVwXhUCUYK6fqocdrgtlyATxl481Wg929_c6r3Y2ScLYYX71tCBhUUq5m9RHavAgvq7NLkqoAfKsneA0siLW5piOrN1mCnta9qyI4gURA_cYhzEVzNxPkHp-rMSjl2Z/s1600/1950%2527s+Le+Corbusier+-+Assembly+building%252C+Chandigarh%252C+India+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="502" data-original-width="1200" height="166" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbX_jjN9KYyCnyrZVwXhUCUYK6fqocdrgtlyATxl481Wg929_c6r3Y2ScLYYX71tCBhUUq5m9RHavAgvq7NLkqoAfKsneA0siLW5piOrN1mCnta9qyI4gURA_cYhzEVzNxPkHp-rMSjl2Z/s400/1950%2527s+Le+Corbusier+-+Assembly+building%252C+Chandigarh%252C+India+web.jpg" width="400" /></a></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"></span><br />
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<b><span lang="EN-GB">The Assembly Building</span></b><span lang="EN-GB"> in Chandigarh, India, by Le Corbusier, 1950’s<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyQX8M8W80K_RC1n35recKCjFE2OBrd6pQg775JTb9X-WDz9xCrcasxKpM-qkZcztbPjPdN5Pu4q0oOFhRjYC6ESvVKZKJC7J906XiFAcJI9cvAuD4eRl9JkedwszQboKFE-79RL14rzK9/s1600/1967+Le+Corbusier+-+Centre+Le+Corbusier+in+Z%25C3%25BCrich-Seefeld+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="663" data-original-width="1200" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyQX8M8W80K_RC1n35recKCjFE2OBrd6pQg775JTb9X-WDz9xCrcasxKpM-qkZcztbPjPdN5Pu4q0oOFhRjYC6ESvVKZKJC7J906XiFAcJI9cvAuD4eRl9JkedwszQboKFE-79RL14rzK9/s320/1967+Le+Corbusier+-+Centre+Le+Corbusier+in+Z%25C3%25BCrich-Seefeld+web.jpg" width="320" /></a></div>
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<b><span lang="EN-GB">Centre Le Corbusier</span></b><span lang="EN-GB"> in Zürich-Seefeld, by Le Corbusier, 1967<o:p></o:p></span></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">The most famous Cubist writers were Gertrude Stein and Pierre Reverdy.
They used repeated words and phrases as building blocks to write poems and even
novels. While it might sound silly or nonsensical, like Dada or Surrealism,
it’s supposed to be based on a strict structure, and with a deeper intended
meaning.</span></div>
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<span style="color: #444444;"><br /></span></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Was it great?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">It was big
– really big. Cubism took off all around the world, and inspired many, many
people and new movements. Was it great? Some of it, sure, this was a great
experiment, with successes and failures, innovative ideas and copycats. I think
Picasso, among other things was a genius cartoonist. Much of what he made can
be viewed as abstract cartoons, and in that, he was one of the best that ever
lived.<o:p></o:p></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">What’s up with Picasso? Was he overrated?
Misogynist? A narcissist? Does it matter?<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">It’s hard
to say exactly why Picasso is so famous today, because there are many reasons.
It’s not simply hype, but he did get lots of it. It’s not simply shock value,
although his work was shocking. One answer is he was prolific. He made over
50,000 artworks in his life, including 1,885 paintings, and 1,228 sculptures.
Pablo had to create. Even when he was young and poor, he’d paint over the same
canvas two or three times, no matter how good the previous works were. He’d
work mostly at night, while no one would bother him.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">He was versatile, working in many different styles at once––he wasn’t
simply Cubist. He also had an incredible imagination, working almost entirely
from memory. He never hired models, only painting people he knew, mostly his
wives and mistresses. And this brings us to misogyny...<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Two factors played into the young Picasso’s views on women. First, as a
teen in Barcelona, he and his friends spent time with prostitutes. Second, his
best friend, Carlos, was impotent and fell in love with a model. When she
rejected him, he shot himself (he almost shot her too, but she got away). This
affected Picasso deeply, triggering his blue period of painting. It may have
also reinforced Picasso’s apparent mistrust in women, which caused him to jump
from one relation to another.<o:p></o:p></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoGdsLHzMRTI4uyBQwAQNjT3hxbV5rKZ1LWzBnCJYYOUPqk_P3ZZVmJxitpHp-mNKrEMOGXK4KRhIKgHO-rKhEXf0J_HISII9-cQcjfnTc3uo7maab1100ruFmCPDn2R1ZE_gBRRttqf2O/s1600/1917-18+Picasso+-+Olga+in+an+Armchair+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="618" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoGdsLHzMRTI4uyBQwAQNjT3hxbV5rKZ1LWzBnCJYYOUPqk_P3ZZVmJxitpHp-mNKrEMOGXK4KRhIKgHO-rKhEXf0J_HISII9-cQcjfnTc3uo7maab1100ruFmCPDn2R1ZE_gBRRttqf2O/s320/1917-18+Picasso+-+Olga+in+an+Armchair+web.jpg" width="219" /></a></div>
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<b><i><span lang="EN-GB">Olga in an Armchair</span></i></b><span lang="EN-GB">, 1918<o:p></o:p></span></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Picasso’s first wife was Olga Khokhlova, a Ukrainian ballet dancer.
After nine years, Picasso befriended a 17 year-old girl, Marie, whom he would
eventually have an affair with, and get pregnant (when she was 26).</span><br />
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHT0gi4pSdotiRW8q_9e2B_ut34WxUyxudSou5OIgjaBnCDyF62ZKTpleeXPvAa3XoW-ZXH-Oea1LI1w9jUtPe6ad-8TMkN1Vz0fyV7-un8yymnYtcxqS1kfHn-_MDEc9zhSaB2GLQXtjD/s1600/1931+Picasso+-+Red+Armchair%252C+Marie-Therese.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="914" data-original-width="689" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHT0gi4pSdotiRW8q_9e2B_ut34WxUyxudSou5OIgjaBnCDyF62ZKTpleeXPvAa3XoW-ZXH-Oea1LI1w9jUtPe6ad-8TMkN1Vz0fyV7-un8yymnYtcxqS1kfHn-_MDEc9zhSaB2GLQXtjD/s320/1931+Picasso+-+Red+Armchair%252C+Marie-Therese.jpg" width="241" /></a></div>
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<b><i><span lang="EN-GB">The Red Armchair</span></i></b><span lang="EN-GB">, 1931<o:p></o:p></span></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Olga wanted
to divorce, but Picasso refused to divide his property in half, as required by
law, so she stayed married to him till her death in 1955. Marie described
posing for Picasso as some of the greatest moments of her life. He was
charming, excited, and made her feel special. Even afer he left her, she spoke
fondly of him. Four years after Picasso died, Marie committed suicide.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Meanwhile... as soon as Marie got pregnant, Picasso fell for another
woman, a young photographer named Dora Maar.</span><br />
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSM_O1NiWOxSTGqCmn4Be99N70xXOv7LyyYZ-XrDUPqz7JPbCr5BEa13ST3xRckgnP0UjxHZSUta0w70iCKxNQyCOrCDbvzUlaw07QmFrA0qMwhwiHJ-srxYnEIV89Z7TUdBKwpczNQHES/s1600/1938+Picasso+-+Bust+of+a+Woman%252C+Dora+Maar+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="733" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSM_O1NiWOxSTGqCmn4Be99N70xXOv7LyyYZ-XrDUPqz7JPbCr5BEa13ST3xRckgnP0UjxHZSUta0w70iCKxNQyCOrCDbvzUlaw07QmFrA0qMwhwiHJ-srxYnEIV89Z7TUdBKwpczNQHES/s320/1938+Picasso+-+Bust+of+a+Woman%252C+Dora+Maar+web.jpg" width="260" /></a></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"></span><br />
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<b><i><span lang="EN-GB">Bust of a Woman</span></i></b><span lang="EN-GB">, 1938<o:p></o:p></span></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><br /></span>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">When the two women confronted him
at his studio, and asked him to choose, he said they should fight it out among
themselves, and they did! They started wrestling for him. Picasso called it one
of his choicest memories. It didn’t matter, Picasso kept seeing both women
until Dora eventually had a nervous breakdown and left him. For what it’s
worth, Picasso paid for both women’s living expenses.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">After seven years with Dora, Picasso fell for another young artist named
<span style="background: white;">Françoise
Gilot.</span></span><br />
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><span style="background: white;"><br /></span></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYHC9wwKIemBoHrl4VRNmZ6CPD4Vn5mK8QSk01hP4zB2SsCsQzUGaMkHAZk5iDPRf_qTw4Txm0uC1aIg7DyFy_EPm1Odt4rR0uOxsOny5dNVPUweu9wQY2mAvnhbtTtkgbcjHes5sdImOA/s1600/1946+Picasso+-+Woman%2527s+Head%252C+Gilot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="624" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYHC9wwKIemBoHrl4VRNmZ6CPD4Vn5mK8QSk01hP4zB2SsCsQzUGaMkHAZk5iDPRf_qTw4Txm0uC1aIg7DyFy_EPm1Odt4rR0uOxsOny5dNVPUweu9wQY2mAvnhbtTtkgbcjHes5sdImOA/s320/1946+Picasso+-+Woman%2527s+Head%252C+Gilot.jpg" width="221" /></a></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><span style="background: white;"></span></span><br />
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<b><i><span lang="EN-GB" style="background: white; color: #222222;">Woman’s Head</span></i></b><span lang="EN-GB" style="background: white; color: #222222;">, 1946<o:p></o:p></span></div>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><span style="background: white;"><br /></span></span>
<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;"><span style="background: white;">She was 21 and he was 61. They moved to the south of France, and lived
together for ten years, having two children, although they couldn’t marry. Things
grew tense when Picasso’s former mistresses came to visit and Olga even moved
nearby. Gilot had enough, and was the first woman to leave Picasso. When they
broke up, he instructed every art dealer he knew to never sell Gilot’s paintings,
ruining her career. And, according to Wikipedia, he allegedly abused her and
Dora physically. Years later, Gilot wrote a best-selling book about Picasso,
which he tried to get banned, and angering him so much he threatened to cut
their children out of his will (he actually never made a will, causing all his
relatives to battle over his estate).<o:p></o:p></span></span></div>
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<span lang="EN-GB" style="background: white; color: #444444;">After
leaving Gilot, he married Jacqueline Roque (she was 26 and recently divorced,
and he was 72).</span><br />
<span lang="EN-GB" style="background: white; color: #444444;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimfVTGEq6j4_1TDYKJGCR4w_lmvIB1haM3pTfwcT4N5pk6ioizreq7FUZ38AbH7K-aI0ea_-NewCLNOXGyGF7sEyNuUpGbypsL6icdcs5sSCamHnvzfDY1n_M-oFJoWjI85qj0UqEhguZg/s1600/1954+Picasso+-+Crouching+Woman+%2528Jacqueline%2529+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="698" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimfVTGEq6j4_1TDYKJGCR4w_lmvIB1haM3pTfwcT4N5pk6ioizreq7FUZ38AbH7K-aI0ea_-NewCLNOXGyGF7sEyNuUpGbypsL6icdcs5sSCamHnvzfDY1n_M-oFJoWjI85qj0UqEhguZg/s320/1954+Picasso+-+Crouching+Woman+%2528Jacqueline%2529+web.jpg" width="248" /></a></div>
<span lang="EN-GB" style="background: white; color: #444444;"></span><br />
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<b><i><span lang="EN-GB" style="background: white; color: #222222;">Crouching Woman</span></i></b><span lang="EN-GB" style="background: white; color: #222222;">, 1954<o:p></o:p></span></div>
<span lang="EN-GB" style="background: white; color: #444444;"><br /></span>
<span lang="EN-GB" style="background: white; color: #444444;">She played hard to get, and so Picasso gave her a rose a day for
six months before they started dating. They married, and stayed together till
the end of his life. Moving into a new home, they stopped seeing friends and
even his former children. Jacqueline protected him from distractions so he
could devote the end of his life to his art, drawing right up to the moment he
died in bed. But, it was more than that, Jacqueline was jealous of his other
mistresses and families, refusing to let them attend his funeral. One grandson
was so upset about this he drank a bottle of bleach and died. And, in 1986,
Jacqueline also committed suicide, shooting herself.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="background: white; color: #444444;">One
of the harshest critiques comes from his own granddaughter, Marina, who wrote,
“He needed blood to sign each of his paintings: my father’s blood, my
brother’s, my mother’s, my grandmother’s and mine. He needed the blood of those
who loved him––people who thought they loved a human being, whereas they really
loved Picasso.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="background: white; color: #444444;">So,
what does all this tell us about Picasso, and his art? For Picasso, painting
wasn’t simply about image making but about loving and exploring his fascination
with the women in his life. He was literally putting them on a pedestal. It was
devotional, but also a recipe for disaster, for two reasons. Picasso wasn’t
seeing these women for who they really were. He was idealizing them, so when
they did or said something that upset him, it was a shock––what, this girl isn’t
perfect? I’ll find another. Gilot remarked, “Throughout this long relationship,
ten or eleven years, I remained just as much of a mystery to him as I was on
the first day.”<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="background: white; color: #444444;">And
then, no matter how great a “muse” you find, you can’t just paint it over and
over the rest of your life. You get bored, you always want to paint something
different. I’ve painted a favorite view two or three times, but then I always say,
okay, never again, it’s time to move on. You can’t do that to the people in
your life. For Picasso’s women it came as a terrible shock––you loved me so
much yesterday, I was on a pedestal, how can you have forgotten so quickly?<o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: .25in;">
<span lang="EN-GB" style="background: white; color: #444444;">And
what did all these women see in him? One friend said he had these powerful eyes
that saw right through you. </span><br />
<span lang="EN-GB" style="background: white; color: #444444;"><br /></span>
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<b><i><span lang="EN-GB" style="background: white; color: #222222;">Portrait of
Picasso</span></i></b><span lang="EN-GB" style="background: white; color: #222222;">, by Salvador Dali, 1930<o:p></o:p></span></div>
<span lang="EN-GB" style="background: white; color: #444444;"><br /></span>
<span lang="EN-GB" style="background: white; color: #444444;">But, you can’t really answer this without knowing
the man. Some people are very critical of Picasso now. Comedian Hannah Gadsby
sees him as the art world’s Donald Trump, quoting Picasso as saying, “Each time
I leave a woman, I should burn her. Destroy the woman, you destroy the past she
represents.” That sounds pretty bad, but it’s worth noting he didn’t do that,
he financially supported all these women (at least until Jacqueline put an end
to it), and was most likely joking.<o:p></o:p></span></div>
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<span style="color: #444444;"><span lang="EN-GB" style="background: white;">He
was also a human rights activist, painting anti-war artworks that were used in
fundraisers in support of democracy and freedom. Picasso was a womanizer with
an eye for younger women, and at least one claims he hit her. But, almost
everyone around him loved him, and wanted to be with him. All these family
members committed suicide after he died because they couldn't stand to live without him. That’s not his
fault, is it? Who knows, maybe to some extent it is, it certainly feels cultish,
but you still wonder, to what extent is it fair to blame the man for being so charismatic and fascinating?</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Some leading figures:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Frantisek
Kupka (1871-1957) founded Orphism<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Francis
Picabia (1879-1953)<o:p></o:p></span></div>
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<span style="color: #444444;"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Henri Le Fauconnier (1881-1946)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></span></div>
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<span lang="DE" style="color: #444444; mso-ansi-language: DE;">Albert Gleizes
(1881-1953)<o:p></o:p></span></div>
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<span lang="DE" style="color: #444444; mso-ansi-language: DE;">Fernand Leger
(1881-1955)<o:p></o:p></span></div>
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<span lang="DE" style="color: #444444; mso-ansi-language: DE;">Pablo Picasso
(1881-1973)<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Georges
Braque (1882-1963)<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Jean
Metzinger (1883-1956)<o:p></o:p></span></div>
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<span style="color: #444444;"><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB; mso-bidi-font-weight: bold;">Bohumil Kubišta (1884-1918)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Robert
Delaunay (1885-1941)<o:p></o:p></span></div>
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<span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Tamara de
Lempicka (1898-1980)<o:p></o:p></span></div>
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<span style="color: #444444;"><br /></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #444444; mso-ansi-language: EN-GB;">Some of the most famous artworks of the time:<o:p></o:p></span></b></div>
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'Les Demoiselles d’Avignon', by Picasso, 1907</div>
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'Girl with a Mandolin', by Picasso, 1910</div>
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'The Portuguese', by Georges Braque, 1911</div>
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'Bottle of Vieux Marc, Glass, Guitar, and Newspaper', by Pablo Picasso, 1913</div>
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'Josette', by Juan Gris, 1916</div>
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'The Accordion Player', by Gino Severini, 1919</div>
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'Three Jazz Musicians', by Pablo Picasso, 1921</div>
T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-50846070884914430882018-11-09T04:22:00.000-08:002018-11-19T11:59:22.868-08:00Rococo Art - France Takes the Lead<br />
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some notes
taken from Dr. Jean S. M. Willette, <span style="background: white;">Dr. April
Renée Lynch, The Met’s exhibition of Chardin, </span>and from Khan Academy.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">What was Rococo about? What were the goals?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rococo art
was a fashionable art trend that catered to the rich, elite aristocracy. These
people dedicated their lives to leisure, throwing parties, having affairs,
gossiping, and spending absurd amounts of money on luxuries like clothing,
mansions, music, and art. So, Rococo art reflected their lifestyle. Unlike
Baroque art of the past, this art was silly and humorous, rather than serious
or religious. It was also highly flattering, so portraits were in high demand.
While Rococo artists continued to use Greek myths for subject matter, it was
seen more as an excuse to show erotic nude women, rather than teach ethical
lessons. You could argue that all mythical paintings are voyeuristic, but the
Rococo was more open about it.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rococo still faces a lot of criticism today. Some feel it’s tasteless,
others that it’s not historically significant. And, of course, it was built on
the backs of the poor who suffered under aristocracy. Nevertheless, Rococo art,
while old-fashioned, shows incredible craftsmanship, draughtsmanship, and
beauty.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Where did
Rococo get the name?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">While no
one knows for sure, it’s assumed to be a play on words, combining the French
words <i>rocaille</i>, meaning <i>rock</i> and <i>coquilles</i>, meaning <i>shell</i>.
Rocks and shells play a prominent role in Rococo decoration.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A bit of
historical context:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rococo
began as a protest against Baroque architecture. Rococo artists and designers
felt it was too grand, rigid, and symmetrical. They wanted their works to be
more graceful, delicate, ornate, floral, and flowing. They also felt that
interior design should be carefully planned so that every part of a room from
floor to ceiling matched, as one big work of art. Rococo was also strongly
influenced by Chinese art and design.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">While the most famous Rococo works and artists are French, it traces its
roots back to Italian architects of the late Baroque, for example Borromini.
Many such architects were hired by French and German princes to build new
structures, where this new Rococo style developed. While the English rejected
Rococo in architecture, they used it in decorative arts such as silverware,
ceramics, and furniture. Rococo art died along with aristocracy during the
French Revolution. New political forces needed a new type of art – the
Neo-Classical. All the greatest writers of the Age of Enlightenment – Voltaire,
Rousseau, and Diderot, all lambasted the Rococo.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
underlying philosophy of the period:<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">The Rococo is
best seen as a protest against the Baroque aesthetic, in an attempt to develop
a new, better form of beauty that would define an age of pleasure. Philosopher,
Madame du Châtelet said, “We must begin by saying to ourselves that we have
nothing else to do in the world but to seek pleasant sensations and feelings.”
Rococo art explored themes about love, and romance, often excusing infidelity.<o:p></o:p></span></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rococo aesthetics were best explained by the English artist, William
Hogarth, in his controversial book, <i>The Analysis of Beauty</i>, in 1753.
Hogarth argued that beautiful art consisted of six qualities: fitness, variety,
regularity, intricacy, simplicity, and quantity. You might notice that these
characteristics are at odds with each other. How can an artwork be both
intricate and simple? Hogarth was arguing for a careful balance between these
opposing qualities. He also advocated the gestural curving ‘S’ line, common to
the Rococo, over the rigid straight lines of older styles.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Anti-Rococo<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Two
important painters focused on scenes of the simple day-to-day life of
commoners. <strong>Jean-Baptiste Greuze</strong><strong><span style="font-weight: normal;"> and </span></strong><b><span style="background: white;">Jean-Baptiste-Siméon
Chardin</span></b><span style="background: white;">. Their work reflected the philosophy
of <b>Rousseau</b> and <b>Diderot</b>, who considered them the only great
artists of the age. They felt that people are inherently good, but that society
corrupts us. Rousseau said, “Man is born free, and everywhere he is in chains.”
Grueze and Chardin felt that simple farmers were more in touch with nature and
therefore better. Although they’re referred to as “<b>genre painters</b>” for
their scenes of domestic life, you can think of them as early Romantics, and
they were both highly influential to later generations.<o:p></o:p></span></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">How was
it represented in the other arts – music, architecture, and literature?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Rococo
started in architecture, and moved into painting and sculpture as decorative
touches to add to ornamented interiors and exterior gardens. Most of the great
literature of the time ran counter to Rococo – the philosophers Voltaire,
Rousseau, Diderot, etc. Music of the time falls into two categories, <b>Galant</b>
music of the early Rococo, featuring Boccherini and various sons of J.S. Bach,
and the <b>Classical</b> period with<span style="mso-spacerun: yes;">
</span>Haydn, Mozart, and Beethoven – one of the greatest moments in music
history.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Was it
great? Was it flawed?<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="mso-ansi-language: EN-GB;">In terms of
craft, skill, composition, story-telling, and mood, it’s hard to criticize the
leading artists of this period (although some of Watteau’s paintings are a bit
clumsy. He was much better at drawing than painting). Its single greatest flaw was
the philosophy behind it, the cruel ignorance and indifference of those rich
enough to enjoy life, without a care or consideration for the poor and sick who
couldn’t. Rococo art is a reflection of the very problems that led to the
downfall of the social order. Although Marie Antoinette never actually said,
“Let them eat cake”, when hearing of the starving masses with no bread––it was
widely circulated that she did, and that was enough to anger people into
cutting off her head.<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
leading figures, in chronological order:<o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jean-Antoine
Watteau</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> (1684-1721)
– considered the first great Rococo painter. <i><o:p></o:p></i></span></div>
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<b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">François Boucher</span></b><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;"> (1703-1770)</span></strong><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jean-Honore
Fragonard</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
(1732-1806) <o:p></o:p></span></div>
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<b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Élisabeth Louise Vigée-Le Brun</span></b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"> (1755-1842) – French portrait
painter, famous for painting Marie-Antoinette<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">English
Rococo Painters:<o:p></o:p></span></b></div>
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<strong><span lang="EN-GB" style="mso-ansi-language: EN-GB;">William
Hogarth</span></strong><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;"> (1697-1764) – English portrait painter & humourist<o:p></o:p></span></strong></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Sir
Joshua Reynolds</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
(1723-1792) – English portrait painter<o:p></o:p></span></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Thomas
Gainsborough</span></b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">
(1727-1788) – English portrait painter<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Anti-Rococo<o:p></o:p></span></b></div>
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<b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">Jean-Baptiste-Siméon Chardin</span></b><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;"> (1699-1779)</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><o:p></o:p></span></div>
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<strong><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Jean-Baptiste
Greuze</span></strong><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;"> (1725-1805)<o:p></o:p></span></strong></div>
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<br /></div>
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<strong><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Venetian
Rococo<o:p></o:p></span></strong></div>
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<strong><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
Tiepolo Family</span></strong><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;"> – Giambattista, Domenico & Lorenzo, a father
& sons team that painted large scale frescoes of religious and mythical
scenes. Apart from their pastel colours, they share little in common with
Rococo artists. I feel they’re mislabelled and should be seen as late Baroque
masters.<o:p></o:p></span></strong></div>
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<br /></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some of
the most famous artworks of the time:</span></b></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXvAPPP961Wmkphdwx0FcjrMPRIZH7ChmpQBi0Zjh-Zz0zRdS-7UZW9wCfUcStuKzs2OCoa005R1asUSyTb908NR21TepAGZaQno98a3iKuII4SbApaBsnIJvhyphenhyphenL86y3x32GQeep8v8g44/s1600/1789+Versailles+thumb+low.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXvAPPP961Wmkphdwx0FcjrMPRIZH7ChmpQBi0Zjh-Zz0zRdS-7UZW9wCfUcStuKzs2OCoa005R1asUSyTb908NR21TepAGZaQno98a3iKuII4SbApaBsnIJvhyphenhyphenL86y3x32GQeep8v8g44/s400/1789+Versailles+thumb+low.jpg" width="400" /></a></div>
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<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><br /></span></b></div>
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<b><span lang="EN-GB">The
Palace of Versailles<o:p></o:p></span></b></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This was a summer palace for the kings of France.
It’s hard to say when it was finished, since kings and queens kept adding onto
it, up to 1789 when Louis XVI and his queen Marie-Antoinette were dragged out
and executed. Construction began in 1624, the Baroque period, by Louis XIII.
Kings Louis XV and XVI added onto the structure, demolishing some parts they
considered old-fashioned, rebuilding it in the Rococo style. Today, it’s one of
France’s greatest museums, drawing around 10 million tourists a year.</span></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQKrp0K08kHfwugis_9J9R6hYNAJwQ-SGQBJfRYP74mM5NcdxmM9AqpodJb0gZnPAD0bdtbpBJEnP8fWeBMDbfIr-iTbRYCvL87e21gOVJFZKrfuXBKKwHkofsW_4F4svefgj0D7Xe0Co/s1600/1718-19+Watteau+-+Feast+%2528or+Festival%2529+of+Love+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="983" data-original-width="1200" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsQKrp0K08kHfwugis_9J9R6hYNAJwQ-SGQBJfRYP74mM5NcdxmM9AqpodJb0gZnPAD0bdtbpBJEnP8fWeBMDbfIr-iTbRYCvL87e21gOVJFZKrfuXBKKwHkofsW_4F4svefgj0D7Xe0Co/s320/1718-19+Watteau+-+Feast+%2528or+Festival%2529+of+Love+web.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></div>
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<b><i><span lang="EN-GB">The
Pleasures of Love</span></i></b><span lang="EN-GB">,
by Jean-Antoine Watteau, 1717<o:p></o:p></span></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
<span lang="EN-GB" style="font-size: 12pt;">This is a simple, idyllic scene of people
enjoying a picnic and each other’s company.</span></span></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6X6aB7O8RE3uAvDOD_SsKD4kVnadk7h6E2O_wZWJmsHReQrakoeE2C2282iolQV-11eekxFv-r-VaRpvmt_cfJkOVxgh0Ezjb5YKfzxGE10XuDDqrPhyKZHqoSMgfudZhxuej0fvOvXON/s1600/1747+Boucher+-+Abduction+of+Europa+%2528Raleigh+version%2529+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="801" data-original-width="970" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6X6aB7O8RE3uAvDOD_SsKD4kVnadk7h6E2O_wZWJmsHReQrakoeE2C2282iolQV-11eekxFv-r-VaRpvmt_cfJkOVxgh0Ezjb5YKfzxGE10XuDDqrPhyKZHqoSMgfudZhxuej0fvOvXON/s320/1747+Boucher+-+Abduction+of+Europa+%2528Raleigh+version%2529+web.jpg" width="320" /></a></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><span lang="EN-GB" style="font-size: 12pt;"><br /></span></span></div>
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<strong><i><span lang="EN-GB">The
Rape of Europa</span></i></strong><strong><i><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;">, </span></i></strong><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;">by </span></strong><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">François </span><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;">Boucher, 1747<o:p></o:p></span></strong></div>
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<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
</span></div>
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<strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;">Alternately called the <i>Abduction</i> or <i>Kidnapping of
Europa</i>, this Greek myth is popular in art history, having been painted
countless times. In this story, the beautiful young Europa is seduced by Zeus,
who takes the form of a bull. She climbs on his back, and he swims to Crete where
he shows his true form, and the couple have three children together. Europa
becomes the queen of Crete. It’s unclear whether Europa was really raped, or
merely seduced, but her </span></strong><span lang="EN-GB" style="background: white; mso-ansi-language: EN-GB;">blasé</span><strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;"> expression seems to
indicate she’s okay with the situation. Needless to say, this painting is
controversial.<o:p></o:p></span></strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3-RbPM9Tl5_lS6J58J_8leZNIpo7TLtxIXs9GLt-sG91vJoJMq_r0sJm60MZxjS-akVPxeZkUohjY_7jXb5Jg5r1d3LWjGGLPmcCpNt1eBWleMGTxXDGmhSGTpE7gsYeek6pIV_L1kUZa/s1600/1732-1806+Fragonard%252C+Jean-Honore+-+Swing+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="627" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3-RbPM9Tl5_lS6J58J_8leZNIpo7TLtxIXs9GLt-sG91vJoJMq_r0sJm60MZxjS-akVPxeZkUohjY_7jXb5Jg5r1d3LWjGGLPmcCpNt1eBWleMGTxXDGmhSGTpE7gsYeek6pIV_L1kUZa/s320/1732-1806+Fragonard%252C+Jean-Honore+-+Swing+web.jpg" width="250" /></a></div>
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<strong><span lang="EN-GB" style="font-weight: normal; mso-ansi-language: EN-GB;"><br /></span></strong></div>
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<b><i><span lang="EN-GB">The
Swing</span></i></b><span lang="EN-GB">, by
Jean-Honore Fragonard in 1767<o:p></o:p></span></div>
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</div>
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<span lang="EN-GB">In this
painting, there’s a man and woman who are having an affair. The woman gets some
unsuspecting gentleman to give her a push on a swing. What he doesn’t know is
her lover is hiding in the bushes below. As she spreads her legs for him, he
gets a view up her dress. The garden surrounding them is filled with light and
delicate details, and pastel colours. It suggests an immoral and carefree
lifestyle.<o:p></o:p></span></div>
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<span lang="EN-GB"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTXCe3KV0HavagsysgbZi7Lpoie7ONsLPQYPy4wbqdnAt6OrM0lWyQ3U3IUhoM5ozmHqthVzCW9fAy-IEqpdf6gACPjImuo5Bkjy7_ppWi45ghDKc3gqbuNYUrJrdpsKAeCioPq4k8CJV6/s1600/1740+Chardin+-+Diligent+Mother+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="635" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTXCe3KV0HavagsysgbZi7Lpoie7ONsLPQYPy4wbqdnAt6OrM0lWyQ3U3IUhoM5ozmHqthVzCW9fAy-IEqpdf6gACPjImuo5Bkjy7_ppWi45ghDKc3gqbuNYUrJrdpsKAeCioPq4k8CJV6/s320/1740+Chardin+-+Diligent+Mother+web.jpg" width="254" /></a></div>
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<span lang="EN-GB"><br /></span></div>
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<b><i><span lang="EN-GB">The
Diligent Mother</span></i></b><span lang="EN-GB">,
by Jean-Baptiste Chardin, 1740<o:p></o:p></span></div>
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<span lang="EN-GB">
<span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This painting was a gift presented to King Louis
XV, who eventually gave the artist a pension of 500 Livres a year. It shows a
dutiful mother caring for her children while she sews, an example of moral
virtue – the kind of work championed by Diderot, and a sharp contrast to
Fragonard’s <i>Swing</i>.</span></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqeHalDhU0YBpAygO7abYUpOtudkbPq9O7R5mnerKLQL7Vh-YO1lB8_DoQFFA4UF0gK_PrA4dD0PNpxnk7aJlt0S90m3LTGqio6r_ZWadeAwVnZiU91meQve_zqLeJCBk1Ul2d2_pvu6g8/s1600/1777+Greuze+-+Father%2527s+Curse+-+Ungrateful+Son+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="1200" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqeHalDhU0YBpAygO7abYUpOtudkbPq9O7R5mnerKLQL7Vh-YO1lB8_DoQFFA4UF0gK_PrA4dD0PNpxnk7aJlt0S90m3LTGqio6r_ZWadeAwVnZiU91meQve_zqLeJCBk1Ul2d2_pvu6g8/s320/1777+Greuze+-+Father%2527s+Curse+-+Ungrateful+Son+web.jpg" width="320" /></a> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9TnRuf_KzZ6Sf2K7EHnIBYMQfcaYicJBav9qlPaV3le4xTHTJsK1arWUpuYRyb9z_f70floacl5qVt6i4usP23e2Ux8tWTtsVNxcYHIuR2YwwibSdeVPLZiDKKN_cooe1XuYl9KIPDJK2/s1600/1777+Greuze+-+Father%2527s+Curse+-+Son+Punished+web.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="940" data-original-width="1200" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9TnRuf_KzZ6Sf2K7EHnIBYMQfcaYicJBav9qlPaV3le4xTHTJsK1arWUpuYRyb9z_f70floacl5qVt6i4usP23e2Ux8tWTtsVNxcYHIuR2YwwibSdeVPLZiDKKN_cooe1XuYl9KIPDJK2/s320/1777+Greuze+-+Father%2527s+Curse+-+Son+Punished+web.jpg" width="320" /></a></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><br /></span></span></div>
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<b><i><span lang="EN-GB">The
Father’s Curse: The Ungrateful Son & The Son Punished</span></i></b><span lang="EN-GB">, by Jean-Baptiste Greuze, 1777<o:p></o:p></span></div>
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<span lang="EN-GB"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">
<span lang="EN-GB" style="font-size: 12pt;">This painting shows a father cursing his son, as
he goes off to join the army. In the second painting, the son returns home to
find his father has died. The son is at fault here for deserting his family,
who also need him to work and provide for them. When he returns his punishment
is the shame and guilt of seeing his father dead, that he might have been saved
if he had only been able to afford a doctor.</span></span></span></div>
T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-25851460363639254242016-03-25T08:00:00.002-07:002016-03-25T08:00:23.021-07:00How Scientists Imagine Aliens<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Scientists
imagine that life on other planets would develop along the same evolutionary
principles as that on earth:<o:p></o:p></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. Life forms should fill a niche in
a balanced ecosystem, based on a food chain of eating and being eaten.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. Life forms should naturally
converge on the safest, most beneficial environments for them.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. Having said that, any environment
that can support life, will eventually support life. Even a harsh environment,
like extremely hot and cold places on Earth, provide an advantage to life
forms, in that any lichens and microbes that can survive there are safe from
other predators that can't.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">4. Life forms should naturally
optimise their biology to fit their environment. This means forming an optimal
size, speed, lifespan, an optimal number of offspring, an optimal daily food
intake, an optimal metabolism, and an optimal intellect. This is why so many
animals survive for millions of years without improving their intellect.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">5. Life forms should mate in such a
way as to pair the strongest, healthiest couples to produce the strongest
offspring. Offspring should have mutations that over time will make their
species stronger and more resilient.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Scientists
also consider how an alien planet might differ from Earth, and how this would
affect wild life. They ask:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. What kind of sun is there? How
strong is it? A planet is dependent on its sun for the energy required to power
life. So any planet would adapt to its sun. Red dwarf suns give off less heat
and light, so any plants growing on a planet might appear black, to absorb as
much energy as possible.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. Is the planet in the "<b>goldilocks</b>"
distance from the sun? This means it's not too hot, not too cold, but just
right for liquid water, or at least liquid something.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. Another option for a goldilocks
environment would be the moon of a very large planet, like Jupiter. Jupiter and
Saturn's moons are constantly stretched and squashed in their elliptical
orbits, causing a great deal of friction and heat. So, even though there's no
atmosphere, and it's quite far from the sun, it can still have warm zones, even
on surface. Jupiter's Io has warm spots around its many volcanoes.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">4. Is the planet close enough to the
sun so that it's "tidally locked", meaning that one side always faces
the sun, while the other is always in darkness. Our moon is tidally locked to
Earth, which is why we always see the same face on it. This would create
fearsome winds on an alien planet.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">5. Does the solar system have a
large planet like Jupiter to pull away all the asteroids and comets that would
otherwise bombard it, killing all life forms?<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">6. Are there large amounts of
carbon, hydrogen, oxygen, and nitrogen? Are they present in an atmosphere?
These are all required for life, as we know it.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">7. Are there oceans of liquid at a
stable temperature (preferably water)? How deep are they? Is the entire planet
made of liquid? Scientists regard liquid as necessary, in order to mix various
elements in ways that create life - single celled organisms.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">8. What's the gravity there? Lower
gravity can allow for larger creatures. Higher gravity may require animals with
many legs to move around.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">9. What's the density of the
atmosphere? This determines the possibility of flight, and the size of wingspans
necessary for flight. The denser an atmosphere, the easier it is to fly and
float.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; tab-stops: .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">10. What's the oxygen level in the
atmosphere? More oxygen also allows for larger creatures. It also increases the
risk of fires.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">Based on
these concepts, the aliens that scientists most expect to find will be:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"><!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">1. <b>Micro
organisms, Viruses, Bacteria:</b> These are the most likely forms of life. On
Earth, they survive in dry deserts, lakes of arsenic, cave walls full of
sulphuric acid, and miles underground, some of whom don't even need oxygen to
live.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">2. <b>fungus</b><o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">3. <b>simple
plants and trees:</b> On Earth, we separate plants and animals, but on alien
worlds, there might be life forms that combine aspects of both. On a water
world, these plants may have gaseous bladders to keep them buoyant, so they
don't sink to the bottom. On a world with a very thick atmosphere, these same
plants might use gaseous bladders to float in the air.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">4. <b>herbivores</b>,
possibly grouping in herds<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">5. <b>carnivores</b>
that hunt them, possibly solitary, almost certainly more intelligent than its
prey. Some will hunt in packs in order to corner and ambush prey. Some may even
work as a hive.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">6. <b>flying
creatures</b> similar to birds.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">7. If there
are oceans of water, scientists expect <b>fish-like creatures</b>, as they are
the most efficient shape in water.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;">8. If a
planet commonly experiences high winds, there might be "<b>land whales,</b>"
an animal that filters micro-organisms from the air, in much the same way that
whales do in water. Combine this with a dense atmosphere, and you could have
"<b>sky whales</b>," swimming through the air much like how our
whales swim in water.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<!--[if !supportEmptyParas]--> <!--[endif]--><o:p></o:p></div>
T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com0tag:blogger.com,1999:blog-150469092753797953.post-78407647955599978572016-03-25T04:11:00.005-07:002016-03-25T04:11:51.225-07:00The Cultural Significance of Gold
<span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gold
has long been treasured for its beauty and permanence. Any item made of gold
will look just as beautiful in a thousand years as the day it was made, because
it doesn't oxidise.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gold
is also extremely rare. All the gold in the world could be made into one block,
21.3m cubed.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-size: x-large;">Gold and
Economics<o:p></o:p></span></span></b></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gold
is considered an economic "canary in the mine." Any time the price of
gold goes up, people assume one of three things: economic crisis, a war has
started, or it's the beginning of hyperinflation.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">America
houses its gold in Fort Knox. But, the companies that control it are banks. The
tallest skyscraper in any given city is usually a bank. In Toronto, the Royal
Bank building even baked gold leaf into the windows (worth $3.5 million).<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gold
is big business today. It's the most profitable commodity traded in the stock
market. People earn billions of dollars a day from it, by manipulating the
system. For every 100 ounces (oz.) of gold traded, there may be less than 1 oz.
of actual gold.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
is also true for silver, and there are some unscrupulous companies that sell
these commodities to unsuspecting buyers-victims. They promise to keep the gold
safe, and charge people expensive storage fees for gold they don't even have.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Any
trader can disrupt the price of these commodities. Here's how you do it:<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 1in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">1.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Wait
till most world stock exchanges have closed for the day.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 1in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">2.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">In New
York, sell 45,000 commodities contracts very quickly - about 400 contracts per
second. Do this anonymously via the Internet.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 1in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">3.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">The
price of the commodity will drop, and many other investors will feel they have
to sell their contracts too. It creates a panic.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 1in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">4.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Buy up
all their cheap contracts. The process of your rapid buying brings the price of
the commodity back up.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 1in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">5.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Now
you have all of it, and it's worth a fortune. You've just earned about $3
billion in one day.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 1in; mso-list: l0 level2 lfo1; tab-stops: list 1.0in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">6.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Now,
hide it as best you can, because what you did was illegal. :)<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">National
depositories of gold also have secrets. In 2000 the Bank of England secretly
leased a large quantity of gold to private bullion banks. They then sold the
gold to refineries in Switzerland who turned it all into jewellery. Legally,
the Bank of England still owns it, but if this news had been made public at the
time, it could have caused an economic crisis.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">It
appears that America has done the same thing, and doesn't have nearly as much
gold in reserve as it claims. The last full audit of Fort Knox was in 1954.
Meanwhile, when Germany asked to see its gold (which it keeps in America) in
2012, they were refused for "security reasons." Now, they want it
back, and it could trigger another crisis.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-size: x-large;">Gold and
Religion<o:p></o:p></span></span></b></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Gold
plays a part in the major religions of the world. There are several golden
temples in the world. One is the Hindu temple of Amritsar. Then there's </span><span class="ircsu"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-size: 13.5pt;">Kashi Vishwanath, </span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-size: 10.0pt;">Lakshmi Narayani in</span><span class="ircsu"><span lang="EN-GB" style="mso-ansi-language: EN-GB; mso-bidi-font-size: 13.5pt;"> Vellore,</span></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"> and then there's the Golden Temple
in Kyoto.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">One of
the earliest stories about gold from the bible describes Moses coming down from
Mount Sinai with the ten commandments, only to find his people worshipping a
false idol––a golden calf.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
quote Jesus as giving us the Golden Rule, "Do unto others as you would
have them do unto you." But, just as many say this instead, "He who
has the gold rules."<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<b><span lang="EN-GB" style="mso-ansi-language: EN-GB;"><span style="font-size: x-large;">Gold and
War<o:p></o:p></span></span></b></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">So,
gold has been a strategic target for all the biggest empires and armies of the
world. Caesar, Napoleon, and Hitler all sought gold. When Hitler invaded
Austria and Czechoslovakia, gold was the first thing he seized.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Poland
managed to hide its gold in France. When Hitler took Paris, he found their bank
vaults empty. The bankers had hidden all this gold in 51 different hidden
locations around France. After the occupation, they had to sneak as much gold
as possible out of Europe to Canada and the US.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A
company named Odyssey Marine searches shipwrecks for lost gold, many coming
from ships sunk by German submarines.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Some
of the gold found by these treasure hunters has been claimed by national
governments. In 2007 Odyssey Marine found 600,000 gold coins (worth $500
million) off the coast of Portugal. Both Spain and Peru claimed the gold.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Spain
said it came from a Spanish ship that was sunk by the British in 1804. But Peru
said it originally came from their country, produced by the millions of native
Incans whom Spain enslaved and killed.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">This
legal battle was settled in a US court. They ruled that Peru had no right to
the gold because they were a Spanish colony at the time. They then agreed to
hand the gold over to Spain in exchange for one painting (a Pisarro worth $20
million) that an influential American, <span style="color: black;">Claude
Cassirer,</span> claimed belonged to him. <o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">Odyssey
Marine had to give up all the coins, losing $4 million in costs. The coins are
now in a Spanish museum.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<!--[if !supportLists]--><span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]--><span lang="EN-GB" style="mso-ansi-language: EN-GB;">A far
larger legal battle involved the survivors of the Nazi Holocaust, whose
families had billions worth of gold deposited in Swiss banks. These banks
refused to recognize any of these accounts without impossible documents, like
death certificates, which the Nazis never gave, for all the millions of Jews
they had killed.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .25in; text-indent: -0.25in;">
<span lang="EN-GB" style="mso-ansi-language: EN-GB;"> <span lang="EN-GB" style="font-family: Webdings; mso-ansi-language: EN-GB;"><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><span lang="EN-GB" style="font-family: "Times New Roman"; font-size: 12pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">Meanwhile, these same banks had accepted even
more gold from Nazi Germany, <b>Toten Gold</b> (meaning Death Gold), which it
stole from the Jews, including jewellery and thousands of pulled teeth.
Hitler's dentist even used Toten Gold for his dental work.</span></div>
T Arthur Smithhttp://www.blogger.com/profile/07831844692245441302noreply@blogger.com1