A Little Bit of Art Nouveau / Fin de Siecle

Victor Horta, staircase in the Van Eetvelde House, Brussels, 1895 (21-53)

Aubrey Beardsley, The Peacock Skirt, 1894. Pen-and-ink illustration for Oscar Wilde's play Salome. (21-54)
About Aubrey Beardsley. With links to Monet, Whistler, and others.

Antonio Gaudi, Casa Mila, Barcelona, 1907. (21-55)

EXTRA: Gaudi, the church of the Sagrada Familia What the authors should have chosen.

Gustave Klimt, The Kiss 1907-08. (21-56)

Chapter 22
The Development of Modernist Art
The Early 20th Century

Modern Art is full of proclamations:
"The general public is still convinced today that art is bound to perish if it gives up the imitation of "dearly loved reality" [sic] and so it observes with dismay how the hated element of pure feeling-- abstraction--makes more and more headway...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 object, as such, and believes that it can exist, in and for itself, without "things"...
---Kasimir Malevich, 1915.

The Fauves ("Wild beasts")

Matisse, Woman with the Hat, 1905. (22-1)

Matisse, Red Room, France, 1908-09 (22-2)

Matisse The Fall of Icarus Painted, cut, and arranged pieces of paper. 1947. The artist's last style.

German Expressionism: Die Bruecke

Ernst Ludwig Kirchner, Street, Dresden, 1908, (22-4)

Embracing Abstraction: Picasso and Braque

Pablo Picasso, Gertrude Stein, 1906-07: "You will, Gertrude, you will."(22-8)

Picasso, Les Demoiselles d'Avignon, Paris, 1907 (22-9)

Georges Braque, The Portuguese, 1911 (22-10)

Co-starring: an African mask.

Picasso, Still Life with Chair Caning, 1911/12 (22-12)

Pablo Picasso, Guernica, 1937. (22-73)

The Futurists

The Futurist Manifesto

Giacomo Balla. Dynamism of a Dog on a Leash. 1912. (22-19)

Umberto Boccioni. Unique Forms of Continuity in Space Bronze. 1913/31. (22-20)

Challenging Artistic Conventions: Dada and other movements

Marcel Duchamp. Nude Descending a Staircase. 1912. (22-29) The hit, sort of, of the Armory Show in 1913. (22-29)

Marcel Duchamp. The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923 (22-24)

Marcel Duchamp. Fountain (second version). 1950. A "Ready Made." (22-23)

• "Art is anything seen in an art context."

Man Ray. Gift, ca. 1958 (replica of 1921 original) (22-32)

Surrealism

Salvador Dali. The Persistence of Memory. 1931. (22-46)

Meret Oppenheim. Object. Fur-covered cup. (22-48)

Rene Magritte. The Treachery of Images. 1928/19. (22-47)

Frida Kahlo, The Two Fridas, 1939. (22-49)

An Outline of the Skyscraper

Eiffel. Eiffel Tower, Paris, 1889 (21-57)

Henry Hobson Richardson. Marshall Field wholesale store. Chicago, 1885-1887. The beginning of big buildings. (21-58)

Louis Sullivan. Wainright Building, St. Louis, 1890-91.

William Van Alen. The Chrysler Building, New York City, New York. The epitome of the Art Deco Style in architecture. 1928-1930. (22-65)

Walter Gropius. Bauhaus. 1925-1926 (22-59)

Ludwig Mies van der Rohe and Philip Johnson. The Seagram Building. 1956-58. New York City. (23-46)

I. M. Pei. John Hancock Building, Boston, 1974.

Philip Johnson. A. T. & T. Building, 1984.

Minoru Yamasaki. World Trade Center, New York City. Built 1966 to 1977. Destroyed September 11, 2001. Notice that these buildings, for some time the tallest in the world, were not considered important enough for the eleventh edition of our textbook. Want to bet that they might get a sentence or two in edition 12? [Fall, 2006: Guess I was wrong!]