Fauvism Artists and style[edit] Press clipping, Les Fauves: Exhibition at the Salon d'Automne, in L'Illustration, 4 November 1905 Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, Jean Metzinger, the Dutch painter Kees van Dongen and Georges Braque (subsequently Picasso's partner in Cubism).[1] The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction.[3] Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat[3] and other Neo-Impressionist painters, in particular Paul Signac. Fauvism can also be seen as a mode of Expressionism.[3] Origins[edit] Salon D'Automne 1905[edit] Gallery[edit] See also[edit] Notes and references[edit]
Gustav Klimt Life and work[edit] Early life and education[edit] Gustav Klimt was born in Baumgarten, near Vienna in Austria-Hungary, the second of seven children—three boys and four girls. His mother, Anna Klimt (née Finster), had an unrealized ambition to be a musical performer. Klimt lived in poverty while attending the Vienna School of Arts and Crafts (Kunstgewerbeschule), where he studied architectural painting until 1883. In 1888 Klimt received the Golden Order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater in Vienna. During this period Klimt fathered at least fourteen children.[5] Vienna secession years[edit] In 1894, Klimt was commissioned to create three paintings to decorate the ceiling of the Great Hall of the University of Vienna. All three paintings were destroyed by retreating SS forces in May 1945.[9][10] Klimt's Attersee paintings are of sufficient number and quality as to merit separate appreciation. Klimt's Folios[edit]
Dada Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.[1] The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.[2] Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.[3] Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920 Overview[edit] Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! Dada was an informal international movement, with participants in Europe and North America. To quote Dona Budd's The Language of Art Knowledge, Zurich[edit]
Cubism A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne, which were displayed in a retrospective at the 1907 Salon d'Automne.[3] In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.[4] Conception and origins[edit] Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm, Tate Modern, London Cubism began between 1907 and 1911. By 1911 Picasso was recognized as the inventor of Cubism, while Braque’s importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L’Estaque landscapes. John Berger identifies the essence of Cubism with the mechanical diagram. Technical and stylistic aspects[edit] "M. Cubism before 1914[edit]
Art Nouveau Art Nouveau is considered a "total" art style, embracing architecture, graphic art, interior design, and most of the decorative arts including jewellery, furniture, textiles, household silver and other utensils and lighting, as well as the fine arts. According to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, etc. Artists desired to combine the fine arts and applied arts, even for utilitarian objects.[3] Origins[edit] Art Nouveau interior at the 1900 Paris Universal Exhibition by Bruno Möhring, German pavilion. Naming[edit] Jugendstil sculpture, detail of facade in Metz, France Art Nouveau is usually known as Jugendstil (pronounced [ˈjuːɡən̩tʃtiːl ]) in Germany, as Modern (Модерн) in Russia, as Modernisme in Catalonia (Spain), as Secession in Austria-Hungary and as Stile Liberty in Italy.
Pablo Picasso Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.[4][5][6][7] Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. Exceptionally prolific throughout the course of his long life, Picasso achieved universal renown and immense fortune for his revolutionary artistic accomplishments, and became one of the best-known figures in 20th-century art. Early life Pablo Picasso and his sister Lola, c.1889 Picasso showed a passion and a skill for drawing from an early age. Career beginnings Before 1900 Picasso's training under his father began before 1890. Blue Period
Sigmund Freud Sigmund Freud (/frɔɪd/;[2] German pronunciation: [ˈziːkmʊnt ˈfʁɔʏ̯t]; born Sigismund Schlomo Freud; 6 May 1856 – 23 September 1939) was an Austrian neurologist, now known as the father of psychoanalysis. Freud qualified as a doctor of medicine at the University of Vienna in 1881,[3] and then carried out research into cerebral palsy, aphasia and microscopic neuroanatomy at the Vienna General Hospital.[4] Upon completing his habilitation in 1895, he was appointed a docent in neuropathology in the same year and became an affiliated professor (professor extraordinarius) in 1902.[5][6] Psychoanalysis remains influential within psychotherapy, within some areas of psychiatry, and across the humanities. Biography[edit] Early life and education[edit] Freud's birthplace, a rented room in a locksmith's house, Příbor, Czech Republic Freud (aged 16) and his beloved[12] mother, Amalia, in 1872 In 1859, the Freud family left Freiberg. Freud entered the University of Vienna at age 17. Early followers[edit]
Alphonse Mucha Alfons Maria Mucha[1][2] (Czech: [ˈalfons ˈmuxa] ( ); 24 July 1860 – 14 July 1939), often known in English and French as Alphonse Mucha, was a Czech Art Nouveau painter and decorative artist,[3] known best for his distinct style. He produced many paintings, illustrations, advertisements, postcards, and designs. Early years[edit] Alphonse Maria Mucha was born in the town of Ivančice, Moravia (the present Czech Republic). Mucha moved to Paris in 1887, and continued his studies at Académie Julian and Académie Colarossi. Poster design by Mucha for Cycles Perfecta (1902) Marriage[edit] Mucha married Maruška (Marie/Maria) Chytilová on 10 June 1906, in Prague. Le Pater[edit] The Slav Epic[edit] A study of a man sitting 1891 Mucha spent many years working on what he considered his life's fine art masterpiece, The Slav Epic (Slovanská epopej), a series of twenty huge paintings depicting the history of the Czech and the Slavic people in general, bestowed to the city of Prague in 1928. Death[edit]
Avant-garde The avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard"[1]) are people or works that are experimental or innovative, particularly with respect to art, culture, and politics. The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825), which contains the first recorded use of "avant-garde" in its now customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political and economic reform.[3] Theories[edit] Several writers have attempted, with limited success, to map the parameters of avant-garde activity. Bürger's essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. Relation to mainstream society[edit]
Special relativity Special relativity implies a wide range of consequences, which have been experimentally verified,[2] including length contraction, time dilation, relativistic mass, mass–energy equivalence, a universal speed limit, and relativity of simultaneity. It has replaced the conventional notion of an absolute universal time with the notion of a time that is dependent on reference frame and spatial position. Rather than an invariant time interval between two events, there is an invariant spacetime interval. Combined with other laws of physics, the two postulates of special relativity predict the equivalence of mass and energy, as expressed in the mass–energy equivalence formula E = mc2, where c is the speed of light in vacuum.[3][4] A defining feature of special relativity is the replacement of the Galilean transformations of classical mechanics with the Lorentz transformations. Postulates[edit] Lack of an absolute reference frame[edit] Relativity theory depends on "reference frames". where we get
Egon Schiele Egon Schiele (German: [ˈʃiːlə] ( ) ƩEE-lə; June 12, 1890 – October 31, 1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter of the early 20th century. His work is noted for its intensity, and the many self-portraits the artist produced. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Early life[edit] Schiele aged 16, self-portrait from 1906 Schiele was born in 1890 in Tulln, Lower Austria. Self portrait Academy of Fine Arts[edit] When Schiele was 15 years old, his father died from syphilis, and he became a ward of his maternal uncle, Leopold Czihaczec, also a railway official.[1] Although he wanted Schiele to follow in his footsteps, and was distressed at his lack of interest in academia, he recognised Schiele's talent for drawing and unenthusiastically allowed him a tutor; the artist Ludwig Karl Strauch. Klimt and first exhibitions[edit]
Impressionism Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. Overview[edit] Radicals in their time, early Impressionists violated the rules of academic painting. Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. Beginnings[edit] In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art.