Claude Joseph VERNET (French, 1714 - 1789)

• He DEVELOPED an INDEPENDENT reputation as a painter of

TOPOGRAPHICAL LANDSCAPE in and around Rome.
• He made a large production of IMAGINARY LANDSCAPE and
MARINE paintings.
• INFLUENCED by CONTEMPORARY ROMAN TOPOGRAPHICAL
painter such as Giovanni Paolo Panini.

Claude Joseph Vernet

A Lanscape at Sunset (1773)

Monet’s Impression “Sunrise” gave the Impressionist

movement its name but then critic Louis Leroy accused
of it being a sketch or “impression” and not a finish
painting.

Claude Monet
Sunrise (1872)

Claude Monet Claude Monet

Poppies Blooming (1873) Garden at Giverny (1900)

Capturing 30 views of Rouen Cathedral

• The facade are painted with highly textures brushstrokes to

convey the aspect of sculptured stone and make the
atmosphere light palpable.
• These series of pictures are the appearance of the cathedral at
different rime of the day.
• Artist’s subjective experience of light and atmosphere.

Claude Monet
Rouen Cathedral (1892 - 93)
 Water Lillies (Les Nymphéas)

• Monumental and Intimate.

• Water Lillies are the ultimate expression of artistic ideas and
explore variations of light.
• Monet wanted his work to take this aesthetic and poetic
dimension which provide a haven for peaceful meditation.
• Paintings are house in 2 elliptical rooms to encourage visitors
to gaze endless contemplation.

Claude Monet
Water Lillies (1918 - 1926)

Claude MONET (French, 1840 - 1926)

• He LED the 20th CENTURY MODERNISM by DEVELOPING UNIQUE STYLE that to capture canvas the act of
PERCEIVING NATURE.
• His PAINTINGS may be the SYMBOL of IMPRESSIONISM.
• He was OBSESSED with LIGHT and how we PERCEIVE THINGS. Adding RANGE of TONES to his SHADOWS
and PREPARE his canvases with light colored primers (UNLIKE in traditional landscape painting which they use
dark grounds).
• He normally PAINTS OUTSIDE rather than in his studio IN ORDER to SEE and CAPTURE the NATURE in its
NATURAL STATE rather than fantasizing it.
• His latest work is more about abstract (E.G. Flowers on water)

Edgar Dagas Edgar Dagas Edgar Dagas

A Woman seated beside a Vase of Flowers - The Tub (1886) The Star - Rosita Mauri (1876)
Madame Paul Valpinçon? (1865)

1. Edgar Dagas
Dancers behind the curtains (1897)

2. Edgar Dagas
Four Dancers. En Attendant l’entrée en scène
(1900)
 Edgar Dagas Edgar Dagas Edgar Dagas
Two Ballet Dancers (1879) The Tub - Rembrant A Woman Little Dancer Aged Fourteen
bathing in a Stream (1654) (1879 - 81)

Edgar DEGAS (French, 1834 - 1917)

• He PREFERRED to be CALLED REALIST.

• DOESN’T PAINT from what the EYE CAN SEE like Monet but WHAT THE MEMORY HAS SELECTED through the
filter of the artist TASTE and IDEAS.
• He took PHOTOGRAPHS of SUBJECTS in order to STUDY THEM BETTER. PHOTOGRAPHY was able to
CAPTURE the REALITY, how the BODY MOVES or the way the SURROUNDINGS were PRESENTED so when
he’s painting he is ABLE to PRESENT the SAME MOVEMENT in the painting (E.G. Ballet dancers)
• He was FASCINATED with how LIGHTS TRANSFORM REALITY and how the BODY MOVES in SPACE.
• Unlike Monet he PAINTS INDOOR because it REQUIRES QUIETNESS and CONCENTRATION so the paintings
can be DETAILED and SHOW MOVEMENTS.
• His paintings will FOCUS on ONE SUBJECT which will STAND OUT A LOT and COLORING what is NOT the
MAIN SUBJECT so they will NOT ATTRACT ATTENTION (to hide what is not interesting or important).
• The way he presents the HUMAN BODY is NOT REALISTIC due to the DIFFICULT POSITIONS to show VIEWERS
something DIFFERENT.

Auguste Renoir Auguste Renoir

Dance at Le Moulin de la Galette (1876) Madame Charpentier and her children (1878)

Auguste RENOIR (French, 1841 - 1919)

• In 1877 he DOUBTS about the SPONTANEITY and IMPERMANENCE of the IMPRESSIONIST AESTHETIC.
• His painting were VERY ALIVE and HAPPY to PRESENT the BEAUTY OF LIFE.
• He DEVELOPED a MONUMENTAL classically inspired STYLE that INFLUENCED such avant - garde giants as
Pablo Picasso.
• In his paintings it would only SHOW the MOVEMENT of a PLACE/ATMOSPHERE.

Avant - Garde means a new or experimental ideas/methods in art, music or literature.

 Èdouard Manet Èdouard Manet Èdouard Manet
Young Man in the Costume Déjeuner sur l’herbe (1862 - 63) Titan, Concerto campestre (1510)
of a Majo (1863)

Èdouard Manet Èdouard Manet

Marcantonio Raimondi, Giudizio di Paride - After Raffaello Olympia (1863)
(1513 - 14)

Èdouard Manet Èdouard Manet Èdouard Manet

Titian, Venere di Urbino (1538) Titian, Maja desnuda (1800) A Bar at the Folies - Bergère
(1882)

Èdouard MANET (French, 1832 - 1983) The oldest of the group

• He was a PIVOTAL FIGURE in the TRANSITION from REALISM TO IMPRESSIONISM.

• BREAKING the RULES OF COMPOSITION.
• SHARE SAME INTEREST as Monet and Degas in MODERN SUBJECTS (plein air paintings), bright colors -
INSPIRED by PHOTOGRAPHS and JAPANESE PRINTS.

Plein Air means the style of painting outdoors in the 19th century. It became a central feature of French
Impressionism.
LESSON 2: THE MACCHIAIOLI

Giovanni Fattori
La rotonda dei bagni Palmieri (1866)

Giovanni Fattori Giovanni Fattori

In Vedetta (1872) Denis Dighton, The Battle of Waterloo (1816)

Giovanni Fattori Giovanni Fattori

Il riposo - Il carro rosso (1887) Giuseppe Pellizza da Volpedo, Il Quarto Stato
(1899 - 1901)

Giovanni FATTORI (Italian, 1825 - 1908)

• He was one of the LEADERS (together with Signorini and Lega) of the MACCHIAIOLI group.
• A painter mostly KNOWN for HISTORICAL THEMES and MILITARY SUBJECTS (no battle scenes).
• INSPIRED by FRENCH PAINTERS and which he became LEADING ITALIAN plein-artist CAPTURING military life
- social conditions of his subjects.
LESSON 2: THE INNOVATION IN SCULPTURE

Vincenzo Gemito Vincenzo Vela Hubert Le Sueur

Pescatore (1877) Le vittime del lavoro (1833) Spinario - Boy with Thorn (c. 200 BC.)

Medardo Rosso Medardo Rosso Medardo Rosso Medardo Rosso

Mother with child (1866) The Bookmaker (1894) Child in the soup kitchen Ecce Puer (1906)
(1897)

Medardo ROSSO (Italian, 1858 - 1928)

• He was AGAINST the TRADITIONAL TEACHING METHODS in which he PREFERRED contemporary subjects:
modern urban life, ordinary people and more.
• He USED PHOTOGRAPHY to help STUDY the subject in ORDER to LEARN about REAL EMOTIONS (feelings).
• He uses WAX to make sculptures because it was EASY to CORRECT and MOLD. WAX helps to REPRESENT the
EMOTIONS of the SUBJECT BETTER.
• Techniques: his way of making sculptures were more of a painting process and he would leave the details in
the sculptures blur in order to give It a a dreamy effect (full of feelings).

François - Auguste Rodin François - Auguste Rodin François - Auguste Rodin

Flora (1865 - 1870) The Age of Bronze (1875 - 1877) Antonio Canova, Apollo crowning himself (1781 -
1782)
 François - Auguste Rodin François - Auguste Rodin François - Auguste Rodin
The Hand of God (1896?) Michelangelo, The Atlas (1525 - 1530) The Athlete (1904)

François - Auguste Rodin - The Gates of Hell (1880 - 1917)

• This was inspired by The Divine Comedy written by Dante Alighieri. His initial
planned was to decorate the doors with characters that Dante met on his fictional
journey through hell.
• The sculptor then discarded the idea of strict narrative and created a weightless,
chaotic world filled with more than 200 figure in intense pain and despair.
• The Gate of Hell was the project that fedinef his career and the key understanding
of his artistic aims.
• His aim is to show a realistic representation of human body. His sculptures also has a
style of Symbolism.

Rodin’s starting Points:

Lorenzo Ghiberti Michelangelo François - Auguste Rodin

Gate of Paradise (1425 - 1452) The Last Judgement (1536 - 1541) The Gates of Hell “The Thinker”
 François - Auguste Rodin - The Gates of Hell “The
Thinker”(1880 - 1917)

• The thinker is entitled as “The Poet” which

represented Dante the author of Divine Comedy.
• The sculpture was both being with a tortured body,
almost damned soul and a free spirited thinking
man determined to transcend his suffering through
poetry.
• He was also inspired by Michelangelo “Dying
Slave”. Admired Michelangelo’s depict of the
human form then combined with his ideas.

François - Auguste Rodin

The Three Shades

François - Auguste Rodin - The Gates of Hell

“The Kiss”(1880 - 1917)

• Fra n c e s c a a n d Pa o l o w h i c h a re 2
characters from Dante’s Divine Comedy.
• 2 Lovers shared their first kiss in which they
were condemned to wander eternally
through hell.

François - Auguste Rodin

Ugolino and his children

François - Auguste Rodin - Monument to Balzac (1898)

• He studies Balzac’s body and head simultaneously in which these two elements conveyed their
own values.
• The head evolves from the portrait resembling the writer into an expressive features
(concentration)
• The body moved to a different direction.
• This statue was a revolutionary monument as it doesn’t have the usual element of the writer such
as book, pen or armchair. The statue gives a a sense of gazing to dominate the world.

François - Auguste RODIN (French, 1840 - 1917)

• He was INSPIRED by TRADITION in the use of various materials such as: bronze, marble plaster and clay. Yet
he REBELLED against its IDEALIZED FORMS which he INTRODUCED INNOVATIVE PRACTICES to modern
sculpture.
• He wanted to EXPRESS INNER TRUTHS of the HUMAN PSYCHE.
• Technique: he developed an agile technique for rendering the extreme physical states.
• He FOCUSES on FORMAL QUALITIES and RELATIONSHIPS rather than narrative structure. His DESIRE is to
keep the MARKS of the STRUCTURAL PROCESS in his finished work.
• His sculptures are very SMOOTH and common of a REAL HUMAN BEING.
LESSON 3: POST - IMPRESSIONISM AND POINTILLISM

Paul SIGNAC (French, 1863 - 1935)

• He INVENTED the POINTILLISM with SEURAT.

• They PIGMENTS were APPLIED in DABS of PURE COLORS. But in WATERCOLORS he
USED the PRINCIPLES in a much FREER MANNER.
• He APPLIED dots of colors side by side so when SEEN from A DISTANCE, these DOTS
BLEND and be PERCEIVED by the RETINA as a LUMINOUS WHOLE.

Paul Signac
Voiles es Pins (1896)

Henri - Edmond CROSS (French, 1856 - 1910)

• At first his PAINTINGS STILL SHOWED his INFLUENCE of

MANET.
• While working in the COMPANY of SIGNAC, he ACQUIRED a
NEW CONFIDENCE such as painting sea views and scenes
from country life which SHOWED a SYMPATHY for an
ANARCHIST IDEOLOGY.

Henri - Edmond Cross

River in Saint - Clair (1908)

Georges Seurat Georges Seurat

The Circus (1890 -91) Bathers at Asnières (1883 - 84)
The painting is surreal, he uses
unrealistic colors and the hair is
too geometrical.
 Georges Seurat - A Sunday on La Grande Jatte (1884)

• This was one if his most famous painting.

• The painting represents people from different social
classes strolling and relaxing in a park.
• He wanted to evoke a sense of timelessness associated
with ancient art like Egyptian and Greek sculpture.
• He wants to present modern people with their essential
traits to be places on the canvas organized by harmonies of
colors.

Georges SEURAT (French, 1859 - 1891)

• He INVENTED the TERM “Chromo - Luminarism” to CONVEY his DUAL INTEREST in intensifying the effect of
COLOR and LIGHT.
• The FINAL EFFECT on his paintings were NOT NATURAL, the COMPOSITION is static, the EYES will ONLY
FOCUS on the USE of COLORS instead of the WAY the PAINTING was CONSTRUCTED.
• He was also the FIRST to CREATE a FRAME AROUND his artworks by using pointillism.

COMPOSITION is static means lacking in movement, action or change. An image is “static” means when a
subject is sat along a very strict horizontal or vertical lines.

Henri Rousseau Le Douanier - The Snake - Charmer (1907)

• The animals in the painting seems to be drawn to the woman and her
charm in the night.
• The surreal look of the night sky gives the painting a seductive glow.
• The moonlight provide viewers a glimpse if what’s going on.

Henri Rousseau Le DOUANIER (French, 1844 - 1910)

• He LEARNED to PAINT by HIMSELF.

• He is KNOWN for his RICHY COLORED and METICULOUSLY DETAILED pictures of lush jungles, wild beasts
and exotic figures.
• EVERYTHING he PAINTED was by IMAGINATION.

Gaetano Previati - danza delle ore (1899)

• He uses a circle to represent time and women that are

around the circle are created to show that the hours are
moving.
• This shows time because the placement of the women
and circle are between the moon and sun which represent
day and night.
 Gaetano PREVIATI (Italian, 1852 - 1920)

• He’s a SYMBOLIST painter in the DIVISIONIST STYLE.

• Techniques: long strokes of colors to suggest a dreaming atmosphere to present a subject between fantasy
and reality.
• He’s very DETAILED because he wants to make the painting AS REALISTIC AS POSSIBLE but his painting is a
bit BLURRY to CREATE a DREAMY EFFECT.

Arnold Böcklin
Island of the Dead (1880)

Odilon Redon
Pandora (ca. 1914)

LESSON 3: ART NOUVEAU

Henri de Toulouse - Lautrec René - Jules Lalique Charles Rennie Mackintosh Antoni Gaudì
Jane Avril (1893) Pendant (ca. 1901) Washstand (1904) Casa Battlò (1904 - 06)
LESSON 3: THE VIENNA SECESSION (1897)

Secession Building and Beethoven

Gustav Klimt (1902)
Secession Building by Joseph Mackintosh Exhibition room at the
Olbrich 8th Secession Exhibition

Gustave Klimt Gustave Klimt Gustave Klimt

Secession Poster (1898) Farm House with the Birch Trees Poppy Field (1907)
(1900)

Gustave Klimt Gustave Klimt Gustave Klimt

Horticultural Landscape with Portrait of Sonja Knips (1898) The Sunflower (1902)
hilltop (1916)
 Gustave KLIMT (Austrian, 1862 - 1918)

• He was BANNED by the ACADEMY because his PAINTINGS were

SCANDALOUS.
• He uses the CLASSICAL SYMBOLS to SERVE as a METAPHORICAL BRIDGE to
the COMMUNICATE to VIEWERS.
• He PERFECTED his PORTRAITURE of WOMEN of whom he SHOWED the
PSYCHOLOGICAL STATE of HUMANITY, showing UGLY AND DARK FEATURES
of UNCONSCIOUS.
• The VIEWERS should INTERPRET the SYMBOLIC MEANING OF THE IMAGES
that he painted to PROVOKE CONSCIOUSNESS and DEBATE.

Gustave Klimt
Portrait of Adele Bloch Bauer I
(1907)

Egon Schiele Egon Schiele Egon Schiele

Woman with Black Hat (1909) Fighter (1913) Self Portrait with Arm Twisting
above Head (1910)

Egon Schiele Egon Schiele Egon Schiele

Seated Woman with Legs Drawn Sitting Woman (1914) Windows - Facade of a House
Up - Adele Herms (1917) (1914)

Egon SCHIELE (Austrian, 1890 - 1918)

• He was KNOWN for his SINGLE STYLE of DRAFTSMANSHIP and an UNSUAL USE of COLORS, PHYSICALLY RAW and
often SEXUALLY PROVOCATIVE DEPICTION of his SITTERS.
• His DRAWINGS were EXTREMELY EROTIC.
• Him going to getting ARRESTED became a LIFE CONSEQUENCE in which it help the EVOLUTION of his STYLE which it
BECAME more ROUGH.
 Paul Cézanne Paul Cézanne Paul Cézanne
Still life with open drawer (1877) Still Life with Apples (1890) Still Life with Apples (1890)

Paul Cézanne Paul Cézanne Paul Cézanne

The Bather (1855) Gardanne (1885 - 86) Mont Sainte - Victoire and the Viaduct
of the Arc River Valley (1882 - 85)

Paul Cézanne Paul Cézanne Paul Cézanne

Mont Sainte - Victoire (1887 - 90) Mont Sainte - Victoire (1900 - 02) Mont Sainte - Victoire (1905 )

Paul CÉZANNE (French, 1839 - 1906)

• He was ONE of the MOST INFLUENTIAL

artist in the HISTORY of the 20th CENTURY
painting.
• His ARTWORKS uses UNIQUE METHODS
of BUILDING FORM with COLORS and his
ANALYTICAL APPROACH to NATURE.

Paul Cézanne Paul Cézanne

Bathers (1874 - 75) The Large Bathers (1898 - 1906)

• He ABANDONED his relatively DARK PALETTE in exchange for BRILLIANT TONES and he began painting OUTDOOR to
DEVELOP a STYLE of TONAL SCALE.
• The SUBJECTS in his paintings are RENDERED WITHOUT the USE of LIGHT or SHADOW but THROUGH extreme
SUBTLE GRADATIONS of COLORS.
 Paul Gauguin Paul Gauguin
Paul Gauguin
Vision after the Sermon or Jacob Fatata te Miti - By the Sea ( 1892)
Orana Maria - We Hail Thee Mary
Wrestling with the Angel (1861)
(1891 - 92)

Paul GAUGUIN (French, 1848 - 1903)

• As an ARTIST he STYLED HIMSELF and his ART as “SAVAGE”.

• He ADOPTED Cézanne’s PARALLEL CONSTRUCTIVE BRUSHSTROKES but he FREED the COLOR from MIMETIC
REPRESENTATION and DISTORTED FORM for EXPRESSIVE PURPOSES.
• His IMAGES show PREOCCUPATION with DREAMS, MYSTERY and EVOCATIVE SYMBOLS.
• He uses BROAD, MATTE FIELDS of NON - NATURALISTIC COLOR to ACHIEVE a NEW SYNTHETIC STYLE that
COMBINE DECORATIVE.

Vincent Van Gogh Vincent Van Gogh Vincent Van Gogh

The potato peelers (1885) La Berceuse (1889) La Berceuse - Portrait of a Young
Woman (1889)

Vincent Van Gogh Vincent Van Gogh Vincent Van Gogh

Sunflowers (1889) The Bedroom in Arles (1889) The Starry Night (1889)

Vincent VAN GOGH (Dutch, 1853 - 1890)

• His ADMIRATION for the FRENCH ARTISTS INFLUENCED his DECISION to PAINT RURAL LIFE.
• He LIGHTENED his PALETTE and EXPERIMENTED with the BROKEN BRUSHSTROKES of impressionists as well as
pointillism.
• He was also INFLUENCED by JAPANESE PRINTS which he COLLECTED.
• His work has his OWN PERSONAL SYMBOLISM: Sunflowers means joyous and life affirming, Unlaced shoes were
emblematic for his itinerant existence.
Itinerant means traveling from place to place.

Edvard Munch Edvard Munch

Vampire (1893) Madonna (1894 and 1895 - 1902)

Edvard Munch Edvard Munch

The Dance of Life (1899) TheSnow in the Avenue (1906)

Edvard Munch - The Scream (1893)

• This is an autobiographical picture, which the expression is based on Munch’s

experience of scream piercing through nature while on a walk, after his two
companions left him (2 figure in the background).
• This painting symbolizes the darkly troubled times Munch was experiencing as he
dealt with mental illness and trauma.

Edvard MUNCH (Norwegian, 1863 - 1944)

• He’s STYLE of WORK was known as SYMBOLISM, due to the fact that the PIECES he MADE FOCUSED on the internal
view of the objects OPPOSED to the EXTERIOR, what the eye can see.
• His WORKS SHOWCASES LIFE and DEATH SCENES. LOVE and TERROR, also the feeling of LONELINESS new presented
in his works.
• Techniques: to PRESENT EMOTIONS he uses contrasting lines, darker colors, blocks of colors, somber tones and a
concise but exaggerated form.
LESSON 3: THE BERLIN SECESSION (1898)

Max Liebermann Lovis Corinth

Jewish Street in Amsterdam (1905) Laughing Self Portrait (1908)

LESSON 3: DIE BRÜCKE: THE EXPRESSIONISM (1905)

Emil Nilde Erich Heckel Karl Schmidt - Rottluff

Excited People(1913) Geschwister (1913) Red Street (1913)

Max Pechstein Ernst Ludwig Kirchner - Street, Dresden (1908)

Seated Girls (1910)

• He highlighted the colors of the city scene which is located in southeast Germany.
• Depicted the figure with mask like faces and vacant eyes to capture the excitement
and psychological alienation by modernization,
• Many artists were conflicted about life in the city. On one hand they were
disgusted by the materialistic lifestyle, on the other, they enjoyed the excitement
and bustling activities that the city offered. Nightclubs and wealthy theaters as well
s scenes of loneliness and isolation.
LESSON 3: THE FAUVES (1905)

André Derian Maurice De Vlaminck

Pont de Charing Cross, London (1906) River Edge Of the Seine (1906)

Raoul Dufy Kees Van Dongen

Posters at Trouville (1906) Portrait of Fernande Olivier (1905)

Henri Matisse Henri Matisse Henri Matisse

Midday Snack Also known as Golf of Saint View of the Notre - Dame (1914) View of the Notre - Dame (1902)
- Tropez (1904)
 Henri Matisse - Woman With a Hat (1905)

• During this time Matisse and André introduced un-naturalistic color and vivid
brushstrokes into their artwork in the summer of 1905.
• The Post - impressionist and Neo - impressionist artists influenced and inspired him to
reject traditional 3 dimensional space and seek instead a new picture space defined by
the movement of color planes.

Color Plane describes how a color is converted (encoded) using 2 primary colors

Henri Matisse Henri Matisse Henri Matisse

The Red Studio (1911) Odalisque with Red Pants (1921) Standing Blue Nude (1952)

Henri Matisse Henri Matisse

La Gerbe (1953) The Back Series (1908 - 1931)

Henri MATISSE (French, 1869 - 1954)

• He was one of the MOST INFLUENTIAL artist along with Pablo Picasso during the 20th century.
• His EARLY WORKS were COLORED canvases APPLIED in a VARIETY of brushwork, ranging from thick impasto to flat
areas of pure pigment, sometimes APPLIED BY sinuous, arabesque like line.
• His AIM was to DISCOVER “the essential character of things” and to PRODUCE ART of “balance, purity and
serenity”.
LESSON 4: CUBISM
Pablo Picasso
Les Demoiselles d’Avignon (1907)
Pablo Picasso
Family of Saltimbaques (1905)
Pablo Picasso
Three Women at The Spring (1921)
Pablo Picasso Pablo Picasso
Les Demoiselles d’Avignon (1907) The Life (1903)
Pablo Picasso Pablo Picasso
Accordionist - Analytical Cubism Maquette For Guitar - Synthetic
(1911) Cubism (1912)
Pablo Picasso - Guernica (1937)
• This piece of art was created to show a cruel and
dramatic situation of war to be part of the Spanish
Pavilion.
• By seeing numeral photographs of German aerial
bombing in various periodicals this painting
doesn’t contain one specific event but a generic
Pablo Picasso
Portrait the Dora Maar (1932) plea against the barbarity and terror of war.
• The muted colors shows the intensity of each and
every motifs to articulate the extreme tragedy of the
scene.
• The painting also known as a giant poster was
considered as a controversial interpretations due to
the use of only grayish tones.
• Characters in this paintings were divided in 2
groups: 3 animals - bull, wounded horse and
winged bird. Human beings - consist of dead
soldiers and a number of women.
 Pablo Picasso
Ceramic Works

Pablo PICASSO (Spanish, 1881 - 1973)

• His CREATIVE STYLES transcend Realism and Abstraction, Cubism, Neoclassicism, Surrealism and Expressionism.
• Blue Period (late 1901 - middle of 1904): depict themes of poverty, loneliness and despair.
• Rose Period (1905): during this time he converted his attention towards pleasant themes such as carnival performers,
harlequins and clowns.
• During the 1907 was WHEN he CREATED the MASTERPIECE Les Demoiselles d’Avignon which SIGNALED the
NASCENT STAGES of CUBISM.
• Techniques: he uses imagination to create abstract work to explore forms and structures. He uses colors and
brushstrokes to give texture in his paintings which are broken down into geometric shapes. He builds layers and uses
color to fragment the shape of objects in the paintings.

Georges Braque Georges Braque Georges Braque

The Viaduct at L’Estaque (1908) Landscape in L’Estaque (1906) Man with a Guitar - Analytical Cubism
(1911 - early 1912)

Georges Braque
Georges Braque Georges Braque He was commissioned to produce a series of 3 ceiling
Nature morte (Fruit Dish, Ace of Woman with a Mandolin (1925) paintings with Carpi’s design. Decorative design “The
Clubs) - Synthetic Cubism (1913) Birds” inaugurated in 1953.
Georges BRAQUE (French, 1882 - 1963)

• After CONTACT with the FAUVES. Braque and Picasso WORKED TOGETHER in DEVELOPING Cubism.
• After Cubism period he INCLUDED many COMPOSITIONS of still lives and interiors with CONTRASTING PATTERNS
and more COMPLEX EFFECTS of SPACE FREE and LESS SCHEMATIC.
• When completing the decor for 2 Sergei he RETURNED to a more realistic interpretation of nature also some aspects
of cubism are present in his works.
• Late 1940s he TREATED VARIOUS themes such as birds, ateliers, landscapes seascapes in ADDITION to lithographs,
engravings and sculptures.

Juan Gris Albert Gleizes Fernand Léger Jean Metzinger

Violin and Playing Cards The Schoolboy (1924) “Composition - The Table by a Window (1917)
(1913) Typographer” (1918 - 1919)

LESSON 4: PURISM

Amédée Ozenfant Le Corbusier Le Corbusier

Glasses and Bottles (1922 - 26) Nature morte au violon rouge (1920) Femme et mains (1948)

Amédée Ozenfant Pavillon de l’Esprit Nouveau at the Paris

Maison - atelier du peintre (1922) Exposition des Arts Décoratifs of 1925
LESSON 4: ORPHISM

Robert DELAUNAY (French, 1885 - 1941)

• ORPHISM was the most POPULAR used short term. It

was a SPINOFF FROM CUBISM and INFLUENCED in
part by FAUVISM. Focusing on brightly colored
works that EVOLVED into PURE ABSTRACTION.
• He EXPERIMENTED with COLORS in his MOSAIC
STYLE and the GEOMETRICAL DECONSTRUCTION of
CUBISM.
• He was married to Sonia Delaunay.

Robert Delaunay
Circular forms (1930)

Sonia DELAUNAY TERK (Ukrainian, 1885 - 1979)

• “SKIN OF THIS WORLD OF OURS” was a DEFINITION that was the CENTER of HER LIFE.
• She RESEARCHED on the geometrical deconstruction and its re - composition BASED on COLORS FILLING. In which
she APPLIED this method of Orphic Cubism INTO FASHION.
• She WENT ON to CREATE the “SIMULTANEOUS DRESSES” based on the STRUCTURE DECOMPOSED by PURE COLORS
in various SHAPES.

LESSON 4: FUTURISM

Carlo Carrà Gino Severini

The Horse and Rider (1913) The White Dancer (1912)
 Umberto Boccioni Umberto Boccioni Umberto Boccioni
The City Rises (1910) Elasticity (1912) Dynamism of a Soccer Player (1913)

Umberto Boccioni - Unique Forms of Continuity in Space (1913)

• The artists implemented speed and force into sculptural form. The Sculpture shows that
the body is moving forwards surpassing the limits of the body itself, the lines and curves of
the sculpture are presented in a way as if it was molded by the wind when it's passing.
(Body in action).
• The way this sculpture is different from traditional Green like statues, this one create a
body that is reshaped as to amplify the new conditions of modernity were producing new
man.
• The polish metal alludes to sleek modern machinery which was beloved by Futurist artists.

Umberto BOCCIONI (Italian, 1882 - 1916)

• He was the MOST PROMINENT and INFLUENTIAL among the ITALIAN FUTURISTS.
• DEVELOPED the movement’s theories but also INTRODUCING the visual innovations that LED to the DYNAMIC.
• He ENCOUNTERED Cubism in which the movement helped in the DEVELOPMENT the STYLE that MATCHED the
ideology of dynamism. He BORROWED the geometric forms and employed them to EVOKE crashing, startling
sounds to ACCOMPANY the DEPICTED MOVEMENT.
• He had a STRONG BELIEF in the “importance of intuition” in which LED him to give it SYMBOLIC like MYTHICAL
DIMENSIONS, that EVOKES the artist’s EMOTIONS as much as the OBJECTIVE REALITY OF MODERN LIFE.

Giacomo Balla Giacomo Balla Giacomo Balla

Girl on the balcony (1912) Eadweard Muybridge (1912) Bragaglia Brother (1912)
 Giacomo Balla Giacomo Balla
Black and White Synthesis of Movement Canaringatti - Gatti Futuristi (1925)
(1917)

Giacomo BALLA (Italian, 1871 - 1958)

• Futurist MOVEMENT had a DRAMATIC INFLUENCED CHANGE in Balla’s painting STYLE.

• In 1909 he BECAME preoccupied with the pictorial depiction of light, movement and speed. In which these
ADDRESSED the THEMES of work and humanitarian issues REFLECTING in SOCIALIST POLITICS.
• He CELEBRATED the “machine” in which he was CONCERNED in CAPTURING FIGURES and the OBJECTS in MOTION
by SHOWING the FORMS in repeated sequence.
• He GAVE EXPRESSION to MOVEMENT by abstract forms to REPRESENT a new CONCEPT of SPACE.

LESSON 4: FUTURISM AND ARCHITECTURE

Antonio SANT’ELIA (Italian, 1888 - 1916)

• He DECIDED to BREAK OFF from the FORMAL

Antonio Sant’Elia
Project For The New Cemetery In Monza Generating Station (1914)
(1912)
ACADEMIC TRAINING to CREATE an ARCHITECTURE
t h a t E M B R AC E S t h e “ u r b a n re v o l u t i o n o f
modernity”.
• Being SURROUNDED BY “industrialized society” and
“technical revolution” he BEGAN to work in
SIMPLIFYING structural architectural elements using
advanced building methods such as using iron,
concrete and glass.
• In his SKETCHES he sketched AGILE and SLENDER
VOLUMES, with various geometrical shapes such as
Antonio Sant’Elia
pyramids, rectangular towers to add RELIEF and
DEPTH to the FIGURE.

Giacomo Matté Trucco - Fiat Lingotto Factory, Turin Italy (1916 - 23)

• This building was designed with Ford’s assembly methods in mind.

• The production flowed from bottom to top with finishing cars arriving at the
km - long banked rooftop test track.
• The cars were tested and driven down to the street with concrete structural
ribs.
LESSON 4: SCHOOL OF PARIS

Constantin Brancusi Constantin Brancusi Constantin Brancusi

Mlle Pogany (1913) Black and White (1926) Man Ray and Brascusi (1927)

Constantin Brancusi Constantin Brancusi Constantin Brancusi

The Sleeping Muse (1910) The Sleeping Muse (1920) The Newborn (1920)

Constantin Brancusi Constantin Brancusi Constantin Brancusi

Bird in Space (1928) Young Bird (1928) Endless Column, Târgu - Jiu Romania (1938)

Constantin BRANCUSI (Romanian, 1876 - 1957)

• He LOOKED for INSPIRATION to NON - EUROPEAN CULTURES as a SOURCE of “primitive” vitality. He ABANDONED
MODELING in favor of CARVING.
• He was DEPENDENT on FOLK ART such as Romanian masks. He also INTRODUCED OVOIDS as VIRTUALLY see -
sufficient objects this is an ABSTRACTION through the IDENTIFICATION of the FORMS with the HUMAN BODY.
• He was also INTERESTED in PHOTOGRAPHY, the photographs of his works would SHOW CONCERN with LIGHT and
ENVIRONMENT this is often used to DOCUMENT the EVOLUTION of a SCULPTURE.
 Amedeo Modigliani Amedeo Modigliani
Caryatid (1914) Woman’s Head (1915)

Amedeo Modigliani Amedeo Modigliani

Madame Georges van Muyden (1917) Jeanne Hebuterne with Hat and Necklace (1917)

Amedeo MODIGLIANI (Italian, 1884 - 1920)

• He CREATED a SERIES of SCULPTURES with elongated features, oval heads and thinly incised eyes.
• From his work you can see the INFLUENCE from Brancusi as well as AFRICAN SCULPTURE. He was NOT very
EXPERIMENTAL with his WORK.
• Given his LIMITED SUBJECT MATTER in his painting and sculpture, he ACHIEVED an EXTRAORDINARY RANGE of
“PSYCHOLOGICAL INTERPRETATIONS” of human face but MAINTAINING his INDIVIDUALITY through his DISTINCTIVE
ELONGATIONS of FACE and FORM.

Chaim Soutine Chaim Soutine Chaim Soutine

Woman in blue (1919) Group of Trees (1922) Le Boeuf Ecorché (1925)
 v Chaim SOUTINE (Russian, 1893 - 1943)

• During this time there was a DOMINANT TRENDS toward ABSTRACTION, he

MAINTAINED a FIRM CONNECTION to recognize SUBJECT MATTER.
• Technique: he uses thick impasto of paint to cover the surface of the canvases, he uses
visible brushwork and form to translate his inner torment.
• He EXPRESSED a CLEAR PERSONAL and ARTISTIC VISION that looks back at HISTORIC
THEMES as well as TOWARD FUTURE MODERNIST STYLES.

Chaim Soutine
Rembrant - Carcass of Beef (1657) -
S(1925)

LESSON 5: DADISM

Marcel Duchamp Marcel Duchamp Marcel Duchamp

Bicycle Wheel (1913) Picasso - Bull’s Head (1914) Fountain (1917)

Marcel Duchamp - Nude Descending a Staircase (1912)

• Nude Descending a Staircase was a scandalous painting he did.

• He didn’t know it was linked to Futurism at that time. Also it links to Cubism as well due to the
geometry shapes in the painting.
• He wasn’t interested in doing something real but was influenced by photography (something
that belong to Photography).
• To him art id intellectual and he challenges the role of the artists.
• He uses the power of an artist to create anything, the role, the
relationship or how much the public trusts the artists to create
something real.

Marcel Duchamp - The Bride Stripped Bare by her Bachelors, Even, The Large Glass (1915 -
23)
• The thought that the chance of his artwork when transporting falls down is also considered
part of the process of his painting.
• The bride desires to stimulate the bachelors in which it causes the flow of “illuminating gas”
into mouldlike bodies.
• This piece gives a sense of lack of fulfillment. The bachelors are presented by the 9 mouldlike
figures.
 Marcel DUCHAMO (French, 1887 - 1978)

• He PRODUCED ART for a SHORT PERIOD of time then STOPPED.

When he MOVED to NEW YORK he STARTED DOING art again.
• He BREAK the RULES and ASK the QUESTION “What is art and
How art is perceived by the public?”.
• He WOULD USE an EXISTING OBJECT to CREATE an IMAGE like
Picasso and other artists.
• By PUTTING 2 OBJECTS TOGETHER he CREATED a new
Marcel Duchamp meaning or object (obtaining a third object).
Rrose Sélavy

LESSON 5: COLLAGE AND RAYOGRAPH

(Emmanuel Radnitzky) MAN RAY (American, 1890 - 1976)

• He is a PHOTOGRAPHER and PAINTER.

• He INVENTED a NEW TECHNIQUE called “Rayograph” which is an OBJECT
that will TRANSFORM with LIGHT. It’s SIMILAR to COLLAGE but 3D.
• This CREATES a COMPOSITION of the IDENTITY of BEING an OBJECT
(composition becoming geometric).

Man Ray Man Ray

Gift (1958) replica of Rayograph (1922)
1921 original

Pablo Picasso
Still - life with Chair caning (1912)

Carlo Carrà Hannah Höch

Manifestazione Intervista (1914) Cut with the Kitchen Knife through the Beer
Belly of the Weimar Republic (1919)

Kurt Schwitters
“Relief on Relief” (1942 - 05

Kurt Schwitters
Picture of Spatial Growths - Picture
with Two Smalls Dogs (1920 -39)
LESSON 5: ABSTRACTION

Wassily Kandinsky Wassily Kandinsky

Fishing Boats - Sestri (1905) Colorful life (1907)

Wassily Kandinsky Wassily Kandinsky

Rock - Membership Car for new artists’ Lyrical (1911)
association Munich (1908 - 09)

Wassily Kandinsky Wassily Kandinsky

Landscape with Rain (1913) Composition VIII (19283)
 LESSON 5: SUPREMATISM

Kazimir Malevich Kazimir Malevich Kazimir Malevich

On the Boulevard (1903) Samovar (1913) Suprematism Composition (1915)

Kazimir Malevich Kazimir Malevich

Black Square and Red Square Black Square (1915)
(1915)

Kazimir Malevich - Black Square (1915)

• The black square with the white frame, this is one of his supreme artwork.
• Emerging into the black help to like create that meditation experience and his canvas sometimes is tilted to give the
difference appearance from other pieces.
• The slap of black paint is interpreted as a gesture of rejection, providing no narrative, theme, composition or picture
space. Offering a canvas of unprecedented blankness.
• This kind of painting he called it “secular equivalent of Russian icons” regarding the aspiration to present the divine as
pure or unmediated reality.

Influences: Daniel Libeskind and Zaha Hadid

Kazimir Malevich
Academy of the Jewish Museum Berlin in the
Suprematist Composition - White on White
Eric F. Ross Building
(1918)
Kazimir MALEVICH (Russian, 1878 - 1935)

• He CONTRACTED his artworks with LESS COLORS to CREATE a MEDIUM in his PIECE.
• One of his COMPOSITION when he FELT like it was PERFECT it was when he USES straight lines, rectangles and
primary colors.
• SQUARE is the MOST PURE SHAPE to USE for him and NEUTRAL COLORS.
• The PERFECT ARTWORK for him was the “BLACK HOLE”

LESSON 5: CONSTRUCTIVISM

Vladimir Tatlin - Monument to the Third

International (1919 - 24)

• The MOST FAMOUS PROJECT id the “Monument

to the Third International”, this PUT TOGETHER
MODERNITY and CLASSISM (made out if iron
and glass).

Naum Gabo
Head of a Woman (1917 - 20)

Aleksandr Rodchenko El Lissitzky László Moholy - Nagy

Spatial Construction no.12 (1920) Proun 19D (1920 or 1921) Photogram No. 1 - The Mirror (1928)

LESSON 5: NEO - PLASTICISM

Piet Mondrian Piet Mondrian

Oostzijdse Mill with Extended Blue, Yellow Red Tree (1908)
and Purple Sky (1907 - 1908)
 Piet Mondrian Piet Mondrian Piet Mondrian
Tree (1911) Blue Tree (1911) Flowering Apple Tree (1912)

Piet Mondrian Piet Mondrian Piet Mondrian

Trees in Blossom (1912) Composition with Color Planes 5 (1917) Composition C (1920)

• The branches of his painting turned into lines (horizontal, vertical and curved).
• He tried to divide the space into squares.
• End of 1911 he did the same painting but the space around the tree define the shape of the tree unlike before he used
lines to define the branches.
• The brush strokes give the movement and turn it into the shape of branches.
• 1912 the branches are not branches because the lines are cut into the space refining the features of the trees and the
colors used aren’t realistic, they do not apply to the tree.
• Later in 1912 the simplification of the tree became more simplified, lines cutting the space the trunk is define by forms
and the branches are everywhere and it’s in all directions.
• In his last work the tree doesn’t exist anymore and it became a “Composition with Color Planes” by becoming a grid.
• The grid is visible by using black lines and at this time he started using primary colors by making it more essential.
• He wasn’t to experience with certain mediums that can get this far.

Piet Mondrian Piet Mondrian Piet Mondrian Piet Mondrian

Composition C (1921) Tableau I: Lozenge with Four Lines Composition in Red, Blue and Victory Boogie Woogie (1942 -
and Gray (1926) Yellow (1937 - 42) 1944)

Piet MONDRIAN (Dutch, 1872 - 1944)

Piet Mondrian • He STARTED in a TRADITIONAL/CLASSICAL APPROACH to art. But his

Victory Boogie Woogie artwork WAS DIFFERENT from other artists because he STARTED from
(1942 - 1944)
NATURE UNLIKE the others.
• USES the SIMPLIFICATION of the REALITY.
• In 1911 he STARTED PAINTING BRANCHES OF TREES.
LESSON 5: DE STIJL (1917 - 1932)

Theo Van Doesburg H.P Berlage

Café de l’Aubette - Strasbourg (1928) Gemeente museum - DenHaag (1931 -
35)

Gerrit Rietveld Gerrit Rietveld Gerrit Rietveld

Rietveld Schröder House - Utrecht (1924) Side Table (1923) Red and Blue Chair (1923)

Influences in product design and fashion

industry

LESSON 5: ABSTRACT SCULPTURE

Alexander Calder Alexander Calder Alexander Calder

Cascading Flowers (1949) Constellation with Tow Pins (1943) Teodolapio - Spoleto (1962)
Alexander CALDER (American, 1898 - 1976)

• He made WOOD and WIRE animals with movable parts and DESIGNED a MINIATURE CIRCUS.
• His later WORKS were COMPOSED of bold, abstract element in primary colors.

Jean Arp Jean Arp Jean Arp Jean Arp

Bird in an Aquarium (1920) Leaves and Navels I (1930) Sirène (1942) Torso of Muse (1959)

Jean ARP (French, 1886 - 1966)

• He WAS one of the FOUNDERS of DADA In Zurich. But he ALSO participated in both Surrealism and Constructivism.
• In his EARLY WORKS he would TRANSFORM PEOPLE into OBJECTS, which OBJECTS became HUMANIZED.
• His techniques INTRODUCED intuitive. absurd and dream like aspects which he also TRIED OUT unusual methods
and materials.
• He INTRODUCED straight lines and sharp angled notches INTO his curvilinear reliefs.
• His SCULPTURES DON’T HAVE a DEFINITIVE BASE in order to TAKE THEIR PLACE IN NATURE.

Henry Moore Henry Moore Henry Moore

Reclining Figure (1939) Reclining Figure (1953 - 54) Large Reclining Figure (1984)

Henry MOORE (British, 1898 - 1986)

• He was ACKNOWLEDGED as the most important British sculpture of the 20th century.
• The HUMAN FIGURE was USED as his CENTRAL SUBJECT MATTER throughout his career.
• He BORROWED from diverse cultural traditions and artists to INCORPORATE into his artworks.
• He BELIEVED PASSIONATELY in direct carving and in “truth to materials” RESPECTING the CHARACTERISTICS of
STONE or WOOD.
• The FEMALE FIGURES that he uses RESONATES the FORMS of MOUNTAINS, VALLEYS, CLIFFS and CAVES.
LESSON 5: BAUHAUS (1919 - 1933)

Paul Klee Paul Klee

Highway and Byways (1929) Intoxication (1939)

Paul KLEE (German, 1879 - 1940)

• He HAS great INTEREST in MUSIC as well as PAINTING.

• He was INTERESTED in COLOR so he BEGAN working with WATERCOLORS.
• He was REGARDED as a THEORETICIAN and a MASTER of HUMOR and MYSTERY.
• His work was to ACHIEVE this NAIVE and UNTUTORED QUALITY.

László Moholy - Nagy - Light - Space Modulator (1922 - 1930)

• 3 movable mental and/or glass structure arrange on a rotating disc forming the core of
“Light - Space Modular”,
• It only developed its impact in a darkened space.
• Producing spectacular shadow formations in an interplay with colored and white light,
obtained from flat or curved panels of transparent Rhodoid plastic.
• Metamorphosed light projections.

László MOHOLY - NAGY (Hungarian, 1895 - 1946)

László MOHOLY - NAGY (Hungarian, 1895 - 1946)
• He BEGAN painting ABSTRACT PICTURES and was INFLUENCED by Malevich
• HeLissitzky.
and BEGAN painting ABSTRACT PICTURES and was INFLUENCED by Malevich
and
• Then he Lissitzky.
was INVOLVED with the EXPERIMENTAL PHOTOGRAPHY.
• Then he
• His IDEOLOGY was INVOLVED
RELATED with the “relationship
to the EXPERIMENTAL PHOTOGRAPHY.
between space, time and
• His IDEOLOGY RELATED to the “relationship
light” and the INTERACTION of MAN with these FORCES.between space, time and
light” and the INTERACTION of MAN with these FORCES.

László Moholy - Nagy

K VII (1922)
LESSON 6: PITTURA METAFISICA (1916)

Alberto Savinio Carlo Carrà Giorgio De Chirico

L’Annunciazione (1932) Metaphysical Muse (1917) Piazza d’Italia (1913)

Giorgio De Chirico Giorgio De Chirico Giorgio De Chirico

The Disquieting Muses (1916) The Poet and His Muse (1925) Metaphysical Interior (1926)

Giorgio DE CHIRICO (Italian, 1888 - 1978)

• He KNEW a lot of PAINTERS that LIVED in FRANCE, he was very well INFLUENCED by French Art.
• He moved back to Italy where he STAYED in Ferrara which SOME of his ARTWORKS were BASED on.
• FACTORIES in his artworks SHOW FUTURISM.
• He USES the IDEA id MANNEQUINS in his work in a CLAUSTROPHOBIC rooms (small).
• In 1926 he STARTED using DIFFERENT SHAPES and the WINDOWS STARTED to SHOW the OUTSIDE WORLD. The
PROBLEM is that these paintings were NOT from PERSPECTIVE so it SHOWS something UNREAL.

Aldo Rossi Aldo Rossi Aldo Rossi

Teatro Paganini and Piazza della Cimitero di San Cataldo - Sketching
Pilotta - Parma (1964) Modena (1971 - 1978)
 Aldo Rossi Aldo Rossi Aldo Rossi

Aldo ROSSI (Italian, 1931 - 1997)

• He WAS an ARCHITECT who was INSPIRED by METAFISICA MOVEMENT.

Filippo De Pisis Filippo De Pisis

La Grande Conchiglia (1927) San Moisé (1931)

Filippo DE PISIS (Italian, 1886 - 1956)

• His WAY of PAINTING is more MATERIALISTIC.

• He USES COLORS in LAYERS, FAST and NERVOUS painting TECHNIQUE.

Giorgio Morandi Giorgio Morandi

Still Life (1938) Still Life (1951)
 Giorgio MORANDI (Italian, 1890 - 1964)

• He’ve NEVER MOVED from his STUDIO for ALL his LIFE.
• He STUDIED EVERYTHING that was IN HIS STUDIO such as
OBJECTS and LIGHTS.
• PLAYING with the PERSPECTIVES and the SHAPES of the
OBJECTS.
He has 2 TECHNIQUES that he uses:
1. He USES 3D view to SHOW the SHAPES of the OBJECTS.
2. FLAT artworks which means NO PERSPECTIVES and NO 3D.

Giorgio Morandi
Still Life of Vases on a Table (1931)

LESSON 6: V TRIENNALE - MILAN (1933)

LESSON 6: NOVECENTO

Felice Casorati Massimo Campigli Vetti House

The Concert (1924) Isola Felice (1930) Iararium - Pompei 1st Century AD
 Palma il Vecchio Carlo Carrà
Bathing Nymphs (1519 - 1520) Pino Sul Mare (1921)

Giotto Achille Funi

The Resurrection of Lazarus (1303 - 1305) Malinconia (1930)

Mario Sironi Mario Sironi

Paesaggio Urbano (1924) Composition With Knight (1950)
 Mario SIRONI (Italian, 1885 - 1971)

• In 1922 he FORMED the NOVECENTO.

• He BELIEVED that art should be public and
collective.
• He was COMMITTED to the ACTIVITIES of
DECORATOR with paintings a fresco, mosaics and
sculptures.

Mario Sironi Mario Sironi

Palazzo dell’Informazione Burocracy (1925)
(1938 - 40)

Arturo Martini Arturo Martini Arturo Martini

Il Bevitore (1926) Atmosfera di una testa (1944) Giustizia Corporativa (1937)

Arturo MARTINI (Italian, 1889 - 1947)

• He was a SCULPTURE between WW I and II.

• The PROPORTIONS of his SCULPTURES were UNREALISTIC.
• INFLUENCED by CLASSICISM and MODERNISM.
• All his SCULPTURES were in the SAME DIMENSIONS because he WANTED
the VIEWERS to see what was HAPPENING in the BACKGROUND that’s why
his works are NOT PERSPECTIVES.
• He WORKED with many materials such as clay, wood, stone and
ESPECIALLY marble, bronze and silver.

Arturo Martini
Giustizia Corporativa (1937)
LESSON 6: CASA DEL FASCIO - COMO (1832 - 36)

Mario Radice Mario Radice

Composition in Orange (1938) Composition (1938 - 40)

Mario RADICE (Italian, 1898 - 1987)

• He was the LEADING EXPONENTS of the group “Abstract Artists from Como”.
• He and the group had a COMPLETELY original ITALIAN APPROACH to ABSTRACTION - CLASSICALLY HARMONIOUS
and SOLIDLY ARCHITECTURAL.
• Striving for HARMONY in order to CULT of geometry, portions and compositional rigor.
• “Color as Color” and “Form as Form”.

LESSON 6: COMO GROUP

Manlio Rho Atanasio Soldati Bruno Munari Fausto Melotti

Composizione 42 (1936) Senza Titolo (1935) Negativo - Positivo - Giallo - Rosso (1951) Notte Africana (1973)
LESSON 6: ROMAN SCHOOL OF PAINTING AND CORRENTE

Mario Mafai Scipione Renato Birolli

Fantasia No. 7 - Interrogation (1940 - 43) Cardinale Decano (1930) Il Caos (1936)

Renato Guttuso
Il Merlo (1940)

LESSON 6: MEXICAN MURAL MOVEMENT

David Alfaro Siqueiros

Democracy breaking her chains (1934)

José Clemente Orozco

Catharsis (1934)
 Diego RIVERA (Mexican, 1886 - 1957)

• He CREATED a NEW ICONOGRAPHY based on SOCIALIST IDEAS and EXALTED the

INDIGENOUS and POPULAR HERITAGE in Mexican CULTURE.
• He USED simple, bold modeling in his murals, DERIVED from the example of
GIOTTO’S FRESCOES.
• He ATTEMPTED to RELATE the CONTENT of his MURALS to the EXTERNAL WORLD by
some system of SYMBOLISM based on the PHYSICAL ORIENTATION of the MURALS.

Diego Rivera
The Liberated Earth with Natural Forces Controlled By Man - end wall (1927)

LESSON 6: SURREALISM

Max Ernst Max Ernst Max Ernst

Stratified Rocks, Nature’s Gift of Gneiss Lava Celebes (1921) Woman, Old Man and Flower (1923 - 24)
Iceland Moss (1920)

Max Ernst Max Ernst Max Ernst

Forest and Sun (1931) The Entire City (1934) The Robing Of The Bride (1940)

Max ERNST (German, 1891 - 1976)

• His work CHALLENGED and DISRUPTED what he CONSIDERED to be REPRESSIVE ASPECTS of European Culture.
• COLLAGE BECAME the CENTRAL of his work.
• He ABSTRACTED FIGURATIVE ELEMENTS from their ORIGINAL CONTEXT in ORDER to CREATE NEW FORMS, in which it
BECAME strange and fantastic.
• He EXPERIMENTED with VARIOUS TECHNIQUES such as collage, frottage, grattage, oscillation, dripping and
decalcomania.
• He was INFLUENCED by Chirico, Böcklin and Stirner.

Frottage is a technique that was made by placing sheets of paper over different objects such as floorboards and leaves, and rubbing with a stick of graphite

Grattage is by which textures and patterns were made through simultaneously rubbing and scraping off layers of paint. Decalcomania was another way of
achieving similar results.
 Salvador Dalì Salvador Dalì Salvador Dalì
Metamorphosis of Narcissus (1937) Dismal Sport (1929) Lobster Telephone (1936)

Salvador DALÌ (Spanish, 1898 - 1967)

• The DISCONNECTED, AMBIGUOUS FORMS show the INFLUENCE of Giorgio de Chirico.

• His PRINCIPAL Theoretical Contribution to Surrealism was his ‘paranoiac–critical method’.
• It DEPENDED on an UNDERSTANDING of PARANOIA as means of DESTABILIZING the WORLD, BELIEVING everything
the VIEWERS SAW was POTENTIALLY SOMETHING ELSE.
• This is an UNDERSTANDING of the DREAM as an EXPRESSION of UNCONSCIOUS DESIRE.
• The IDEAS behind the MULTIPLE IMAGES were as SELF CONSCIOUS as their TECHNICAL REALIZATION.
• He DEVELOPED types of object as POTENTIAL EMBODIMENTS of Surrealist principles that he called the
‘symbolically functioning object’.

René Magritte René Magritte René Magritte

The Treachery of Images (1928 - 29) The Human Condition (1933) Empire of Light (1954)

René MAGRITTE (Belgian, 1898 - 1967)

• He was INTERESTED in interest in EVOKING MYSTERY in art.

• He BEGAN EXPLORING Cubism and Futurism due to the INFLUENCE of CHIRICO.
• He EXPLORED ways of CREATING a POETIC, DISTURBING EFFECT by DEPICTING recognizable objects in alien
settings by COMBINATIONS of OBJECTS or INVERSIONS of SCALE and so on.
• He MADE drawings of particular motifs as well as compositional studies in this way he DISCOVERED NEW IDEAS in
the PROCESS of SKETCHING.
• He would ESTABLISHED the FINAL COMPOSITION on the canvas before BUILDING UP the SMOOTH SURFACE of his
painting.
• His way of TECHNIQUE because he WANTED a CLEAN and TIDY FINISH so that the “questions of technique” would
NOT DISTRACT the viewer’s attention from the imagery.
 Joan Mirò Joan Mirò Joan Mirò
The Farm (1921 - 22) Harlequin’s Carnival (1924 - 25) Spanish Dancer (1928)

Joan Mirò Joan Mirò Joan Mirò

Sculpture - Object (1931) Blue II (1961) Mère Ubu (1973)

Joan MIRÒ (Spanish, 1893 - 1983)

• He has an ACUTE BALANCE of SOPHISTICATION and INNOCENCE with a DEEPLY ROOTED CONVICTION about the
RELATIONSHIP between ART and NATURE lie behind all his work.
• He INTRODUCED a METICULOUSNESS and PRECISION of drawing as a MEAN of CONCENTRATING ATTENTION on
PARTICULAR DETAILS.
• His paintings APPEARED a MIXTURE of RECOGNIZABLE NATURAL FORMS with more or less INVENTED SHAPES -
COLOR was TREATED with LESS RESTRAINT, FREED from the DEMANDS of REALISM CULMINATING in FANTASTIC
SHAPES suggestive of living organisms.
• He was INFLUENCED by DADA REBELLION and SURREALISM.
• He COMBINED HUMOR with COMPOSITIONAL FREEDOM and he RELIED both on INTUITION and on a METICULOUS
and RATIONAL EXAMINATION of FORM.

Marc CHAGALL (Belorussian, 1887 - 1985)

• He was ASSOCIATED with NUMEROUS artistic styles such as

synthesizing elements of Cubism, Symbolism and Fauvism.
• He describes SURREALISM an artistic EXPRESSION of PSYCHIC
REALITY.
• He CREATED works in nearly every artistic medium,
INCLUDING SETS for plays and ballets, biblical etchings and
stained-glass windows.

Marc Chagall Marc Chagall

I and The Village (1911) The Blue Circus (1950)
LESSON 6: NEW REALISM (1923)

Max Beckmann Otto Dix George Grosz

The Night - Die Nacht (1918 - 19) Pragerstrasse (1920) Pillar of Society (1926)

Christian Schad Christian Schad

Agosta, The Pigeon - Chested Man and Portrait du Comte St. Genois d’Anneaucourt
Rasha, The Black Dove (1929) (1927)

LESSON 7: ABSTRACT EXPRESSIONISM - ACTION PAINTING

Jackson Pollock Jackson Pollock

Stenographic Figure (1942) Untitled (1950)
 Jackson Pollock Jackson Pollock
Number 8 (1949) Eyes in the Heat (1946)

Jackson POLLOCK (American, 1912 - 1956)

• He was INFLUENCED by REGIONALIST STYLE and LATER by the MEXICAN MURAL PAINTERS and PICASSO.
• His STYLE of painting was of RITUAL VIOLENCE or SEXUALITY with TURBULENT CLASHES of MOVEMENT and
FRAGMENTARY ARCHETYPAL IMAGERY.
• His INVOLVEMENT with GESTURAL painting INSPIRED partly by the SAND PAINTING of the American Indians and partly
by SURREALISM.
• Technique: he DEVELOPED the POURING and DRIPPING THINNED PAINT onto RAW CANVAS laid on the ground. The
paintings were ENTIRELY NON-OBJECTIVE.
• His paintings LACKED a SUBJECT MATTER and also there were NO SPECIFIC TECHNIQUE since NO BRUSHWORK are
used.
• Many VIEWERS were SHOCKED by the way he WORKS/PAINT.

William De Kooning William De Kooning William De Kooning William De Kooning

Valentine (1947) Woman I (1950 - 52) Untitled (1976) Rider - Untitled VII (1985)

Willem DE KOONING (Dutch, 1904 - 1997)

• In 1938 DEVELOPED his OWN VERSION of a highly charged, GESTURAL STYLE - ALTERNATING between ABSTRACT
WORK and POWERFUL ICONIC FIGURATIVE IMAGES.
• He then STARTED his first WOMEN SERIES which BECAME his MAJOR THEME.
• He FELT STRONG PULL towards TRADITIONAL SUBJECTS and he NEVER fully ABANDONED the DEPICTION of the
HUMAN FIGURE.
• Technique: his paintings of WOMEN FEATURE a UNIQUE BLEND of GESTURAL ABSTRACTION and FIGURATION.
• He was INFLUENCED by CUBISM of Picasso and he BECAME MASTER at AMBIGUOUSLY BLENDING FIGURE and
GROUND in his pictures while dismembering, re-assembling and distorting his figures in the PROCESS.
• His canvases CREATES this SENSE of DYNAMIC INCOMPLETION as the FORMS were still in the PROCESS of MOVING
and SETTLING. (Creating motion)
• His paintings were like a RECORD of VIOLENT ENCOUNTERS.
 Barnett Newman Barnett Newman
Vir Heroicus Sublimis (1950 - 51) Untitled (1945)

Barnett Newman Barnett Newman

Onement I (1948) Vir Heroicus Sublimis (1950 - 51)

Barnett NEWMAN (American, 1905 - 1970)

• His INTEREST was in MYTH and the PRIMITIVE UNCONSCIOUS.

• His TRADEMARK was “zips”.
• He CREATED a SYMBOL the “zip” which might REACH OUT and INVOKE the VIEWER STANDING BEFORE IT.
• He BROUGHT a more PHILOSOPHICAL EDGE to his paintings, INFUSING THEM with his OWN SELF and INVITING the
AUDIENCE to EXPERIENCE them with both their BODIES and their PSYCHES.
• His SUBJECT is ANECDOTAL which he BELIEVED it was like an EPISODE or a PIECE in a LONGER SEQUENCE like it
somehow BEOMES more WHOLE, SELF SUFFICIENT and INDEPENDENT.
• It’s like FREEING OURSELVES from memory, nostalgia, legends and more.

Mark Rothko Mark Rothko Mark Rothko

Slow Swirl at the Edge of the Sea (1944) No. 5 - No. 22 (1950) No. 16 0 Red, Brown and Black (1958)
 J.M.W. Turner J.M.W. Turner J.M.W. Turner J.M.W. Turner
A Pink Sky Above a Storm Clouds: Sunset Yacht approaching the Norham Castle Sunrise
Grey Sea (1822) With A Pink Sky (1824) coast (1835) (1845)

Turner was Rothko Disciple

Mark ROTHKO (Russian - Latvian, 1903 - 1970)

• His ART was PROFOUNDLY IMBUED with EMOTIONAL CONTENT that he ARTICULATED through a RANGE of STYLES
that EVOLVED from FIGURATIVE to ABSTRACT.
• Technique: He EMPLOYED SHIMMERING COLOR to CONVEY a SENSE of SPIRITUALITY.
• His GOAL is to ACHIEVE the "sublime" RATHER THAN “beautiful” in which he EXPLORED the COMPOSITIONAL
POTENTIAL of COLOR and FORM on the HUMAN PSYCHE.
• He was able to BLEND Expressionism and Surrealism together.
• In 1950 when he was COMMISSIONED to paint the MURAL for the restaurant his COLOR PALETTE turned red, maroon,
brown and black.

LESSON 7: ROTHKO AND THE SEAGRAM BUILDING

Mark Rothko
Black on Marron (1958)

LESSON 7: ROTHKO CHAPEL - HOUSTON (1971)

Mark Rothko
Rothko Chapel
 Jean Dubuffet Jean Dubuffet Jean Dubuffet
The Blue Bird (1949) Moonrise in Ghost (1951) Group de 4 Arbres (19170- 72)

Jean Dubuffet
Site Domestique (1966)

Jean DUBUFFET (French, 1901 - 1985)

• He was ATTRACTED to the ART of CHILDREN and the MENTALLY ILL.

• He was INFLUENCED by the OUTSIDERS which SHAPED by the INTERESTS in MATERIALITY ASSOCIATED with ART
INFORMEL MOVEMENT.
• When VIEWERS were looking for “beauty”, he GAVE them IMAGES with COARSE TEXTURES and DRAB COLORS,
THICK TEXTURED and GRITTY SURFACES which critics LINKED to DIRT and EXCREMENT.
• The EMPHASIS on TEXTURE and MATERIALITY in his paintings MIGHT be READ as an INSISTENCE on the REAL.
• After the WAR his work REPRESENTED an APPEAL to ACKNOWLEDGE HUMANITY FAILINGS and that it BEGINS AGAIN
from the GROUND.
• In 1960s he DEVELOPED a NEW TECHNIQUE called “Hourloupe” which was from a CHANCE DOODLE and he
BELIEVED that this style EVOKE the MANNER in which OBJECTS APPEAR in the MIND.
• This is a CONTRAST between PHYSICAL and MENTAL representation which HELPED him APPROACH to CREATE
SCULPTURE.

Alberto Burri Alberto Burri Alberto Burri

Sacco 5P (1953) Grande Bianco Plastica (1962) Cretto - Gibellina (1973)
 Alberto Burri Alberto Burri Alberto Burri
Grande Cretto Nero (1977) Cretto - Gibellina (1973) Rosso Plastica (1964)

Alberto BURRI (Italian, 1915 - 1995)

• He EXPERIMENTED with VARIOUS UNORTHODOX MATERIALS such

as fabricating tactile collages with pumice, tar and burlap.
• He also COMMENCED with muffe (molds) and the gobbo
(hunchback).
• In mid 1950s began BURNING his MATERIALS a TECHNIQUE
heTERMED “combustione” (combustion). He then EMBARKED on his
“cracked” paintings CREATING this EARTH LIKE SURFACES.

Alberto Burri
Il Viaggio No. 4 (1979)

Hans Hartung Hans Hartung

T1947-3 (1937) O.T. (1962)

Hans HARTUNG (German, 1904 - 1989)

• He was a MAJOR FIGURE in ART INFORMEL.

• He BEGAN EXPERIMENTING with ABSTRACTION, SYNTHESIZING
the GRAPHIC TECHNIQUES of his ARTISTIC MODELS while
completely ELIMINATING FIGURATIVE ELEMENTS.
• He COMBINED expressive graphic elements with PATCHES of
BLACK and COLOR to PRODUCE a SENSE of SPONTANEITY.
• He APPLIED on a LARGE AREAS of COLOR to the canvas on which
he painted a COMBINATION of bold black brushstrokes and
thinner frenetic linear strokes.
Hans Hartung
O.T. (1962)
 Mark Tobey Mark Tobey
Chinese Grocery (1957) Wild Field (1959)

Mark TOBEY (American, 1890 - 1976)

• He WORKED as a FASHION ILLUSTRATOR and DEVELOPED a reputation for his PORTRAIT drawings in CHARCOAL.
• He BEGAN using a TECHNIQUE of ‘white writing’ using SWIFT CALLIGRAPHIC BRUSHSTROKES, MOSTLY in WHITE on
a VARIOUS COLORED BACKGROUNDS.
• His paintings have ELEGANT gestural quality and small size.

Giuseppe Capogrossi Giuseppe Capogrossi

Surface No.25 (1952) Surface No.359 (1960)

Giuseppe CAPOGROSSI (Italian, 1900 - 1972)

• His SIGNATURE ABSTRACT STYLE of grandiose orchestrations of MARK and

COLOR and its numerous variations.
• He has his ENDLESSLY INVENTIVE DEPLOYMENT of his highly personal ”
fork-like symbol”.

Giuseppe Capogrossi
Surface No.691 (1970)
 Carla Accardi Carla Accardi Carla Accardi
Large Integration (1958) Homage to the President Kennedy Segni D’oro (1967 - 76)
(1964)

Carla ACCARDI (Italian, 1914 - 2014)

• She was INVOLVED in the WIDE REACHING ATTEMPTS to REVOLUTIONIZE ABSTRACTION through the
HYBRIDIZATION of GEOMETRIC ABSTRACTION and GESTURAL PAINTING.
• She INTRODUCED PSEUDO CALLIGRAPHIC SIGNS into ABSTRACT IMAGES while REDUCING her PALETTE to WHITE
on BLACK COMPOSITION in this way to EXPLORE the “relationship between figure and ground.
• Later on she REINTEGRATED COLOR and STARTED painting on a TRANSPARENT PLASTIC instead of canvas.

LESSON 7: COBRA

Asger Jorn Asger Jorn

In the Wing beat of the Swans (1963) The Moon Dog (1953)

Asger JORN (Danish, 1914 - 1973)

• He was INFLUENCED by Ensor, Kandinsky, Klee, and Miró, with a NEW, FREER and more COLOR ORIENTED CONCEPT
of painting.
• In 1953 he BEGAN his INTENSIVE WORK in CERAMICS.
• His MATURE painting STYLE DEVELOPED during the late 1950s and by CONTINUOUS EXPERIMENT he ENRICHED his
ORIGINAL CONCEPT of the SPONTANEOUS ABSTRACT IDIOM.
• He uses DIFFERENT MATERIALS in COMBINATION with OIL PAINT stemmed from his work with ceramics.
• His paintings CONTINUED to be BASED on the PRINCIPLE of AMBIGUITY and the FREE FLOW of COLOR in RELATION
to the FIGURE.

Emilio Vedova Emilio Vedova

Image of Time - Homage to DADA
Barrier (1951) Berlin (1964 - 65)
Emilio VEDOVA (Italian, 1919 - 2006)

• He PARTICIPATED in the ACTIVITIES of the CORRENTE GROUP which he ADOPTED the STYLE of painting that
REJECTED AESTHETIC indulgence and demanded the viewers to participate.
• He ATTEMPTED to remain FAITHFUL to the SENSE of DISINTERESTED MORAL INVOLVEMENT that he REGARDED as
the BESIS of each work of art.
• He then REPROPOSED the GEOMETRIC STRICTNESS of Cubism in MODERN TERMS and TEMPERED its TONAL
HARSHNESS with a SENSE of EMOTIONAL INVOLVEMENT.
• The painting STYLE DEVELOPED by him REQUIRED the WILL to EXPERIMENT and a GREAT EXPENDITURE of PHYSICAL
ENERGY.
• He later on BEGAN to EXPLOT the DYNAMIC QUALITIES of LIGHT and then he CREATED large POLYPTYCHS
sometimes ASYMMETRICAL and L SHAPED.
• He CONTINUED to PURSUE his INVESTIGATIONS into PHYSICAL SPACE independently of any PREJUDGED ATTITUDES
towards balance, logic and behavior.

LESSON 8: NEW - DADA

Robert Rauschenberg Robert Rauschenberg Robert Rauschenberg Robert Rauschenberg

Untitled - Glossy Black Erased De Kooning Drawing Bed (1953) Monogram (1955 - 59)
Painting (1951) (1953)

Robert RAUSCHENBERG (American, 1935 - 2008)

• He’s an artist that PRODUCED multiple abstract paintings that he PRESENTED on SCREENS which the APPEARANCE
CHANGE in the RESPONSE to the LIGHTING CONDITIONS and SHADOWS CAST on them by the spectators.
• His STYLE of PAINTING has a DRIPPING EFFECT from the PAINT.
• For one of his artwork called “BED” is MADE UP of REAL OBJECTS. He CHOSED the BED as an OBJECT because it’s an
INTIMATE ITEM which audiences can RELATE or CREATE this INVITATIONAL ATMOSPHERE to the viewers to be
INTIMATE with him.

Jasper Johns Jasper Johns Jasper Johns

Flag (1954 - 55) Painted Bronze - Ale Cans Ventriloquist (1983)
(1960)
Jasper JOHNS (American, 1930 - present)

• He was a very CLOSE FRIEND with Rauschenberg.

• He USES a SIMILAR STYLE but he USES COMMON OBJECTS with ANCIENT/TRADITIONAL MATERIALS to CREATE a
CONTRAST (unusual/unique) artwork.
• When DOING his artwork, ONCE his painting is on the MATERIAL (canvas) NOTHING ELSE can be PUT ON TOP
anymore.
• This is called “encaustic” TECHNIQUE.
• He uses COLLAGE and PAINTING to CREATE a very REALISTIC artwork.
• He likes to CONNECT his art with the STYLE of the artists BEFORE HIM (inspired by previous artists).
• He USES REPETITION to NULLIFY the iMPORTANCE or VALUE of the OBJECT or ARTWORK.

Lucio Fontana Lucio Fontana Lucio Fontana Lucio Fontana

Scultura Astratta (1934) Signorina Seduta (1934) Due Uccellini (1958) Concetto Spaziale - 49 -B3
(1949)

Lucio Fontana Baldessari, Fontana and Rossi

Concetto Spaziale (1956) Cinema for the Sidercomit Pavilion - Milan (1953)

Lucio Fontana Lucio Fontana Lucio Fontana

Concetto Spaziale (1963 - 64) Concetto Spaziale - Attese (1959) Concetto Spaziale (1963)
 Ugo Mulas Lucio Fontana Neon Structure for the IX Neon Structure for the IX
L’attesa (1964) Concetto Spaziale - Attesa Triennale In Milan (1951) Triennale In Museo del
(1967) Novecento

Lucio FONTANA (Italian, 1899 - 1968)

• He was BORN ARGENTINIAN and he’s a SCULPTURE.

• He came to Italy before the WW and WORKED as an ABSTRACT artist there.
• GOLD to him is a COLOR of GODS or GODDESSES.
• Most artists USES MATERIALS that are EASY to MANIPULATE so it’s EASIER to
SHAPE or make a FORM but he doesn’t.
• He WANTS to MAKE his artworks from ANOTHER UNIVERSE.
• He FOUND SPAZIALISMO which is to FIND something INTERESTING like the
Umberto Boccioni SPACE we LIVE IN.
Stati d’Anima - Quelli che
restano (1911)

• A DIMENSION that EXISTS without DIMENSIONS,

• The “Concetto Spaziale” is NOT an ARTWORK anymore but it’s a SCULPTURE.
• He would POKE HOLES INTO the canvas but to EXPRESS the SPACE he FELT like the HOLES don’t REPRESENT the IDEA
of SPACE WELL so he CUT the canvas.
• Normally when he CUT the canvas the BACKGROUND is WHITE but the to CREATE a MORE IN-DEPTH ILLUSION of
ANOTHER SPACE he uses BLACK VAILS as a BACKGROUND behind the holes that were cut.

Piero Manzoni Piero Manzoni Piero Manzoni

Achrome (1958 - 59) Achromes (1958 -63) Line (1960)
 Piero Manzoni Piero Manzoni Piero Manzoni
Base of the World (1961) Consumption of dynamic art by the art - Living Sculptures (1961)
devouring public (1960)

Piero Manzoni Piero Manzoni Piero Manzoni

Magic Bases (1961) Artist’s Breath (1960) Artist’s Shit (1961)

Piero Manzoni Piero Manzoni

Achrome (1962) Man Ray - Enigma of Isidore Ducasse (1920)

Piero MANZONI (Italian, 1933 - 1963)

• He EXPERIMENTED a lot on SPACE, the USE of CANVAS and the USE of PROPER MATERIAL.
• This is called “A-Chrome Series”.
• A-Chromes were ANY KIND of MATERIALS.
• He USES FABRIC to CREATE a MOVEMENT and he would CREATE these PATTERNS PHYSICALLY.
• His artwork “LINE” was to MAKE an artwork that VIEWERS BELIEVE that the LINE INSIDE the BOX is INFINITE.
• He would SIGN the EGGS with his FINGER PRINTS and TOLD the VIEWERS to EAT the artwork. The EGG GIVEN to the
VIEWERS are said to BE an ARTWORK because his SIGNATURE is ON IT.
• Most importantly, he is a TYPE of ARTIST that would CREATE the artwork WITHIN a BOUNDARY (in a container or a box)
and ASK the VIEWERS to BELIEVE what he TELLS them is INSIDE but they CAN’T OPEN IT.
• This CREATES a RELATIONSHIP of TRUST.
 Lucian Freud Lucian Freud Lucian Freud
Interior in Paddington (1951) Ali (1974) Reflection - Self Portrait (1985)

Lucian FREUD (British, 1922 - 2011)

• He has a PHOTOGRAPHIC and DETAILED STYLE in his artwork (hyperrealistic).

• His DETAILED artworks are NOT ALWAYS as DETAILED to TELL US if the artwork has a SPECIFIC GENDER HE/SHE or
have a PARTICULAR PART in it to TELL VIEWERS if it’s a HE or SHE.

Francis Bacon Francis Bacon Francis Bacon

Painting (1946) Study after Velazquez’s Portrait of Pope Two Figures (1953)
Innocent X (1953)

Francis Bacon Francis Bacon Francis Bacon

Portrait of Pope Innocenzo X (1650) Portrait of Michel Leiris (1976) Arturo Bragaglia - Polyophysiognomical
portrait of Boccioni (1913)
 Francis Bacon Francis Bacon Francis Bacon Francis Bacon
Man In Blue I (1954) Portrait of George Dyer Study of the Human Body Blood on the Floor Painting
Crouching (1966) (1982) (1986)

Francis BACON (British, 1909 - 1992)

• He FOCUSES on the PERSONALITY mostly on DARK SIDE of the SUBJECTS he’s PORTRAYING.
• He would ADD CARCASSES or a PERSON to CREATE a SENSE of ANXIETY or DARKNESS that will MAKE the VIEWERS
FEEL CREEPED OUT.
• He was VERY GOOD at painting the EXPRESSION of the PORTRAYED PEOPLE but the he REPORTRAYED it in a SENSE
to SHOW the DARK SIDE.
• “The Screaming Pope” was to PULL OUT this ANXIETY or a BAD FEELING he may SENSE at that MOMENT. The DARK
BACKGROUND MAKES the painting more DRAMATIC and makes the SCREAM more ACUTE.
• Another way he APPROACHES PORTRAYS are DISTORTION.
• NOT to CAPTURE the FACE and the FEATURES but to CAPTURE the FEELINGS by CONFUSING the EYES (which is
considered to be the mirror of the soul).

Alberto Giacometti Alberto Giacometti Alberto Giacometti

Gazing Head (1928) Suspended Ball (1930) Hands Holding the Void (1934)

Alberto GIACOMETTI (Swiss, 1901 - 1966)

• He APPROACHES HUMAN as SURREALIST and he FOCUSES on

HUMAN FIGURES.
• The HUMAN FIGURES to him are all SIMPLIFIED which are
UNREALISTIC.
• The DETAILS of the HUMAN FORM is NOT very well DETAILED
and the COMPOSITION of CERTAIN HUMAN PARTS are
UNREALISTIC such as the LEGS are TOO LONG.

Alberto Giacometti Alberto Giacometti

Tall Figure II and Tall Figure II Annette with Chariot (1950)
(1960)
 LESSON 9: POP ART

Richard HAMILTON

• His STYLE of ART was COLLAGE.

• His work SHOWED WOMEN has to be AVAILABLE and GOOD LOOKING.
• MEN have to be GOOD LOOKING, have a NICE BODY (toned body).
• In the background go his COLLAGE it normally SHOWS the OUTDOOR such as
THEATERS and MOVIES.

Richard Hamilton
Just what is it that makes today’s home
so different, so appealing? (1956)

Andy Warhol Andy Warhol

Campbell’s Soup Cans (1962) Brillo Boxes (1969)

Andy Warhol Andy Warhol Andy Warhol

Marilyn (1967) Inspired by Niagara Advertisement Gold Marilyn Monroe (1962) Electric Chairs (1971)

Andy Warhol Andy Warhol Andy Warhol

Madonna Advocato (VII c.) Flowers (1964 - 73) Mona Lisa (1980)
Andy WARHOL (American, 1928 - 1987)

• He was the REAL POP ART artist.

• He was AWARE of the POWER of CAPTURING VIEWERS with CAPTIVATING IMAGES.
• He LOOKED INTO the LINK BETWEEN the EXISTING PRODUCT and the PEOPLE. It’s EASIER if an OBJECT is
RECOGNIZABLE because EVERYONE HAS or USED it BEFORE.
• The EFFECT of the OBJECT should be RECOGNIZABLE by the VIEWERS and EVERYTHING ASPECT of the OBJECTS
painted SHOULD be all the SAME, this can be OBTAINED MECHANICALLY.
• REPETITION of the SAME OBJECT, it NUFFLIFIES the VALUE or IDENTITY of the OBJECT PRESENTED. This PROCESS is
APPLIED in any kind of IMAGE that he did.
• He used “Screen Printing” to CREATE the SOUP CANS printing, making the OBJECT ABSTRACT.
• Another ELEMENT he USED was a lot of DIFFERENT COLORS and RECREATE the SAME IMAGE to make it LOSE VALUE.
• “Gold Marilyn Monroe” is the AIM is to CELEBRATE the OBJECT which there is ONLY 1, NOT REPEATED and the
COLOR is REALISTIC.
• The GOLD used has a MEANING to MAKE the SUBJECT feel DIVINE (not belong in this world). E.G. “Madonna”
REPRESENTS as a WORLD of DIVINITY.
• The “Electric Chairs” in the BACKGROUND have DIFFERENT COLORS SWATCHES making it LOSES IMPORTANCE.
• The FLOWERS are FLAT which are just PATTERNS, it has the same EFFECT as Marilyn Monroe REPETITION of IMAGES.
• “Mona Lisa” was USED as a CONSOLATION which CANCELS all the COLORS. It COMPLETELY CHANGES in character,
expression, meaning and style of the artwork.

Roy Lichtenstein Roy Lichtenstein Roy Lichtenstein

Girl with Ball (1961) Drowning Girl (1963) Seascape I from New York Ten (1964 - 65)

Roy Lichtenstein Roy Lichtenstein Roy Lichtenstein

Picasso’s painting
Woman with Flowered Hat (1963) Brushstrokes (1964 - 65) Brushstrokes (1996)
Roy LICHTENSTEIN (American, 1923 - 1997)

• His artwork DOESN’T USE MECHANICAL TECHNIQUES. And his STYLE of ART is very CARTOONY.
• He TAKE an IMAGE and RE-DO (reproduction) it in a CARTOON LIKE WAY. He would MODIFY the IMAGES in his OWN
STYLE.
• The SKIN of the WOMAN are MADE of TINY DOTS and he DID them MANUALLY.
• He USED STENCILS so his STYLE is HALF MECHANICAL and MANUALLY.
• Take for an examples Picasso’s painting, he RECREATED it in his OWN STYLE. The DETAILS are DIFFERENT and it
BECOMES a MODERNIZED VERSION of the OLD PAINTING.
• The DOTS BECAME a STYLE of his painting INSTEAD of just being a FILLER.
• In the “Seascape” the DOTS BECAME a PROTAGONIST of his painting.
• He TRANSFORMED the BRUSHSTROKES as well which TRACES the DESIGN in the artwork.
• “Brushstrokes” are a MEDIA or TOOL used but he TURNED them into a SUBJECT with a CARTOONY IMAGE with the
DOTS as the BACKGROUND,
• He TRIED to make his TECHNIQUE so PERFECT and OBJECTIVE so in this way it makes his artworks RECOGNIZABLE.

Claes Oldenburg Claes Oldenburg Claes Oldenburg

Floor Cake (1962) Fag End (1968) Knife Slicing Through Wall (1989)

Claes Oldenburg Claes Oldenburg Claes Oldenburg

Free Stamp (1991) Ago Filo e Nodo (2000) Binoculars Building By Frank Gehry (2011)

Claes OLDENBURG (Swedish - American, 1929 - present)

• He is a SCULPTURE. He MADE THINGS BECOME the OPPOSITE WAY in ORDER to UNDERSTAND and GUESS what the
OBJECTS are but also to FIND OURSELVES in FRONT of SOMETHING we have NEVER SEEN BEFORE.
• His SCULPTURES are CREATED in a VERY BIG DIMENSION. BIGGER the painting the more IMPORTANT the SUBJECT IS.
• He also COLLABORATED with ARCHITECTS to CREATE MASSIVE MONUMENTS.
• He CHOOSE his OWN SUBJECTS to CONVEY a MESSAGE. He FEELS the NEED to CONVEY SOMETHING to the
VIEWERS.
• His INTERPRETATION of art CONNECTS well with ARCHITECTURE due to the use of DIMENSIONS but also the
MESSAGE CONVEYED.
• The “Binocular Building” was inspired by Oldenburg.
 James Rosenquist James Rosenquist
President Elect (1960 - 61 / 64) President Elect (1960 - 61 / 64)

James ROSENQUIST (American, 1933 - present)

• His art is an IMPLEMENTATION from EVERYDAY’S OBJECT.

• HIs TECHNIQUES are more ELABORATED.
• His STYLE is COLLAGE of DIFFERENT PARTS of the OBJECTS and he DOESN’T USE any
MECHANICAL PROCESS because it’s all MADE MANUALLY.
• He uses IMAGES from MAGAZINES and he CREATES these GRIDS which is a TRADITIONAL
TECHNIQUE.
• He UNDERLINES the PARTS that are IMPORTANT to him and MERGE them TOGETHER to
CREATE ONE IMAGE. Also he CHANGES the COLORS of the IMAGES.

James Rosenquist
Marilyn Monroe I (1962)

LESSON 9: NOUVEAU RÉALISME

Arman Arman Arman Arman

Infinity of Typewriters (1962) Poubelle Ménagère (1962) Untitled (1962) Joue Contre Joue (1974)

Armand Pierre FERNANDEZ (ARMAN) (French, 1928 - 2005)

• He found a NEW WAY to LOOK at REALITY.

• “Infinity of Typewriters” is a CREATION of the SAME COLORED typewriters in ORDER NOT to TAKE OFF the FOCUS
of VIEWERS OFF the OBJECTS PRESENTED. The BACKGROUND color HELPS ton EMPHASIZE the OBJECTS.
• This is NOT an ALREADY MADE but it was TRANSFORMED by the artist.
• This artist DOESN’T LOOK for SOMETHING INTERESTING but he WANTS to TRANSFORM something that is TRASH LIKE
as the PROCESS INTO his artwork.
• He PUSHES this IDEA further by taking a SINGLE ELEMENT to ANOTHER but also DESTROYING the OBJECT and
TRANSFORM it into SOMETHING ELSE by CUTTING.
• PERSONALIZATION of OBJECT, each piece BECOMES INDEPENDENT of EACH OTHER.
• NULLIFICATION of the OBJECT is just a PROCESS of the OBJECT so it DOESN’T have a NAME. This RELATES to CUBISM
as it also DECONSTRUCT the IMAGES of an OBJECT/SUBJECT.
 Yves Klein Yves Klein Yves Klein
Blue Monochrome (1961) Sponge (1959) First Experiments of the Living Brushes (1958)

Yves Klein
Anthropométrie de l’epoque Bleue (1960)

Yves KLEIN (French, 1928 - 1962)

• He FOCUSES on the RESEARCH of VOID, HOW it’s INTERPRETED or PRESENTED.

• He CREATED his COLORS from MINERALS which is called “Blue Monochrome”.
• CANVASES were LIMITED so he TRIED to FIND a SUPPORT to BECOME like the COLOR, like the “SPONGE”.
• The COLOR is NOT just a COLOR but it BECAME a SCULPTURE in which he WANTED the SUBJECT to APPLY it on
THEMSELVES and then USING their BODY APPLY the PAINT on canvas. This is WITHOUT the INTERVENTION of a BRUSH
and the ARTIST.
• He would ask a WOMAN to APPLY the PAINT with her BODY in which he INSTRUCT her HOW and WHERE TO PLACE
her BODY on the canvas.

Jean Tinguely Jean Tinguely Jean Tinguely Jean Tinguely

Metamechanical Sculpture Meta - Matic Number 10 (1959) Fountain Jo Siffert (1984) Cascade Ou Epilepsie
with Tripod (1954) Stabilisée (1991)
Jean TINGUELY (Swiss, 1925 - 1991)

• He CREATED HANGING SCULPTURES that USED MOTORS to PROPEL them into MOTION.
• The ARTISTIC MACHINE once ACTIVATED was ABLE to PAINT on a PIECE of PAPER.
• These are CONSIDERED mainly SCULPTURES with MIXED INDUSTRIAL and NATURAL OBJECTS that ACT TOGETHER to
CREATE a MOVEMENT.

Gianni Colombo Gianni Colombo Gianni Colombo

Pulsating Structure (1959) Fluid Structure (1950) Elastic Space (1967 - 68)

Gianni COLOMBO (Italian, 1937 - 1993)

• Not ONLY the VIEWERS get to be PART of the ARTWORK like

INTERACTING by PRESSING a BUTTON, he also ASKS VIEWERS to
ENTER the artwork.
• The MATERIALS USED are RELATED to the MECHANISM of his artwork to
give a SPECIFIC INPUT to the SCULPTURE.
• He asks VIEWERS to INTERACT with the WHOLE artwork and he would
PLACE the artwork ALL AROUND the ROOM in that way the VIEWERS can
INTERACT with the ENVIRONMENT. (Move inside the space).

Gianni Colombo
Ambients and Bariestesia
(1975)

LESSON 9: OP ART

Victor Vasarely Victor Vasarely

Tigers (1938) Vega (1957 - 59)
 Victor VASARELY (Hungarian, 1908 - 1997)

• He INTERACTS with the artwork as HOW to USE the COLOR and WAVY SHAPES.
• Most of his artworks use GEOMETRICAL SHAPES giving it the EFFECT of MOVING or
COMING from the canvas.
• He PLAYS with the SHAPES and COLORS to give the IDEA of PERSPECTIVE. Also he uses
OTHER SHAPES that DISTURB the PRECISION of the artwork.

Victor Vasarely
Homok (1969 - 73)

Bridget Riley Bridget Riley Bridget Riley

Movements In Squares (1961) D (1968) Elongated Triangles 5 (1971)

Bridget RILEY (British, 1931 - present)

• She’s more SOPHISTICATED.

• She like to PLAY with PATTERNS and from her artworks we can PERCEIVE it as a REFLECTION and MOVEMENT but also
her ARTWORKS are more PRECISE unlike VASARELY.
• Her artworks give this SENSATION of MOVING CONTINUOUSLY WITHOUT STOPPING.
• Her OP are more EASY to TURN into PATTERNS for dresses / clothes and more.

LESSON 9: MINIMALISM

Donald Judd Donald Judd Donald Judd Design And

Untitled - Stack (1967) Untitled - Six Boxes (1974) Interiors
Donals JUDD (American, 1928 - 1944)

• His work is ABSTRACT and they FOCUSE on GEOMETRICAL SHAPES and COLORS but MAINLY 3D OBJECTS.
• “Stack” is one of his work and he GIVES PRECISE INSTRUCTION on HOW and WHERE to PUT his artwork.
• REFLECTION is also IMPORTANT in his work as they DON’T HAVE STRONG PERSONALITY (finding their shape and
presence in the room). This is because they DON’T HAVE their OWN IDENTITY.
• A PRESENCE that is there WITHOUT any EXPLANATION, NO SIGN of the HAND of the artist.
• Minimalist OBJECTS are EASY to be USED in design and in our life.

Carl ANDRE (American, 1935 - present)

• He uses OBJECTS or PIECES of OBJECTS WITHOUT TRANSFORMING

their MATERIAL.
• He PLAYS with DIFFERENT COMBINATIONS of the COMPOSITION of
the OBJECT.

Carl Andre
Uncarved Blocks (1975)

Robert MORRIS (American, 1931 - present)

• He APPLIED MINIMALIST in a DIFFERENT WAY because he works with the PROPERTY of

the MATERIAL.
• His APPROACH is to EXPLORE, HOW the MATERIALS REACT to his ACTIONS.
• The IDEA of HANGING and the PIECES of MATERIAL CREATING this FALLING on the
WALL is the PROCESS of HUMAN MIND.
• He’s in CONTACT with the MATERIAL and EXPLORE the PROPERTY to MAKE the artwork.

Robert Morris
Felt (1967)

Dan FLAVIN (American, 1933 - 1996)

• He works with LIGHT and he EXPLORE the

POWER of LIGHT as it is. How LIGHT
OCCUPY the SPACE and SPREAD its
COLOR around.
• The LIGHT around the NEON, the
OBJECT is the MEDIA and the LIGHT is
COLOR.
• LIGHT FILL the ROOM.

Dan Flavin Dan Flavin

Diagonal of May 25 (1963) Untitled (1972 - 73)
LESSON 10: LAND ART

Robert SMITHSON (American, 1938 - 1973)

• He WORK with NATURE.

• He was FASCINATED by NATURAL ELEMENTS which INSPIRED by
the UNIVERSE MAJOR ELEMENTS from NATURE and what our life
is INFLUENCED BY.
• The “Spiral” was an artwork MADE in the LAKE, he SOLD the
IDEA and the WHOLE PROCESS of OBTAINING this OUTCOME.
• The NATURE has MADE his WORK when the WATER WENT
DOWN and CHANGED it.
• The EXPERIENCE is for the VIEWERS to go to the SPOT and SEE
Robert Smithson the artwork.
Spiral Jetty - Great Salt Lake • This is the FOCAL POINT of LAND ART.
(1970)

Richard Long Richard Long

A Line of Sticks in Somerset (1974) Cornish Slate Ellipse (2009)

Richard LONG (British, 1945 - present)

• He has a DIFFERENT APPROACH from Smithson, he BRINGS the PIECES of NATURE in the Museums.
• “A Line Of Sticks” was one of his artwork that he DOESN’T CHANGE the SHAPE or SIZE of the STICKS but just LEFT a
TRAIL of it ON THE GROUND.
• He COLLECTED PIECES of STONES roughly the SAME SIZE and CREATES/TRANSFORM something that has a HUMAN
TOUCH.

Christo Christo Christo

Wrapped Motorcycle (1962) Wall of Oil Barrels - The Iron Wrapped Reichstag - Berlin (1971 - 95)
Curtain (1961- 62)
Christo JAVACHEFF (CHRISTO) (American born in Bulgaria, 1935 - 2020)

• He WORK in the ENVIRONMENT (public space).

• He LEAVES some DETAILS of his artwork VISIBLE.
• He LOOKS at HOW people INTERACT with the CITY. Like the “Wrapped Reichstag” by COVERING something is
UNDERLINING making the ELEMENT more EVIDENT and it BECOMES an ABSTRACT.
• All his PROJECTS or STEPS of the PROCESS were SOLD and were PART of the ART.

LESSON 10: ARTE POVERA

Michelangelo PISTOLETTO (Italian, 1933 - present)

• He WORKS with MIRRORS by MAKING them the NATURAL

ELEMENT.
• He DEALS with the most INTERESTING CHARACTERISTIC
ELEMENT of MIRROR like REFLECTION.
• DEPENDING on where the painting is put, the NARRATIVE
of the artwork CHANGES, it TAKES a MEANING of a STORY.
• The CHANGES of INTERACTION with the ENVIRONMENT,
the REFLECTION CHANGES the INTERACTION with the
VIEWERS.
Michelangelo Pistoletto
Three Girls on a balcony (1962 - 64)

Mario MERZ (Italian, 1925 - 2003)

• He ANALYSES the RULE of NATURAL ELEMENTS.

• He TAKES IGLOO SHAPE and TYPICAL SHAPES with HUMAN and
STARTED to iNTERACT with NATURE.
• He TRANSFORMS BASIC SHAPES that EVOLVES with HUMAN.

Mario Merz
Fibonacci Igloo (1972)

Giuseppe Penone Giuseppe Penone Giuseppe Penone

Tree of 12 Meters (1980 - 82) Tree of 12 Meters (1980 - 82) Tree of 12 Meters
(1980 - 82)
Giuseppe PENONE (Italian, 1947 - present)

• He WORKS with NATURE in ANOTHER WAY. EVOLUTION of RULE of NATURE.

• He CARVED the TREE to get what was the REAL SHAPE of the TREE.
• He SHAPED it HOW the TREE LOOKED in the PAST (initial shape of the young tree).
• He would CARVE the TRUNK and CREATE the INNER PART of the TRUNK of its PAST APPEARANCE.
• The ORIGINAL SHAPE of the TREE are CARVED on the INNER PART of the TRUNK, it BECOMES AESTHETIC from
NATURE to SCULPTURE because of the PROCESS the artist APPLIED to the NATURAL ELEMENT.

Giulio PAOLINI (Italian, 1940 - present)

• He TRANSFORM his art into CONCEPTUAL ART.

• He ANALYSES WHAT is the WHOLE PROCESS in MAKING ART from ROMAN, GREEK and
ANCIENT time until now.
• CLASSICAL STATUE of GODDESS that the are IDENTICAL is the APPROACH from GREEK to
ROMAN. They TALK to EACH OTHER and these 2 STAUE are EACH OTHER, CONNECTING 1
PERIOD to ANOTHER.

Giulio Paolini
Mimesis (1975)

Jannis Kounellis Jannis Kounellis

Untitled (1973) Untitled (1973)

Jannis KOUNELLIS (Greek, 1936 - present)

• The PURPOSE having horses in WAR was to CREATE this SENSE of POWER and STRENGTH, CREATING this
CONNECTION between HUMAN and NATURE.
• His artwork is THEATRICAL, an ACTOR WEARING a MASK and it was HELD by HAND to MAKE the VOICE of the ACTOR
LOUDER.
• SOUND into artwork is the most ANCIENT FORM of ART.
• HUMAN STARTED using MUSIC as a VOICE

Giovanni Anselmo - Untitled (1967)

Giovanni ANSELMO (Italian, 1934 - present)

• He CONNECTED the 2 SIDES of the PLASTIC SHEET with the WIRES.

• To EXPLORE the RELATION of the ACTION between the artist and artwork.
• EXPLORING NEW MATERIALS bringing in NEW IDEAS to CONFRONT the HUMAN POWER
with NEW MATERIALS.
LESSON 10: HAPPENING AND PERFORMANCE ART

Allan Kaprow Allan Kaprow

Yard (1961) Yard (1961)

Allan KAPROW (American, 1927 - 2006)

• His POINT was to EXPLORE the REACTION and CONNECTION with

the PUBLIC.
• This is a NEW WAY to LEAD and PROPOSE the artwork. SOUNDS and
VOICE can be USED.
• The “Yard” was FILLED with TIRES, so people were INVITED to go in
the YARD with TIRES to INTERACT with the artwork.
• This ADAPT to the SPACE as it is BEING PLACED.
• “Fluids” was a PROCESS of MAKING the PUBLIC (strangers) BUILD
ICE HOUSE. People COLLABORATED together to BUILD something
Allan Kaprow WITHOUT KNOWING EACH OTHER.
Fluids (1967)

Nam June Paik Nam June Paik Nam June Paik

TV Cello (1971) Live Feed (1972 - 94) Video Flag (1985 - 96)

Nam June PAIK (NAM JUNE) (Korean, 1932 - 2006)

• He put ALL the DISCIPLINE (performance, music and sculpture) he BUILT his OWN INSTRUMENTS and INVOLVED
other PERFORMERS in his PROCESS and IDEAS of his artwork.
• “TV Cello” she was asked to PLAY his CELLO TV. The CONNECTION with the SOUND of the CELLO is the MOVEMENT
of the STATIC HAPPENING in the TV.
• He EXPLORED the VIDEO CONNECTING SOUND and MUSIC.
• The REFLECTION of bring the EVOLUTION of an IMAGE and a CLASSICAL OBJECT with a WOMAN.
• This is HOW we PERCEIVE a REAL IMAGE, the POWER of the TV and it was the FIRST TIME an artist PROPOSED a
CONCERN.
• The use of MULTIPLE SCREENS back then CONNECTING all the IMAGES TOGETHER wasn’t easy.
LESSON 10: BODY ART

Gina Pane Gina Pane

Action Sentimentale (1973) Escalade non Anesthésiée (1971)

Gina PANE (French, 1939 - 1990)

• She EXPLORED the FEELING of FEMININE EMOTIONS, INTERACTION to the BODY and the REJECTION.
• She CONSIDERED her BODY like a TEMPLE a SPECIAL PLACE where EVERYTHING HAPPENS.
• To go OVER our EXCEPTIONS. She STEPPED on NAILS on the STAIRS, each step is CONQUERING NEW SUFFERINGS,
NEW PAINS (painful process) like how REALITY or our LIFE WORK.
• The PUBLIC only SEE her PERFORMANCE AFTER THE ART IS DONE WITHOUT INTERACTING which doesn’t CREATE a
MEAN or IMPACT.

Vito Acconci Vito Acconci

Self Inflicted Incisions (1972) Mur Island - Graz (2003)

Vito ACCONCI (American, 1940 - present)

• He WORKS with his BODY NOT ONLY with ACTIONS but also with WORDS.
• The PUBLIC also GET to SEE HIM. He would ASK them to WATCH and ask them to STAY THERE.
• Our REFLECTION is GROWING DEEP on HOW we LIVE with OURSELF so BITING to CREATE a REACTION in OUR BODY
which LASTS for a LONG TIME CREATING this SENSE of LASTING PAIN to LASTING MARK.
• Unlike Pane the PERFORMANCE HAPPENS when there’s a PUBLIC, to SEE their REACTION on the SPOT.
• These kind of PERFORMANCE can’t be REDONE.

ART AND ARCHITECTURE (VITO ACCONCI)

• He also CREATED SITUATION there the PUBLIC can RELATE.
• The BRIDGE has a MEETING POINT in the CENTER there’s this space with SEATS where it ENCOURAGES the PUBLIC to
INTERACT.
• An ENVIRONMENT that INVITES people to have a RELATIONSHIP.
 Marina Abramović Marina Abramović
Art Must Be Beautiful, Artist Must be Rhythm 0 (1977)
Beautiful (1975)

Marina Abramović Marina Abramović

Imponderabilia (1977) The Artist us Present (2010)

Marina ABRAMOVIĆ (Serbian, 1946 - present)

• She is ONE of the MOST IMPORTANT artist.

• She WORKS with HAIR and BODY and she also WORKS with her PARTNER to ANALYZE the BALANCE between the
COUPLE.
• BRUSHING HAIR was CONSIDERED to be ATTRACTIVE so at the she would GENTLY brush her hair but as the IMAGE
PROGRESSES she BECAME more AGGRESSIVE in brushing. This is IDENTIFIED as I MUST BECOME ATTRACTIVE.
• “Rhythm” was piece of work where she put ELEMENTS on the TABLE where the PUBLIC can USE them on her. At FIRST
they were GENTLE because they were CONFUSED but at after 6hrs they became AGGRESSIVE.
• This is to IDENTIFY how AGGRESSIVE we can BECOME like our INNER REACTION.
• “Imponderabilia” was an ANALYSIS between MALE and FEMALE to walk in between the NAKED COUPLE.
• The artist is PRESENT and MAKE people SIT IN FRONT and make EYE CONTACT to SEE their REACTION.

Cindy Sherman Cindy Sherman Cindy Sherman

Untitled - Film Still No. 8 (1978) Untitled No. 153 (1985) Untitled No. 463 (2007 -08)
 Cindy SHERMAN (American, 1954 - present)

• She DOESN’T PERFORM IN FRONT of people but as OTHER

PEOPLE.
• Both ACTORS men or women, she TOOK the pictures of herself
TRANSFORMED (DRESSED UP), INTERPRETATION other people
or a DEAD PERSON.
• She LIKES to INTERPRET LIFE of the PAST and everything she
does is in a STUDIO.
• She would ONLY DRESS UP and NOT HARM HERSELF.
• She PILES everything and WORK in DIGITAL and COMPOSITION
Cindy Sherman of the IMAGES HERSELF.
Untitled No. 216 (1989)

LESSON 10: PHOTOREALISM - HYPPERALISM

Duane HANSON (American, 1925 - 1996)

• He PREFERRED LOW SOCIAL people, the more SKEPTICAL

or APPROACHING ART.
• The ATTITUDES of these SCULPTURES are NATURAL and the
CAPTIVATE NATURAL GESTURES.

Duane Hanson Duane Hanson

Young Shopper (1973) Tourists II (1988)

Domenico Gholi Domenico Gholi

Due Dormienti (1966) Hair Partition (1968)

Domenico GHOLI (Italian, 1933 - 1970)

• He DOESN’T CREATE HYPER REALISM painting but he CREATES DETAILS.

• The BLANKET of 2 people under it, it’s BEING DISTURBED by NOT FINISHING the STORY, we don’t UNDERSTAND what
he’s TRYING to TELL US.
• Also with the HAIR we don’t know why we’re LOOKING AT IT.
 Joseph Kosuth Joseph Kosuth
One and Three Chairs (1965) Box, Cube, Empty, Clear and Glass - A
Description (1965)

Joseph KOSUTH (American, 1945 - present)

• He REFLECTS here the use of WORD of “One and THREE

Chairs”. It’s an OBJECT and a WORD.” The CHAIR has 3
DECLINATION (image, object and word), HOW WORD DEFINE
our WORLD.
• The VALUES of the WORDS in our DAILY LIFE.
• The DEFINITION of WHAT we SEE makes it VISIBLE to our MIND.
The ANALYSIS of art DESCRIPTION, VERBALIZING LANGUAGE
to COMMUNICATE.

Joseph Kosuth
Four Colors Four Words (1966)

LESSON 10: CONCEPTUAL ART

Sol LeWitt Sol LeWitt Sol LeWitt

ABCD 9 - Row (1966) Wall Drawing 138 (2009) Wall Drawing 138 (2009)

Sol LEWITT (American, 1928 - 2007)

• He DOESN’T WORK on WORD but the CONCEPT BEHIND the FINAL RESULT.
• The STRUCTURE BEHIND the FINAL RESULT, is SIMILAR to WORD because they are the SKELETON of the work.
• WALL DRAWING is the same, it’s an OPTICAL EFFECT on HOW he GOT the RESULT so he LEFT the LINES VISIBLE to the
PUBLIC to REALIZE the PROCESS of the the STRUCTURE MAKING.
 Joseph Beuys Joseph Beuys
Fat Chair (1964 - 85) I like America and America Likes Me
(1974)

Joseph BEUYS (American, 1921 - 1986)

• It’s a PERFORMANCE and CONCEPTUAL ART. The RELATIONSHIP with NATURE.

• He KNOWS that his SCULPTURED will CHANGE where the NATURAL ELEMENT REACT to
TIME.
• “The Pack” is like SOLDIERS combined with LAMPS and BLANKETS, REPRESENTING of
how HUMAN VALUE the EQUIPMENT which means SURVIVAL and HUMAN will NOT
SURVIVE with these TOOLS, RELATIONSHIP with the ENVIRONMENT.
• “I Like America and America likes me” he CLOSED himself in a GALLERY with CAYOTE
and a BLANKET to COVER HIMSELF. After a length of TIME HUMAN and ANIMAL BECOMES
ACQUAINTANCES. NATURE can INTERACT in a NATURAL WAY this CREATES FRIENDSHIP
Joseph Beuys
The Pack (1969)
with the CAYOTE and it was ABLE to TRUST him and BEOCME FAITHFUL.
• NATURE can FOLLOW.

Emilio ISGRÒ (Italian, 1937 - present)

• He CANCELS WORDS.
• The SIGN that he LEFT VISIBLE it’s because it’s more iMPORTANT in the
TEXT. CANCELLING WORDS give COMPOSITION and they’re HIDDEN
but TRANSFORMED in a SIGN.

Emilio Isgrò
Freedom

LESSON 11: NEO - EXPRESSIONISM

Georg Basalitz Georg Basalitz Georg Basalitz

Elke (1965) Elke (1965) The Wood On Its Head (1969)
Georg BASELITZ (German, 1938 - present)

• He paints his painting as upside down, the canvas is full of colour expressionism uses strong colors and thick
brushstrokes. The viewer understands the subject, we are able to give her small personality existing. This is not realistic,
a projection of something that exist. Transforming the painting into abstract, Everything is changed as we’re
experiencing a new world, the artists want us to see that our world is not exactly what we see but what we interpret.

Julian Schnabel Julian Schnabel

The Student of Prague (1983) Fakires (1993)

Julian SCHNABEL (American, 1951 - present)

• He was able to create his own way to interpret the world. He tries to create connection between German and
contemporary German, like before and after. Whole German history make sense without having a gap. He use unusual
material and traditional materials. Traditional shape of a medieval German art. The tree is like a piece of what he wants
to see, all these sensual when you’re real of the artist. He wants to give a human presence in his painting. He suggest
some elements in his paintings because he doesn’t want us to understand, He doesn’t want to interfere when we
experience the painting in person.

Anselm Kiefer Anselm Kiefer

German Spiritual Heroes (1973) The Seven Heavenly Places (2004)

Anselm Kiefer
Bohemia Lies by the Sea (1996)
Anselm KIEFER (German, 1945 - present)

• He tried to connection before what happened before WW and after WW. He read German history and he gave the
reconstruction of the church made out of wood with fires and each column and each light represent a soul/life. He focus
on the central part making us feel like we’re in the artwork as well. The wide landscapes that is so wide that we get lost,
the painting is central to make us feel like we’re in the painting. The technique derived from German artist similar to
fresco rough and full of materials, colors. There’s scratch. The path doesn’t end this way the path that we are invited to
never ends, bring us along the German history guided by the nature. The 7 towers has different stories related to
historical books. Half way between installation and sculpting. The idea of travel, colors are applied and gavotte meaning
to those towers.

LESSON 11: TRANSAVANGUARDIA

Francesco Clemente Mimmo Paladino Enzo Cucchi Sandro Chia

Name (1983) San Francesco (1993) Terra d’Uomo (1980) Water Bearer (1981)

LESSON 11: GRAFFITI ART

Jean - Michel Basquiat Jean - Michel Basquiat Jean - Michel Basquiat

Notary (1983) Untitled - Head (1981) Flexibility (1984)

Jean - Michel Basquiat and Andy Warhol

Notary (1983)Untitled - Zenith 1/2 (1984)
 Jean - Michel BASQUIAT (American, 1960 - 1988)

• He started as a graffiti artist like writing, it was his face way to communicate with the public by writing poetry on walls in
subways. He became famous and they asked him to transfer his art from the tree to a gallery. He studied of philosophy
and medicine and anatomy. His art seems a bit confused and chaotic but this is a mirror of himself, he was very cleaver/
smart and to deal with this strong intelligence was hard for him to deal with, the fame he had was overwhelming. He
was not at ease talking about his artworks so he it’s easier for him to paint or do graffiti. He made a lot of self portrait,
one of his artwork is embracing himself to protect himself from the world. He shares with the public his personal
personality.
• Andy Warhol became close to him and was like his mentor and Warhol asked him to collab. They don’t communicate in
their artwork, the artwork don’t interfere without talking, they’re just playing on the same surface.

Keith Haring Keith Haring

Untitled (1982) Retrospect (1989)

Keith HARING (American, 1958 - 1990)

• He stayed more related to the relationship with the public. He went to subways to paint even
being a famous artist. He feels that he needs to communicate good values with the public.
Simple and captivating, we are able to see subjects in a distinctive way even tho they are
doodles. We can perceive what’s the meaning of the image. Making people aware of
surrounding or about society (racism, feminists cc.) He created a foundation aiming to make his
artworks available for everyone not only rich people.

Keith Haring
Capoeira Dancers (1987)

Banksy Banksy
 Banksy Banksy

BANKSY (British)

• Share the at with the public. He created many subjects and topics that were controversial and he picked places to do
them very carefully. He studied where and when his artwork must go, his artworks are important using his ironic
messages, making the message more important. He was able to create his art inlaces difficult to reach, he was able to
reach those places and create these artworks. He was able to suggests what’s on the other side of the world like
paradise. He became famous for doing artworks with ironic messages,
• The value of art is given by the public.

LESSON 11:YOUNG BRITISH ARTITS

Damien Hirst Damien Hirst Damien Hirst

The Physical Impossibility of Death in the Mind of Chloropamide -pfs (1996) Love of God (2007)
Someone Living (1991)

Damien Hirst Damien Hirst

Lullaby - The Seasons (2002) Lullaby - The Seasons (2002)
Damien HIRST (British, 1965 - present)

• He interested in death, how our culture perceive or interact with death. He a chemical product to trap the shark in a
tank, making it float, perception in our mind that the shark is swimming even though it’s dead. He wants us to see the
shark as living since we’re living and watching the subject at the moment. It’s kinda of disturbing imagining something
that’s dead is alive in front of us in this art piece. We’re terrified of being ill and bring us to death, the repetition of the
dots are connected to another work which is a collection of pills. He put a mirror and the effects of pills are nullifies and
captivating in a way from afar. Why we have to be so interested by these colorful dots this is because we are familiar with
pills and making us feel safe. The human skull he bought is covered by real diamonds, how much does it cost and how
much are people willing to buy even if it’s unpleasant like a skull.

Tracey EMIN (British, 1963 - present)

• The idea behind her work id inviting the viewers to her work. She
presented her work inside her bed, this is the most private part of the
house. She’s not ashamed for real looks like. Taking this detail of her
life, is a very strong movement of feeling which we can connect with,
very strong feeling disgust (maybe) because the room is full of trash.

Tracey Emin
My Bed (1998)

Chris OFILI (British, 1968 - present)

• He’s from African origins, African tradition are used in his artworks. The painting consist of the
most influentials African people.

Chris Ofili
Afrodizzia (1996)

Louise Bourgeois Louise Bourgeois Louise Bourgeois

The Blind Leading the Blind (1947 - 49) Personnages (1940 - 50) Forêt - Night Garden (1953)
 Louise Bourgeois Louise Bourgeois Louise Bourgeois
The Destruction of the Father (1974) Fillette (1968) Maman (1999)

Louise BOURGEOIS (French, 1911 - 2010)

• She was one of the most interesting artist during this period. She related her artworks to her personal past experiences.
Her personality was also influenced by these experiences. The table becomes a cage trapping her from her family
because her parents fought a lot and she would hid under the table. She uses a lot of materials in her sculptures such as
Textiles, wood eco. And these structures present people and shows different pattern and volume. How she simplify the
world that she’s in. The sensation of the wood she’s in, in the night garden to give the movement of the sculpture in a
beautiful way. She was inspired by the interpretation from the hard part (dark side). The round elements are feminine
and in the middle there are pieces of a body because she imagine body parts are cut to scarify like a ritual. Give the
atmosphere of a ritual like a cult. She wants the public to see the pain of the Fillette artwork. She doesn’t;t have a good
relationship with her dad. The spider is a representation of her mother, she defends the eggs in this sculpture like she
was suffering a lot but she cared about her children and the legs acted like a protective cage.

Jeff Koons Jeff Koons Jeff Koons Jeff Koons

New Shelton Wet/Dry Pink Panther Ilona on Top - Rosa Background (1990) Balloon Dog (1994 - 2000)
Double decker (1981) (1988)

Jeff KOONS (American, 1955 - present)

• He’s connected with pop art, compared to pop art he uses real objects and placed them in a glass display to make us
feel it’s important. Warhol using everyday objects but in his artworks it nullify the artworks but Koons makes the artwork
by making it important. He also uses elements of popular culture like famous stars like porn stars or celebrities. The
relation between him and the Russian artist that worked with her partner. Big size painting made interaction with public
more convenience.
 Takashi Murakami Takashi Murakami Takashi Murakami
And Then And Then And Then And Then (1996) Hiropan and My Lonesome Cowboy (1998) Flowers from the Village of Ponkotan (2011)

Takashi MURAKAMI (Japanese, 1962 - present)

• He invited a symbol/figure called obi, close to manga. He creates a

whole world dedicated to this persona. The manga world the
characters have super power and can do anything as a human being
our perception of his artwork. The Obi is full of bad side too, the
smile is dark not inviting and it figures are more aggressive,
transforming from good/nice into a monster. Like a 2 face (2 sides of
the pop cultures). To make his art popular in a way of approachable
for the public, the symbol of the flowers that smile connects to
something positive and have a repetition of these flowers make us
Takashi Murakami feel overwhelmed and anxious. Art invades fashion world, art adapt
Tan tan Bo (2001) to fashion.

William Kentridge William Kentridge

2nd Greatest City after Paris (1989) Drawing of Other Faces - Protestors Close up (2011)

William KENTRIDGE (South African, 1955 - present)

• His artworks are cartoony. Aware of the situation and make them not lose interest.
 Olafur Eliasson Olafur Eliasson Olafur Eliasson
Ventilator (1997) Weather Project (2003) Your Rainbow panorama (2011)

Olafur ELIASSON (Danish, 1967 - present)

• He interest in natural elements, the ideas of air (ventilators), move

in a room and make a lot of noise. To perceive air he put ventilator
to make see that it exist and to show the public that it’s there. The
sunset was an environmental element but this work with the nature
unlike Land art transform nature. A way to change the perception
of what we’re around, the input that we have, it changes following
different input with the environment.

Olafur Eliasson
Your Rainbow panorama (2011)

Maurizio Cattelan Maurizio Cattelan Maurizio Cattelan

Untitled (1993) Him (2001) The Wrong Gallery (2002)

Maurizio CATTELAN (Italian, 1960 - present)

• What is the artist? Who is? And Why the artwork like this?. The Zoro logo of the a character that he created was to make
fun of Fontana when he said the cut into the paper take a long time and you have to input yourself into the artwork. The
Hitler on his knees makes him look small and it seems like he’s asking for mercy. He made fun of young artist because
they wanted a space to work so the wrong gallery was to make fun of them. His works are mostly comical and very
controversial. Easy interpretation of his artworks.
 Fischl and Weiss Fischl and Weiss
The Way Things go (1987) Equilibrios (1984 - 86)

Peter FISCHLI (Swiss, 1952 - present) and David WEISS (Swiss,

1946 - 2012)

• They’re interesting because we can connect them to kinetic art,

dadaism, The force inside objects.

Fischl and Weiss

Suddenly This Overview (1981 - 2012)

LESSON 12: INSTALLATION ART

LESSON 12: VIDEO ART

Bill VIOLA (American, 1951 - present)

• He explored many media. He explored the perception of the self knowledge the dynamic of the
human behavior and he uses language not only the speaking language but also the body
language. Tortured by the elements they give life but they also give death by torturing human. The
idea of reaction with nature elements.

Bill Viola
Water Martyr (2014)

Bruce Nauman
Human Nature / Life Death / Knows Doesn’t Know
(1983)
LESSON 12: HISTORY OF PHOTOGRAPHY
Nadar
Photograph of Monet (1885) Photograph of Dumas (1855)
LESSON 12: PHOTO SECESSION
Alfred Stieglitz
Paula Sunlight shadows
Berlin (1889)
Bruce NAUMAN (American, 1941 - present)
• He’s a more complex artist, he work in conceptual approach of using words. The
relationship between human and the word itself. Both video and installation can
be related to performance can be transmitted to generation and installation
video can be installed with other objects.
Nadar - Felix TOURNACHON (NADAR) (French, 1820 - 1910)
• He was the first person to use photography he used camera
to register his world. He was a writer and adventurer, he was
the first to capture Ariel view and he was very famous for his
portraits by photography. He wanted to portrait with the final
effect. The focus would be the upper part of the person’s
body and there’s no background. The use of light and the
person is naturally captured by Nadar (like capture the inner
personality of the person). The old picture is more blurred
and the focus was on the face but Monet picture is everything
is unfocused but the color was different colder and more
Nadar
objective.
Alfred STIEGLITZ (American, 1864 - 1946)
• He introduced the natural elements such as snow to give an
atmosphere to give sentiment and feeling through
photography. The elements gives a narrative to the
photographs, he wanted people to understand that
photography can be sentimental as paintings.
• It was hard for viewer to accept photography as art because it
was produced mechanically, that huge tool between the
artistic result and artistic the credibility of the artwork.
Alfred Stieglitz
Two Towers (1911)
 Eugène ATGET (French, 1857 - 1927)

• He focused his whole life on capturing the city he love and he

lives in Paris. It helps us to reconstruct how artist lived and
moved in that city back then. The artistic touch the choice of
corner, the store to make the images artistic. He gave a
sensation to transmit a feeling to viewer, the technical use of
the camera adapt the camera to his need, the eye to capture
the aspect the view the light, the moment in making the
photographer an artist.

Eugène Atget Eugène Atget

Rue St. Rustique Boulevard de Strasbourg -
Montmartre (1922) Corsets Paris (1912)

August SANDER (German, 1876 - 1964)

• His way of approach was different. Capture people in their

environment and in their own clothes without changing them,
allow them to characterize the people he was capturing. We
are able to know the story just by looking at the photograph
to show people a real piece of life rather than something
constructed.

August Sander August Sander

Blacksmiths (1926) Young Farmers (1914)

Brassaï - Gyula HALASZ (BRASSAÏ) (Transylvanian, 1899 -

1984)

• He started takes people at night without the light and that

made him face technical problems and he solves by strictly
working with his camera. The result is the atmosphere was
moody the feeling and sensation is strong. Through the light
and darkness he was able to take advantage of these
perspectives, show only details of drama to help viewer to
understand the narrative and composition of these images,
to give an effect of the atmosphere.

Brassaï Brassaï
Winter (1946) Suzy’s (1932)

André KERTÉSZ (Hungarian, 1894 - 1985)

• During this time the technical aspect of the

camera was vastly improved. He was one of the
first to use hand camera. He was able to capture
reality and was able to see in a creative and
artistic way to create the composition. He had the
eye to create the geometrical composition
perfectly, He found everywhere some interesting
geometrical composition.

André Kertész André Kertész

Stairs of Montmartre - Paris (1925) Landing Pigeon (1960)
LESSON 12: AMERICAN SOCIAL REALIST PHOTOGRAPHY

Dorothea LANGE (American, 1895 - 1965)

• She was on expedition with another person to document the great depression, she
specialized in representing the portrait of an objective that they were desperate but as the
what’s going on.

Dorothea Lange
The migrant mother - Nipomo
California 1936

Walker EVANS (American, 1903 - 1975)

• The document he was able to put together, important and

throughout shoe work people were able to realized how much
poverty and depression were in the country. The works were
presented in magazined and became famous because of the
documentation of life, real life situations, what was happening.
What phots represent was the reality.

Walker Evans
Tengle Children - Hale County Alabama (1936)

Henri CAERIER - BRESSON (French, 1820 - 1910)

• He specialized in capturing people without them realizing

(be anonymous). The idea that phots that something is
about to happen. The impression is that the important of
history of life. We can see the composition is important to
read the photos.

Henri Cartier - Bresson Henri Cartier - Bresson

Place de l'Europe. Gare Quai Saint-Bernard - Paris (1932)
Saint Lazare (1932)

Robert Capa
The Falling Soldier - Spain in September (1936)
Joel Meyerowitz
Camel Coats 5th Avenue - New
York City (1975)
LESSON 12: DÜSSELDORF SCHOOL OF PHOTOGRAPHY
Neuves Maisons - Lorraine (1986)
Robert CAPA (Hungarian, 1913 - 1954)
• War photographer. To document of the
psychological what happens during the
war time. He was passionate in following
war and its events. One of this image was
said to be false since people were
skeptical how he can capture someone
who got shot, they thought the subject to
act like he was got shot could pretend to
fall as he capture the moment. The aspect
of setting.
Robert Capa • During this time the pictures were printed
Man carrying girl with in black and white and were painted
bandaged leg - Troina using watercolors by artist to apply colors
Sicily (1943) in subjects.
Joel MEYEROWITZ (American, 1938 - present)
• During this time the photo were in colors. He followed
Evans and was a street photographer. He was able to
capture the moment where the the people and building
was brownish, he was also capture shadows the smoke
that was in New York City. The colors in the composition
it was able to see and recognize the value of the image
and also to cut the image and confuses on that image.
Joel Meyerowitz
34th St. New York City (1976)
Candida Höfer
Girolamini Library Naples I (2009)
Candida HÖFER (German, 1944 - present)

• She specialized in places of cultures (library, offices etc.). Places people get knowledge. A magic atmosphere that she
created, the protagonist of the photography.

Thomas RUFF (German, 1958 - present)

• He switched from environment to people, focusing on human without environments

(portraits) there’s no clue between the relationship of the subject and the photographer
(neutral) doesn’t show any emotions or human feelings in this way he makes those
subjects neutral and objective. The background with a color that empower the personality
of the subject without giving too much importance of the color and subject. Similar to
traditional portraits.

Thomas Ruff
Selected Portraits (1984 - 85)

Thomas STRUTH (German, 1954 - present)

• He focuses on people and how they relate to artworks. He ask people

to position in front of an artwork. He set the whole photograph, the aim
was to make viewer to participate. How people perceive with the art in
the museum.

Thomas Struth
National Gallery I - London (1989)