SmartHistory of Art IXa- Modernisms 1900 to ~1945

by Smarthistory

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Smarthistory
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Humanities, Art
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Tweens profiles and older, judged from its title and subjects

Contents

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  1. Front Matter
  2. TitlePage
  3. InfoPage
  4. Table of Contents
  5. Licensing
  6. 1: A beginner's guide
  7. 1.1: An Introduction to photography in the early 20th century
  8. 1.2: Contemporary Art, an introduction
  9. 1.3: Representation and abstraction- looking at Millais and Newman
  10. 1.4: Art and context- Monet’s Cliff Walk at Pourville and Malevich’s White on White
  11. 2: Key concepts
  12. 2.1: Modern art and reality
  13. 2.2: Expression and modern art
  14. 2.3: Primitivism and Modern Art
  15. 2.4: Formalism I- Formal Harmony
  16. 2.5: Formalism II- Truth to Materials
  17. 3: Fauvism + Expressionism
  18. 3.1: Fauvism
  19. 3.1.1: Women in the Interior I Museums Without Borders
  20. 3.1.2: Fauvism, an introduction
  21. 3.1.3: Fauve Landscapes and City Views
  22. 3.1.4: André Derain, The Dance
  23. 3.1.5: Henri Matisse
  24. 3.1.5.1: Luxe, calme et volupté
  25. 3.1.5.2: Open Window, Collioure
  26. 3.1.5.3: Bonheur de Vivre
  27. 3.1.5.4: Dance I
  28. 3.1.5.5: The Red Studio
  29. 3.1.5.6: The Blue Window
  30. 3.1.5.7: Goldfish
  31. 3.1.5.8: The Piano Lesson
  32. 3.1.5.9: The illustrated book Jazz
  33. 3.1.5.10: The Dance at the Barnes Foundation
  34. 3.2: Expressionism
  35. 3.2.1: Expressionism, an introduction
  36. 3.2.2: Expressionism as Nordic?
  37. 3.2.3: Der Blaue Reiter
  38. 3.2.4: Ernst Ludwig Kirchner
  39. 3.2.4.1: Self-Portrait As a Soldier
  40. 3.2.4.2: Street, Dresden
  41. 3.2.4.3: Street, Berlin
  42. 3.2.5: Paula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, Half-Length I
  43. 3.2.6: Emil Nolde, Young Couple
  44. 3.2.7: Alexej von Jawlensky, Young Girl in a Flowered Hat
  45. 3.2.8: 3.2.8-Vasily Kandinsky
  46. 3.2.8.1: Kandinsky, Apocalypse, Abstraction
  47. 3.2.8.2: Improvisation 28 (second version)
  48. 3.2.8.3: Klänge (Sounds)
  49. 3.2.9: Franz Marc and the animalization of art
  50. 3.2.10: Egon Schiele
  51. 3.2.10.1: Seated Male Nude (Self-Portrait)
  52. 3.2.10.2: Nazi looting- Egon Schiele’s Portrait of Wally
  53. 3.2.10.3: The Hermits
  54. 3.2.10.4: Wangechi Mutu on Egon Schiele
  55. 4: Cubism + early abstraction
  56. 4.1: The Case for Abstraction
  57. 4.2: Abstract art and Theosophy
  58. 4.3: Who created the first abstract artwork?
  59. 4.4: Beginner's Guide to Cubism
  60. 4.4.1: Pablo Picasso and the new language of Cubism
  61. 4.4.2: Inventing Cubism
  62. 4.4.3: Cubism and multiple perspectives
  63. 4.4.4: Synthetic Cubism, Part I
  64. 4.4.5: Synthetic Cubism, Part II
  65. 4.4.6: Salon Cubism
  66. 4.5: Pablo Picasso
  67. 4.5.1: How to paint like Pablo Picasso (Cubism)
  68. 4.5.2: Picasso’s Early Work
  69. 4.5.3: Guernica
  70. 4.5.4: Portrait of Gertrude Stein
  71. 4.5.5: Les Demoiselles d'Avignon
  72. 4.5.6: Pablo Picasso, Three Women
  73. 4.5.7: 4.5.7-The Reservoir, Horta de Ebro
  74. 4.5.8: Pablo Picasso, Portrait of Daniel-Henry Kahnweiler
  75. 4.5.9: Still Life with Chair Caning
  76. 4.5.10: Pablo Picasso, The Three Musicians
  77. 4.5.11: Guitar
  78. 4.6: Georges Braque
  79. 4.6.1: Le Viaduc à L'Estaque, (The Viaduct at L'Estaque)
  80. 4.6.2: Georges Braque, Violin and Palette
  81. 4.6.3: Georges Braque and Pablo Picasso- Two Cubist Musicians
  82. 4.6.4: The Portuguese
  83. 4.7: Cubist sculpture
  84. 4.7.1: Cubist Sculpture I
  85. 4.7.2: Cubist Sculpture II
  86. 4.7.3: Juan Gris, The Table
  87. 4.7.4: The Cubist City – Robert Delaunay and Fernand Léger
  88. 4.8: Fernand Léger
  89. 4.8.1: Contrast of Forms
  90. 4.8.2: Untitled (Fireplace Mural)
  91. 4.9: Simultanism (Orphism)
  92. 4.9.1: Sonia Delaunay
  93. 4.9.2: Robert Delaunay
  94. 4.9.3: Robert Delaunay, Simultaneous Contrasts- Sun and Moon
  95. 4.10: Russian avant-garde
  96. 4.10.1: Russian Neo-Primitivism- Natalia Goncharova and Mikhail Larionov
  97. 4.10.2: Kazmir Malevich, Suprematist Composition- White on White
  98. 4.10.3: Kasimir Malevich and Cubo-Futurism
  99. 4.10.4: Suprematism, Part I- Kasimir Malevich
  100. 4.10.5: Suprematism, Part II- El Lissitzky
  101. 4.10.6: Constructivism, Part I
  102. 4.10.7: Constructivism, Part II
  103. 4.10.8: Tatlin’s Tower
  104. 4.10.9: Varvara Stepanova, The Results of the First Five-Year Plan
  105. 4.11: Purism
  106. 4.12: School of Paris
  107. 4.12.1: Marc Chagall, Half-Past Three (The Poet)
  108. 4.12.2: Amedeo Modigliani, Young Woman in a Shirt
  109. 4.12.3: Constantin Brancusi, the Kiss
  110. 4.13: Photography
  111. 4.13.1: Henri Cartier-Bresson, Behind the Gare Saint-Lazare
  112. 4.13.2: Alexander Rodchenko, At the Telephone
  113. 4.14: De Stijl
  114. 4.14.1: De Stijl, Part I- Total Purity
  115. 4.14.2: De Stijl, Part II- Near-Abstraction and Pure Abstraction
  116. 4.14.3: De Stijl, Part III- The Total De Stijl Environment
  117. 4.14.4: Piet Mondrian
  118. 4.14.4.1: Composition with Red, Blue, and Yellow
  119. 4.14.4.2: Composition No. II, with Red and Blue
  120. 4.14.4.3: TateShots- Piet Mondrian
  121. 5: Italian art before WWI
  122. 5.1: Futurism
  123. 5.1.1: Italian Futurism- An Introduction
  124. 5.1.2: Futurist Free Word Painting
  125. 5.1.3: Umberto Boccioni and the Futurist City
  126. 5.1.4: Umberto Boccioni, Unique Forms of Continuity in Space
  127. 5.1.5: Gino Severini, Dynamic Hieroglyph of the Bal Tabarin
  128. 5.1.6: Giacomo Balla, Street Light
  129. 5.1.7: Carlo Carrà, Funeral of the Anarchist Galli
  130. 5.1.8: Raymond Duchamp-Villon, Horse
  131. 5.2: Metaphysical Art
  132. 5.2.1: Giorgio de Chirico, The Soothsayer’s Recompense
  133. 6: British art and literature
  134. 6.1: British Art and Literature During WWI, The Old Guitarist, and the question of beauty
  135. 7: Dada + Surrealism
  136. 7.1: Dada
  137. 7.1.1: A beginner's guide to Dada
  138. 7.1.1.1: Introduction to Dada
  139. 7.1.1.2: Dada Manifesto
  140. 7.1.1.3: Dada Pataphysics
  141. 7.1.1.4: Dada Politics
  142. 7.1.1.5: Dada Collage
  143. 7.1.1.6: Dada Readymades
  144. 7.1.1.7: Dada Performance
  145. 7.1.2: Marcel Duchamp
  146. 7.1.2.1: Nude Descending a Staircase, No 2
  147. 7.1.2.2: Art as concept- In Advance of the Broken Arm
  148. 7.1.2.3: Fountain
  149. 7.1.2.4: The Bride Stripped Bare by Her Bachelors, Even (The Large Glass)
  150. 7.1.2.5: Boite-en-valise, Series F
  151. 7.1.2.6: Marcel Duchamp and the Viewer
  152. 7.1.3: Max Ernst, Two Children Are Threatened by a Nightingale
  153. 7.1.4: Raoul Hausmann, Spirit of the Age- Mechanical Head
  154. 7.1.5: Dada's "Aproximate Man"- A Portrait of Tristan Tzara (1919) by Marcel Janco
  155. 7.1.6: Hannah Höch,Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany (essay)
  156. 7.1.7: Francis Picabia, Ideal
  157. 7.2: Surrealism
  158. 7.2.1: A beginner's guide
  159. 7.2.1.1: Surrealism, an introduction
  160. 7.2.1.2: The Case for Surrealism
  161. 7.2.1.3: Surrealism- Origins and Precursors
  162. 7.2.1.4: Surrealism and Psychoanalysis
  163. 7.2.1.5: Surrealist Techniques- Automatism
  164. 7.2.1.6: Surrealist Techniques- Subversive Realism
  165. 7.2.1.7: Surrealist Techniques- Collage
  166. 7.2.1.8: Surrealist Photography
  167. 7.2.1.9: Surrealist Exhibitions
  168. 7.2.1.10: Surrealism and Women
  169. 7.2.1.11: A brief guide to Egyptian Surrealism
  170. 7.2.2: Man Ray, The Gift
  171. 7.2.3: René Magritte, The Treachery of Images (Ceci n’est pas une pipe)
  172. 7.2.4: Salvador Dalí
  173. 7.2.4.1: The Persistence of Memory
  174. 7.2.4.2: Metamorphosis of Narcissus
  175. 7.2.5: Alberto Giacometti, The Palace at 4 a.m.
  176. 7.2.6: Meret Oppenheim, Object (Fur-covered cup, saucer, and spoon)
  177. 8: German and Italian art between the wars
  178. 8.1: Prints and photography
  179. 8.1.1: Käthe Kollwitz, In Memoriam Karl Liebknecht
  180. 8.1.2: August Sander, Portraits
  181. 8.1.3: Umbo, The Roving Reporter
  182. 8.1.4: Horst P. Horst, Mainbocher Corset, Paris
  183. 8.1.5: Lotte Jacobi, Head of a Dancer
  184. 8.1.6: Gertrud Arndt, Self-Portrait with Veil
  185. 8.2: Bauhaus
  186. 8.2.1: The Bauhaus, an Introduction
  187. 8.2.2: The Bauhaus and Bau
  188. 8.2.3: The Bauhaus- Marcel Breuer
  189. 8.2.4: The Bauhaus- Marianne Brandt
  190. 8.2.5: Lyonel Feininger, Cathedral for Program of the State Bauhaus in Weimar
  191. 8.2.6: Paul Klee, Twittering Machine (Die Zwitscher-Maschine)
  192. 8.2.7: László Moholy-Nagy
  193. 8.2.7.1: Telephone Pictures
  194. 8.2.7.2: Photogram
  195. 8.2.7.3: Composition A.XX
  196. 8.2.7.4: Climbing the Mast
  197. 8.3: New Objectivity
  198. 8.3.1: Neue Sachlichkeit (New Objectivity) – An Introduction
  199. 8.3.2: Christian Schad, Self-Portrait
  200. 8.3.3: George Grosz, Remembering
  201. 8.4: Nazi and Fascist visual culture
  202. 8.4.1: Paul Troost, House of (German) Art
  203. 8.4.2: Art in Nazi Germany
  204. 8.4.3: What is- Degenerate Art?
  205. 8.4.4: Murals and Public Art in 1930s Rome
  206. 8.4.5: The Mausoleum of Augustus and the Piazza Augusto Imperatore in Rome
  207. Back Matter
  208. Index
  209. Glossary
  210. Detailed Licensing
  211. Detailed Licensing
  212. Detailed Licensing