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Chapter 31

Chapter 31. The Move toward Modernism. Late Nineteenth Century. Philisophy. Wilhelm Nietzsche (1844-1900) Henri Bergson (1659-1941). Nietzsche.

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Chapter 31

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  1. Chapter 31 The Move toward Modernism

  2. Late Nineteenth Century

  3. Philisophy • Wilhelm Nietzsche (1844-1900) • Henri Bergson (1659-1941)

  4. Nietzsche • Nietzsche held that “life is a senseless flux devoid of any overarching purpose. There are no moral values revealed by God. Instead . . . God is dead. . . . All the values taught by Christian and bourgeois thinkers are without foundation . . . . There is only naked man living in a godless and absurd world” (Perry II 269)

  5. Nietzsche • “Nietzsche called for the emergence of the overman or superman, a higher type of man who asserts his will, gives order to chaotic passions, makes great demands on himself, and lives life with a fierce joy” (Perry II 269).

  6. Bergson • Two primary forces in life: intellect and intuition. • The essence of life is duration, or “perpetual becoming.” (Fiero 788)

  7. Bergson • He believed that “true experience is durational, a constant unfolding in time, and that reality, which can only e apprehended intuitively, is a state of qualitative changes that merge into one another without precise outlines” (Fiero 788)

  8. Artistic Movements • Art for Art’s Sake • Symbolism • Impressionism • Japonisme • Art Nouveau • Postimpressionism

  9. Art for Art’s Sake • L’art pour l’art • against the Enlightenment • “more concerned with sensory experience than with moral purpose, with feeling than with teaching . . .” (Fiero 786)

  10. Art for Art’s Sake • The artists “made art that obey purely aesthetic impulses, that—like music—communicated meaning through shape or sound, pattern or color” (Fiero 786)

  11. Symbolism • 1885-1910 • In favor of subjective expression that drew on sensory experience, dreams, and myth. • By means of ambiguous but powerful images, the symbolists strive to suggest ideas and feelings that might evoke an ideal rather than a real world. (Fiero 788)

  12. Symbolism • Favorite themes: • Religious mysticism • The erotic • The supernatural

  13. Symbolism • Literature: • Baudelaire • Verlaine • Rimbaud • Mallarmé

  14. Symbolism • Painting: • Holdler, The Chose One • Music: • Debussy

  15. Munch, The Dance of Life

  16. Gauguin

  17. Khnopff, I Lock My Door Upon Myself

  18. Klimt, • The Kiss

  19. Impressionism • Major features • Luminosity • The interaction of light and form • Subtlety of tone • Preoccupied with sensation itself

  20. Impressionism • Major artists: • Monet (1840-1926) • Renoir (1841-1919) • Pissarro (1830-1903) • Edgar Degas (1834-1917)

  21. Japonisme • Japanese woodblock prints • Features: flat, unmodulated colors, undulating lines, empty spaces • Subject matter: (1) urban life (2) the floating world of courtesans, actors, and dancers

  22. ukiyo-e (浮世繪) • Nineteenth-century Japanese "Ukiyo-e" woodblock prints are often called "pictures of the Floating World"--that is, pictures of the transient world of the actors, courtesans and rich merchants of the brothel and theater district of the city of Edo, now called Tokyo. http://www.carnegiemuseums.org/cmag/bk_issue/1996/marapr/hokusai.htm

  23. ukiyo-e (浮世繪) • Ukiyo-e printmakers utilized themes from daily life in a large city as well as drawing from the beauty of the Japanese landscape. Another situation common to the culture of a large city such as Edo, and to contribute to the motifs of the ukiyo-e printmaker was the area of the city given over to pleasure. http://www.yale.edu/ynhti/curriculum/units/1982/4/82.04.03.x.html

  24. Influences • 1. Edgar Degas (1834-1917) • 2. Mary Cassatt (1844-1926) • 3. Paul Gauguin (1848-1903) • 4. Vincent Van Gogh (1853-1890) • 5. Henri de Toulouse-Lautrec (1864-1901) • 6. James McNeil Whistler.

  25. Japanese Compositional Devices: as found in ukiyo-e prints that demonstrate flat space. • 1. Asymmety. • 2. Flat Space. • 3. Line: Lines come together or converge as they come to the foreground as compared to Western perspective devices. Diagonals are often used. • 4. Flat Color as compared to the use of shadow to convey three dimensional form. http://www.yale.edu/ynhti/curriculum/units/1982/4/82.04.03.x.html

  26. Katsushika Hokusai (葛飾北斎) (1760-1849)

  27. The Great Wave Off Kanagawahttp://www.ibiblio.org/wm/paint/auth/hokusai/ From "Thirty-six Views of Mount Fuji"; 1823-29

  28. Red Fuji, http://www.stmoroky.com/reviews/gallery/hokusai/24views.htm

  29. Boy Viewing Mount Fuji, 1839, http://www.asia.si.edu/exhibitions/current/Hokusai.htm#

  30. Utagawa Hiroshige (歌川廣重, 安藤廣重)(1797-- 1858)

  31. Suruga Street from the series “One Hundred Famous Views of Edo”Japan, Edo period, 1856http://www.honoluluacademy.org/cmshaa/academy/index.aspx?id=1405

  32. Ando HiroshigeJapanese, 1797 – 1858Great Bridge: Sudden Rain at Atake, 1857http://www.cmoa.org/collections/works.asp#void

  33. Vincent van GoghBridge in the Rain (after Hiroshige), 1887 http://www.hiroshige.org.uk/hiroshige/influences/VanGogh.htm

  34. Plum Garden, 1857 http://www.hiroshige.org.uk/hiroshige/100_views_edo/images/100_views_edo_030.jpg

  35. Vincent van GoghFlowering Plum Tree1887 http://www.hiroshige.org.uk/hiroshige/influences/VanGogh.htm

  36. Irises at Horikiri http://www.hiroshige.org.uk/hiroshige/100_views_edo/images/100_views_edo_056.jpg

  37. Riverside bamboo market at Kyobashi1857 http://www.hiroshige.org.uk/hiroshige/100_views_edo/images/100_views_edo_076.jpg

  38. James Abbott McNeill WhistlerNocturne in Blue and GoldOld Battersea Bridge1872-5http://www.hiroshige.org.uk/hiroshige/influences/images/whistler_Nocturne%20in%20Blue%20and%20Gold%20-%20Old%20Battersea%20Bridge.jpg

  39. James Whistler, Caprice in Purple and Gold: The Golden Screenhttp://www.hiroshige.org.uk/hiroshige/influences/images/whistler_CapriceInPurpleAndGoldNo%202_TheGoldenScreen.jpg

  40. Monet

  41. Whistler

  42. Van Gogh

  43. Art Nouveau • An international style of decoration and architecture which developed in the 1880s and 1890s. • the art form began as a result of the Arts and Crafts Movement, which rejected the mass-produced techniques of industrialization. Art Nouveau developed a new style of exuberant curving lines, assymetrical design and elements of fantasy. http://www.qdesign.co.nz/designhist_artnou.html

  44. Art Nouveau • Committed to evocation and expression like Symbolism • Followed the Symbolist cult of the exotic, lavish, and esoteric interior • Heir to Symbolist imagery: the lily, the sphinx, the vampire

  45. Art Nouveau • Art Nouveau resurrected the interlacing lines of Celtic art and the fluid arches and curves of Gothic architecture in exuberant style, but the arts and artifacts of Japan were the crucial inspiration • They were intrigued by the novel artistic vision of the wood prints, with their simple pallette of colours and asymmetrical outlines, and the abrupt angularity of the branching cherry blossom tree. http://www.qdesign.co.nz/designhist_artnou.html

  46. Tiffany StudiosAmerican (firm active 1902-1932)Wisteria table lamp, c. 1902http://www.nga.gov/feature/nouveau/exhibit_audio.htm#

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