modern & contemporary art history
nicholas paff
rad module no_001
M O D E R N & C O N T E M P O R A R Y A R T H I S T O R Y
R E A D I N G
van gogh | sunflowers
READING ENTRY NO_01
CHAPTER 01 O
ne of the subjects touched on in this chapter that was previously known to me but I wasn’t fully aware was the influence the camera had on the Salon and art itself. At the time the camera was simpler than that of the modern day one photographers use but still had the same idea of capturing light. In 1859 photography was exhibited in the salon which must have been absurd to some and outstanding to the rest. A court battle even ensued debating weather the media was “art” or not. Weather one agreed that the new media was dignified enough to be called art or not, it certainly had it’s influences on the Impressionists. The impact of photography was not only on the artists outlook of the world but in their style. the composition of most impressionists
paintings imitate the arbitrary, almost random selectiveness of a moment caught in time by the hole of a camera. No longer are they bound by the academia dogma that subject be in whole, complete, and in ease of view for the admirer. Instead we see bodies falling off, almost being dissected by the canvas edge, a seemingly perfect illusion of chaotic order. The compositions are captured, frozen in a moment in time. The subjects may be a little awkward and minorly stiff, but this allowed for true vision of how we see to enter into the painting. An interesting quote from the author “Art had achieved self-sufficiency” implies that the rise of photography as a documentary medium as well as art form allowed painting and sculpture to move away from documenting life events and
become what it was always meant to be, pure art and expression. This may be the greatest impact the camera had on art as a culture. I found this influence to be most prevalent in the works of Edgar Degas. It’s known that he himself proclaimed to be influenced by the medium but before ever having heard that fact I viewed his piece Dancers in the Wings in person. Upon seeing the which stood out amongst the others do to its colors and technique, I noted how much it looked like a photograph. As if someone had taken a photo with a paintbrush. Not until now had I know the true reason for that connection.
“ART IS NOT WHAT YOU SEE, BUT WHAT YOU MAKE OTHERS SEE.” EDGAR DEGÁS
alphonse mucha | Morning star, Rising star, Polar Star, light of Luna.
READING ENTRY NO_02
CHAPTER 02 “
Revivals of past art usually mirror contemporary trends.�
Usually the masses think of all art as new art or at least a copy of the contemporary. Some might not even realize that what they think is new and exciting was actually done 2 centuries earlier by long forgotten artists of day past. This quote is prevalent especially in the industry I work in, tattoo and apparel design. One leading artist by the name of Shepard fairy become a household name by taking art styles and sometimes art itself from movements such as art nouveau and Russian constructionist, and re-purposing it for his own means. I’m sure he did this because the styles themselves are quite beautiful and suited for a poster-esque project which is the medium fairy choses to work in. But in doing so he
exposed people who may have not known about these certain styles and therefore popularized the art form making it a contemporary trend. This chapter begins by noting how art movements of the past influence contemporaries which then create a revival of past movements. This is somewhat of a perpetual cycle in the art world. How past and present will always seem to interact and influence on the modern age. In the most radical of art seen in the most modern of galleries, someone is likely to reckon it to a past movement or at least correlate the two. I find myself being apart of this rhythm in which the beat of the past lines up with the key of the now. I love looking on past movements and art from long ago and interpreting it in a modern way while at the same time I look to my
contemporaries for inspiration and drive. The past influences the contemporary stimulates. One style in particular that has been the biggest influence on the industry I am involved in is the art nouveau movement, which I think is still going on to this day. An important aspect of this style is that canvas no longer dominates or restricts it, rather objects and decorative themes are the surface in which the medium shows. Fabric and paper design are a huge part of this movement with a nod to William Morris who looked at fabric and art as one, this meant that artists could apply themselves to a wide variety of mediums. Today we see this as commonplace and don’t think twice about it, especially to a graphic designer. I’m sure that back then people were thinking otherwise.
“ART NOUVEA IS AT ITS PURIST AND MOST SUCCESSFUL WHEN APPLIED TO A PURPOSE OTHER THAN THE EASEL PAINTING.” ALASTAIR MACKINTOSH
D I S S C U S S I O N
Renoir | moulin de la galette
DISCUSSION ENTRY NO_01
RENOIR T
he film on Renoir focused on one single work of the impressionist artist, le moulin de la galette, using it as a looking glass into the artist’s life and persona. What was so interesting was that this particular rendition of the le moulin de la galette was shown in a more positive light than other renditions from artists such as Piccasso, Van Gogh, and Lautrec. Not only is it more lively palette, tone, content, and lighting, the atmosphere that Renoir is depicts is one of joy, sensuality, and social communion. Although at the time this was painted France was on fire. The exact location where Renoir painted this was being used as a strategic military post for the French Resistance group and is steeped in carnage. Renoir saw it as something else though. Trying to paint only the good in people,
he wanted to preserve a time when France was at peace and a bohemian wonderland. The was he so positively depicts a place known for drunkards, dancers, prostitutes, and death, show that Renoir is more focused on bringing joy to life through art. We know That he was a deeply loved individual who cared about the well being of others. He raised charity events for underprivileged children, befriended many locals and models—most of whom appear in le moulin de la galette—and even paid for one of his models untimely funerals. What’s also intriguing is the sort of “folklore” surrounding the painting. How many people interpret many different meaning from the image. It being a political statement, an act of defiance, am akin back to romanticism, a
revelation of suppressed sexuality, and even escapist art. It may be none of these. People may be reading far too deep into a single painting. Especially when Renoir was noted to say that his paintings were supposed to be “pretty”. As onlookers of art we often project our own stories or subconscious onto the images we take in. Even if an artists such as Renoir has an intention it’s almost always up to the viewer to come up with their own truth about the piece. More so than often people attribute no meaning at all to the pieces they see and just enjoying looking at art for the simple fact that it makes them happy. Which Renoir would have been perfectly fine with.
“THE PAIN PASSES, BUT THE BEAUTY REMAINS.” AUGUSTE RENOIR
degas | Les Blanchisseuses
DISCUSSION ENTRY NO_02
THE IMPRESSIONISTS W
hat I found so fascinating with the film was hoe human it made the artists or rather how relatable. Often times we look at these great works and the ones who created them with such awe and shock that we don’t see the artist has a normal person. I sometimes think of them as some sort of demigod that farts out master piece after masterpiece as if they are as simple as a preparing a microwave diner. Other times I cant fathom a human hand creating such a work of art in the first place, obviously the art piece just spun itself into being at one point or another during the course of history. This film dispelled all of that though. It put a personality
and character to all the paintings I had looked at with wondering eyes. The impressionists all became people I knew rather than people I looked up to. Each of them becoming more and more relatable. Many reminded myself of the friends that surround me. Minor egos, subtle rivalries, everyone being a driving force behind the art itself. I also thought it a bit humoring if not disappointing that many of the artists were living off of their parents wealth. Some even resembled spoiled kids I see around who refuse to get a steady job while pursuing their craft. I guess the dedication to being an “artist� was all or nothing
back then. Either you made a living painting or you didn’t make on at all. These people were willing to let themselves and their families starve in order to pursue their love of painting. I think this is something you don’t quite see in today’s age. In some ways its harder to make a living with art and in some ways there are far more avenues in which to survive off of your craft. I consider myself lucky to live in a day in age where art is so accessible and widely accepted as means of a living.
Monet | haystacks
DISCUSSION ENTRY NO_03
IMPRESSIONISTS 02 I
admired the way in which the impressionists set out to carve they’re own path. At the time the French salon ran all of the art world, defining what would and wouldn’t be accepted as art. As some impressionist had success in submitting to the salon many did not. This led them to start their own gallery show. One of the first independent showing of art known. It’s where we get the style of hanging art as we do now—one piece framed on a wall with plenty of negative space around it. Although revolutionary, the show was a huge failure and the group lost money in presenting their work. This didn’t stop them though. The group managed to get back on
their feet and compose another group showing. They had many failures along their career paths and didn’t see success until their later stages in life. This make failing as an artists a little less fearful for me. In fact I now welcome failure more openly. It helps us to grow, to push harder, to learn from our mistakes and from others say of our work. If the impressionists I love so dearly can fail then so can I.
“FOR AN IMPRESSIONIST TO PAINT FROM NATURE IS NOT TO PAINT THE SUBJECT, BUT TO REALIZE SENSATIONS.” AUGUSTE RENOIR
van Gogh | sunflowers
DISCUSSION ENTRY NO_04
VAN GOGH & INTO THE 20 CENTURY T
his film on Van Gogh focused primarily on his sunflower paintings and relationship with Gauguin. Surprisingly I had not really known of the sunflower paintings. Most of the Van Gogh’s I have seen were either portraits or landscapes. This one however quickly became one of my favorites. I have always been fond of Van Gogh’s works but think that to truly appreciate them you must be physically standing, staring, and analyzing the painting. They way he uses texture and stroke in his paintings is simply mind blowing. At points Van Gogh piles paint on the canvas so think it practically becomes a sculpture, other areas only get a brief hint of
paint over the canvas.. All this combined with this brush work leave you with an immense amount of texture and movement that deliver a true sense of the act of painting. You can almost imagine him laying down layer after layer of pigment and watch as his brush crosses, moves, and molds the paint on the canvas. More than anything, more than the symbolism, the subject, or the composition, the technique of van Gogh has always been what drew me to his work. I also found some personal connection to this particular film. Much of it showed the town of Arles in France which I was fortunate enough to visit one year and see the famous Rencontres
d’Arles, an annual photo exhibit held in the city, which is still the best exhibit I have laid eyes on. While visiting the city I got to see where Van Gogh had lived, painted, and sought inspiration. It was like peering into the past. Architecture had remained mostly unchanged by the hands and minds of men, the lifestyle staying similar to what it had always been. The feeling of being a time traveling peeping tom followed me as I walked the cobblestone streets of Arles. It’s hard not to be inspired by the overwhelming stimulation of music, food, conversations, colors, movement, aromas, and views. For at least a while I felt I understood the impressionists
mindsets and why they sought to do what they did in the art world. That feeling is made even more true with the content of this course and the viewing of this video.
A R T
_
_
_
artist
title
date
JOSEPH ALBERS
MULTIPLEX B
1948
_
_
_
artist
title
date
CARL ANDRE
PYRMID
1935-39
_
_
_
artist
title
date
FRANCIS BACON
MAN AND CHILD
1909
_
_
_
artist
title
date
LARRY BELL
LIL ORPHAN ANNIE
1939-60
_
_
_
artist
title
date
THOMAS HART BENTON
AARON
1941
_
_
_
artist
title
date
MAX BECKMAN
HOTEL LOBBY
1950
_
_
_
artist
title
date
JOSEPH BEUYS
SLEIGH WITH LEATHER BAG
1965
_
_
_
artist
title
date
PIERRE BONNARD
LA LITHOGRPHIE EN COULEURS
19 | 20 C
_
_
_
artist
title
date
GEORGE BRAQUE
UNTITLED*
1947
_
_
_
artist
title
date
ALEXANDER CALDER
CALDER’S CIRCUS
1972
_
_
_
artist
title
date
MARC CHAGALL
FOUR TALES FROM THE ARABIAN NIGHTS_NO4
1948
_
_
_
artist
title
date
JOHN CHAMBERLAIN
ESSEX
1960
_
_
_
artist
title
date
CHRISTO
WRAP IN WRAP
1969
_
_
_
artist
title
date
CHUCK CLOSE
SELF PORTRAIT
1986
_
_
_
artist
title
date
SALVADOR DALI
GALATEA OF THE SPHERES
1952
_
_
_
artist
title
date
STUART DAVIS
COMBINATION CONCRETE
1956
_
_
_
artist
title
date
GIORGIO DE CHIRICO
NOSTALGIA OF THE INFINATE
1913
_
_
_
artist
title
date
WILLEM DE KOONING
WAVES_1
1948
_
_
_
artist
title
date
RICHARD DIEBENKORN
UNTITLED
1975
_
_
_
artist
title
date
JIM DINE
TATTOO
1961
_
_
_
artist
title
date
JEAN DUBUFFET
JULIE LA SERIEUSE
1950
_
_
_
artist
title
date
MARCEL DUCHAMP
DADA 1916-1923
1953
_
_
_
artist
title
date
RAOUL DUFY
FEMALE NUDE
1935
_
_
_
artist
title
date
THOMAS EAKINS
GROSS CLINIC
1875-76
_
_
_
artist
title
date
MAX ERNST
ZOOMORPHIC COUPLE
1933
_
_
_
artist
title
date
JAMES ENSOR
DON QUIXOTE
1949
_
_
_
artist
title
date
RICHARD ESTES
MARKET ON BROADWAY
2000
_
_
_
artist
title
date
LYONEL FEININGER
KIRCHE
1923
_
_
_
artist
title
date
MAX ERNST
NAKED MAN_BEHIND VIEW
1991
_
_
_
artist
title
date
DAN FLAVIN
THE NORMAL OF THREE
1963
_
_
_
artist
title
date
SAM FRANCIS
STRAIGHT LINE OF THE SUN
1976
_
_
_
artist
title
date
HELEN FRANKENTHALER
POSSIBILITIES
1966
_
_
_
ARTIST
TITLE
DATE
SALVIDOR DALÍ
ADCDCDÍ
1923
M O D E R N & C O N T E M P O R A R Y A R T H I S T O R Y rad module no_001