1.
Fridericianum
–
The Fridericianum is a museum in Kassel, Germany. Built in 1779, it is one of the oldest public museums in Europe, since 1955 the quinquennial art festival documenta is centred on the site. The exhibition building itself was renovated by 1982. Ever since 1988, Fridericianum has continually hosted changing exhibitions of contemporary art, since June 2013 Susanne Pfeffer has been director of the Fridericianum. The Fridericianum was designed by Huguenot architect Simon Louis du Ry for Landgrave Friedrich II, the Fridericianum also contained a library built to house 100,000 volumes, and was connected to the medieval Zwehrenturm tower, which had been made into an observatory. With Jérôme’s expulsion in 1813, Fridericianum was returned to its purpose as a museum. During that time the Brothers Grimm, Jacob and Wilhelm, were employed at the library, the Fridericianum was heavily damaged in World War II, during the bombing raids on Kassel in 1941 and 1943. After the war, all that remained of the Fridericianum and library were the enclosing walls, the surviving books were moved into the Kassel University Library. In 1955, the first documenta exhibition, founded by Arnold Bode, since then documenta has been held every five years in the Fridericianum, which was fully renovated by 1982. In 1998 René Block took over from Loers as Artistic Director of the Fridericianum, since June 2013 Susanne Pfeffer has been director of the Fridericianum. Pfeffer presented an exhibition trilogy “Speculations on Anonymous Materials”, ”nature after nature” und ”Inhuman”, in 2015 she dedicated a large scale retrospective to the American experimental filmmaker Paul Sharits. On occasion of the 60th anniversary of documenta Pfeffer organized a retrospective of the Belgian artist Marcel Broodthaers, home page Previous home page in English
Fridericianum
–
The Fridericianum.
2.
Art exhibition
–
An art exhibition is traditionally the space in which art objects meet an audience. The exhibit is universally understood to be for some temporary period unless, as is rarely true, in American English, they may be called exhibit, exposition or show. In UK English, they are always called exhibitions or shows, and an individual item in the show is an exhibit. The art works may be presented in museums, art halls, art clubs or private art galleries, or at some place the business of which is not the display or sale of art. An important distinction is noted between those exhibits where some or all of the works are for sale, normally in private art galleries, sometimes the event is organized on a specific occasion, like a birthday, anniversary or commemoration. There are different kinds of art exhibitions, in there is a distinction between commercial and non-commercial exhibitions. A commercial exhibition or trade fair is often referred to as an art fair that shows the work of artists or art dealers where participants generally have to pay a fee. A vanity gallery is a space of works in a gallery that charges the artist for use of the space. They normally include no items for sale, they are distinguished from the permanent displays. Exhibitions in commercial galleries are often made up of items that are for sale. Typically, the visitor has to pay to enter a museum exhibition, retrospectives look back over the work of a single artist, other common types are individual expositions or solo shows, group expositions, or expositions on a specific theme or topic. The Biennale is an exhibition held every two years, often intending to gather together the best of international art, there are now many of these. A travelling exhibition is another category of art exhibition, Exhibitions of new or recent art can be juried, invitational, or open. If prizes are to be awarded, the judge or panel of judges will select the prizewinners as well. In an invitational exhibition, such as the Whitney Biennial, the organizer of the show asks certain artists to supply artworks, an open or non-juried exhibition, such as the Kyoto Triennial, allows anybody to enter artworks and shows them all. A type of exhibition that is usually non-juried is an art exhibition. The art exhibition has played a part in the market for new art since the 18th and 19th centuries. The Paris Salon, open to the public from 1737, rapidly became the key factor in determining the reputation, and so the price, of the French artists of the day
Art exhibition
–
This Year Venuses Again!, 1864.
Honoré Daumier satirizes the
bourgeoisie scandalized by the
Paris Salon 's Venuses.
Art exhibition
–
Exhibition space being readied for a show at the
Arthur M. Sackler Gallery
Art exhibition
–
"A Slight Attack of Third Dimentia Brought on by Excessive Study of the Much Talked of Cubist Pictures in the International Exhibition at New York," drawn by
John French Sloan in April 1913, satirizing the
Armory Show.
Art exhibition
–
1 February 2011
3.
Contemporary art
–
Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. In vernacular English, modern and contemporary are synonyms, resulting in some conflation of the modern art. Some define contemporary art as art produced within our lifetime, recognizing that lifetimes, however, there is a recognition that this generic definition is subject to specialized limitations. The classification of art as a special type of art, rather than a general adjectival phrase. In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, Australia, particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what contemporary art in the 2010s vary. Art from the past 20 years is likely to be included, and definitions often include art going back to about 1970, the art of the late 20th and early 21st century. Many use the formulation Modern and Contemporary Art, which avoids this problem, smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the contemporary to work from 2000 onwards. One of the many people have in approaching contemporary artwork is its diversity - diversity of material, form, subject matter. It is distinguished by the lack of a uniform organizing principle, ideology, or -ism that we so often see in other. Broadly speaking, we see Modernism as looking at modernist principals - the focus of the work is self-referential, likewise, Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the hand, does not have one. Its view, instead, is refracted, prismatic, and multi-faceted, reflecting the diversity of the world today, in all of its complexities, contemporary art reflects life as we know it. It can be, therefore, contradictory, confusing, and open-ended, there are, however, a number of common themes that have appeared in contemporary works. Post-modern, post-structuralist, feminist, and Marxist theory have played important roles in the development of theories of art
Contemporary art
–
History of art
Contemporary art
–
The
Museum of Contemporary Art in
Miami, Florida.
4.
Kassel
–
Kassel is a city located on the Fulda River in northern Hesse, Germany. It is the seat of the Regierungsbezirk Kassel and the Kreis of the same name and has 200,507 inhabitants in December 2015. The former capital of the state of Hesse-Kassel has many palaces and parks, including the Bergpark Wilhelmshöhe, Kassel is also known for the documenta exhibitions of contemporary art. The citys name is derived from the ancient Castellum Cattorum, a castle of the Chatti, Kassel was first mentioned in 913 AD, as the place where two deeds were signed by King Conrad I. The place was called Chasella and was a fortification at a crossing the Fulda river. A deed from 1189 certifies that Cassel had city rights, in 1567, the Landgraviate of Hesse, until then centered in Marburg, was divided among four sons, with Hesse-Kassel becoming one of its successor states. Kassel was its capital and became a centre of Calvinist Protestantism in Germany, strong fortifications were built to protect the Protestant stronghold against Catholic enemies. Secret societies, such as Rosicrucianism flourished, with Christian Rosenkreutz’s work Fama Fraternitis first published in 1617, in 1685, Kassel became a refuge for 1,700 Huguenots who found shelter in the newly established borough of Oberneustadt. Landgrave Charles, who was responsible for this act, also ordered the construction of the Oktagon. In the early 19th century, the Brothers Grimm lived in Kassel and they collected and wrote most of their fairy tales there. At that time, around 1803, the Landgraviate was elevated to a Principality, shortly after, it was annexed by Napoleon and in 1807 it became the capital of the short-lived Kingdom of Westphalia under Napoleons brother Jérôme. The Electorate was restored in 1813, having sided with Austria in the Austro-Prussian War to gain supremacy in Germany, the principality was annexed by Prussia in 1866. The Prussian administration united Nassau, Frankfurt and Hesse-Kassel into the new Prussian province of Hesse-Nassau, Kassel ceased to be a princely residence, but soon developed into a major industrial centre, as well as a major railway junction. Henschel & Son, the largest railway locomotive manufacturer in Germany at the end of the century, was based in Kassel. In 1870, after the Battle of Sedan, Napoleon III was sent as a prisoner to the castle of Wilhelmshohe above the city, during World War I the German military headquarters were located in the castle of Wilhelmshohe. In the late 1930s Nazis destroyed Heinrich Hübschs Kassel Synagogue, the most severe bombing of Kassel in World War II destroyed 90% of the downtown area, some 10,000 people were killed, and 150,000 were made homeless. Most of the casualties were civilians or wounded soldiers recuperating in local hospitals, Karl Gerland replaced the regional Gauleiter, Karl Weinrich, soon after the raid. The Allied ground advance into Germany reached Kassel at the beginning of April 1945, post-war, most of the ancient buildings were not restored, and large parts of the city area were completely rebuilt in the style of the 1950s
Kassel
–
Kassel Hercules at
Bergpark Wilhelmshöhe, landmark of the city (UNESCO World Heritage)
Kassel
–
A map of Kassel in 1648.
Kassel
–
Königsstrasse, the main shopping street
Kassel
–
Kassel 360° Panorama view from the Tower of the Lutherkirche.
5.
Arnold Bode
–
Arnold Bode was a German architect, painter, designer and curator. Arnold was born in Kassel, Germany, from 1928 to 1933, he worked as a painter and university lecturer in Berlin. However, when the Nazis came to power they banned him from his profession and he returned to his home town of Kassel following the war. Bode organised the first documenta exhibition in Kassel in 1955 and this featured a broad overview of 20th-century art using large spaces in an innovative way. Bode organised three more documenta exhibitions, finishing with documenta 4, others have since continued to produce regular documenta exhibitions in Kassel. Bode received the German Federal Cross of Merit in 1974, list of German painters Arnold Bode, documenta archives
Arnold Bode
–
Block of stamps issued in 2000, commemorating Bode and documenta III (de) (1964)
6.
Nazism
–
National Socialism, more commonly known as Nazism, is the ideology and practice associated with the 20th-century German Nazi Party and Nazi Germany, as well as other far-right groups. Nazism subscribed to theories of racial hierarchy and Social Darwinism, identifying Germans as part of what Nazis regarded as an Aryan or Nordic master race and it aimed to overcome social divisions and create a homogeneous society, unified on the basis of racial purity. The term National Socialism arose out of attempts to create a nationalist redefinition of socialism, the Nazi Partys precursor, the Pan-German nationalist and anti-Semitic German Workers Party, was founded on 5 January 1919. By the early 1920s, Adolf Hitler assumed control of the organisation, following the Holocaust and German defeat in World War II, only a few fringe racist groups, usually referred to as neo-Nazis, still describe themselves as following National Socialism. The full name of Adolf Hitlers party was Nationalsozialistische Deutsche Arbeiterpartei, the shorthand Nazi was formed from the first two syllables of the German pronunciation of the word national. The term was in use before the rise of the NSDAP as a colloquial and derogatory word for a peasant, characterizing an awkward. It derived from Ignaz, being a version of Ignatius, a common name in Bavaria. Opponents seized on this and shortened the first word of the name, Nationalsozialistische. The NSDAP briefly adopted the Nazi designation, attempting to reappropriate the term, the use of Nazi Germany, Nazi regime, and so on was popularised by German exiles abroad. From them, the spread into other languages and was eventually brought back to Germany after World War II. In English, Nazism is a name for the ideology the party advocated. The majority of scholars identify Nazism in practice as a form of far-right politics, far-right themes in Nazism include the argument that superior people have a right to dominate over other people and purge society of supposed inferior elements. Adolf Hitler and other proponents officially portrayed Nazism as being neither left- nor right-wing, but the politicians of the Right deserve exactly the same reproach. It was through their miserable cowardice that those ruffians of Jews who came into power in 1918 were able to rob the nation of its arms, a major inspiration for the Nazis were the far-right nationalist Freikorps, paramilitary organisations that engaged in political violence after World War I. The Nazis stated the alliance was purely tactical and there remained substantial differences with the DNVP, the Nazis described the DNVP as a bourgeois party and called themselves an anti-bourgeois party. After the elections in 1932, the alliance broke after the DNVP lost many of its seats in the Reichstag, the Nazis denounced them as an insignificant heap of reactionaries. The DNVP responded by denouncing the Nazis for their socialism, their violence. Kaiser Wilhelm II, who was pressured to abdicate the throne and flee into exile amidst an attempted communist revolution in Germany, there were factions in the Nazi Party, both conservative and radical
Nazism
–
Foreground, left to right: Führer
Adolf Hitler;
Hermann Göring; Minister of Propaganda
Joseph Goebbels;
Rudolf Hess
Nazism
Nazism
–
Nazis alongside members of the far-right
reactionary and
monarchist German National People's Party (DNVP), during the brief Nazi-DNVP alliance in the
Harzburg Front from 1931 to 1932
Nazism
–
Johann Gottlieb Fichte, considered one of the fathers of German nationalism
7.
Pablo Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Pablo Picasso
–
Picasso in 1908
Pablo Picasso
–
Pablo Picasso with his sister Lola, 1889
Pablo Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Pablo Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
8.
Wassily Kandinsky
–
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. He is credited with painting one of the first recognised purely abstract works, born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics, successful in his profession—he was offered a professorship at the University of Dorpat—Kandinsky began painting studies at the age of 30. In 1896 Kandinsky settled in Munich, studying first at Anton Ažbes private school and he returned to Moscow in 1914, after the outbreak of World War I. Kandinsky was unsympathetic to the theories on art in Communist Moscow. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and he died at Neuilly-sur-Seine in 1944. Kandinskys creation of work followed a long period of development. He called this devotion to beauty, fervor of spirit. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics, later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew, in 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them and this experience, and his study of the regions folk art, was reflected in much of his early work. The artist is the hand plays, touching one key or another. Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève, in 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own and that same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the style of Haystacks, this. Later, he would write about this experience, That it was a haystack the catalogue informed me and this non-recognition was painful to me
Wassily Kandinsky
–
Wassily Kandinsky, c. 1913 or earlier
Wassily Kandinsky
Wassily Kandinsky
–
Der Blaue Reiter (1903)
Wassily Kandinsky
–
Early-period work, Munich-Schwabing with the Church of St. Ursula (1908)
9.
Site-specific art
–
Site-specific art is artwork created to exist in a certain place. Typically, the artist takes the location into account while planning and creating the artwork, site specific environmental art was first described as a movement by architectural critic Catherine Howett and art critic Lucy Lippard. Site-specific art emerged after the modernist objects as a reaction of artists to the situation in the world, modernist art objects were transportable, nomadic, could only exist in the museum space and were the objects of the market and commodification. Since 1960 the artists were trying to find a way out of situation, and thus drew attention to the site. The work of art was created in the site and could only exist, site is a current location, which comprises a unique combination of physical elements, depth, length, weight, height, shape, walls, temperature. Jean-Max Albert, created Sculptures de visées in Parc de la Villette related to the site, or Carlotta’s Smile, co, ’s architecture Lisbon, and to a choreography in collaboration with Michala Marcus and Carlos Zingaro,1979. Outdoor site-specific artworks often include landscaping combined with permanently sited sculptural elements, outdoor site-specific artworks can also include dance performances created especially for the site. More broadly, the term is used for any work that is permanently attached to a particular location. In this sense, a building with interesting architecture could also be considered a piece of site-specific art, in Geneva, Switzerland, the two Contemporary Art Funds of the City and the Canton are looking forward to integrate art into the architecture and in the public space since 1980. Site-specific performance art, site-specific visual art and interventions are commissioned for the annual Infecting the City Festival in Cape Town, South Africa
Site-specific art
–
Dan Flavin, Site-specific installation, 1996,
Menil Collection
Site-specific art
–
Nef pour quatorze reines by Rose-Marie Goulet, a memorial to the
École Polytechnique Massacre, featuring
sculptural elements integrated into a specially
landscaped site
Site-specific art
–
George Segal, Street Crossing, 1992, permanent installation at
Montclair State University
Site-specific art
–
Eberhard Bosslet, side effect X, Tias, Lanzarote, (2008)
10.
Venice Biennale
–
The Venice Biennale is an arts organization based in Venice, and also the original and principal exhibition it organizes. The organization changed its name to the Biennale Foundation in 2009, while the exhibition is called the Art Biennale to distinguish it from the organisation. The Art Biennale, a visual art exhibition, is so called as it is held biennially. A year later, the council decreed to adopt a by invitation system, to reserve a section of the Exhibition for foreign artists too, to works by uninvited Italian artists. The first Biennale, I Esposizione Internazionale dArte della Città di Venezia was opened on April 30,1895 by the Italian King and Queen, Umberto I, the first exhibition was seen by 224,000 visitors. In 1910 the first internationally well-known artists were displayed- a room dedicated to Gustav Klimt, a show for Renoir. A work by Picasso was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public, by 1914 seven pavilions had been established, Belgium, Hungary, Germany, Great Britain, France, and Russia. During World War I, the 1916 and 1918 events were cancelled, in 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art,1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there, in 1928 the Istituto Storico dArte Contemporanea opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art, in 1933 the Biennale organised an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section, during World War II, the activities of the Biennale were interrupted,1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, the Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. Peggy Guggenheim was invited to exhibit her famous New York collection,1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964. From 1948 to 1972, Italian architect Carlo Scarpa did a series of interventions in the Biennales exhibition spaces. In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe,1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Rays Aparajito which introduced Indian cinema to the West,1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra
Venice Biennale
–
The 65th
Venice International Film Festival. The
Golden Lion is awarded to the best film screened in competition at the festival.
Venice Biennale
–
Detail of exhibition.
Venice Biennale
–
Biennalist Giardini Main Entrance
Venice Biennale
–
View of "Pump Room", a work by the Hungarian artist Balázs Kicsiny at the Venice Biennale in 2005.
11.
Art Basel
–
Art Basel is an international art fair with three shows staged annually in Basel, Switzerland, Miami Beach, Florida, and Hong Kong. Each show is organized into sectors which showcase contemporary artworks by established, in addition to the artworks shown by participating galleries, the shows offer parallel programming produced in collaboration with the host city’s local institutions. Galleries who apply to Art Basel shows undergo a review by a committee of international gallerists serving multi-year terms. During the week-long process, each application is considered for participation in the following standards established by Art Basel. Art Basel started in 1970 by Basel gallerists Ernst Beyeler, Trudi Bruckner, in its inaugural year, the Basel show attracted more than 16,000 visitors who viewed work presented by 90 galleries representing 10 countries. By 1975, five years after its founding, the Basel show reached almost 300 exhibitors, the participating galleries came from 21 countries, attracting 37,000 visitors. In 2013, Art Basel launched its inaugural show in Hong Kong, half of the participating galleries came from Asia and the Asia-Pacific region. In 2014, Art Basel partnered with Kickstarter to create an initiative aimed at funding non-profit visual arts organizations worldwide. Together with JRP Ringier, Art Basel publishes Art Basel | Year 44 the first book covered all three shows. In 2015, the BMW Art Journey award was established by BMW and Art Basel to reward promising artists from the Discoveries sector in Hong Kong and the Positions sector in Miami Beach. Also, the executive-education program Collecting Contemporary Art in Hong Kong was launched by Art Basel, HKU SPACE Centre for Degree Programmes and Central Saint Martins College of Arts and Design. Under the stewardship of Art Basel’s Global Director, Marc Spiegler and it presented 284 galleries from 33 countries, exhibiting the work of over 4,000 artists. A total of 14 galleries showed in Basel for the very first time, alongside private collectors from Europe, America, and Asia, representatives and groups from over 80 museums and institutions from across the world were in attendance. Spearheaded by Noah Horowitz, Art Basel’s Director Americas, the 2015 show in Miami Beach, Florida, over five days, the show attracted 77,000 visitors including private collectors and directors, curators, trustees and patrons of nearly 200 museum and institution groups. The show hosted first-time collectors from Cambodia, Ethiopia, Nicaragua, Romania, Togo, on display were 239 galleries from 35 countries and territories. Art Basel’s initiatives concentrate on the art world. Art Basel has three main initiatives, Art Basel Cities, BMW Art Journey, and Crowdfunding, Art Basel Cities is a project between Art Basel and cities worldwide to create cultural events and programming throughout the year. Art Basel, the local art stakeholders and the city’s officials will sit together and develop a program in line with the city’s mid-
Art Basel
–
Entrance to Art Basel (2011)
12.
Documentation
–
Documentation is a set of documents provided on paper, or online, or on digital or analog media, such as audio tape or CDs. Examples are user guides, white papers, on-line help, quick-reference guides and it is becoming less common to see paper documentation. Documentation is distributed via websites, software products, and other on-line applications, professionals educated in this field are termed documentalists. This field changed its name to information science in 1968, but some uses of the term documentation still exists, while associated ISO standards are not easily available publicly, a guide from other sources for this topic may serve the purpose. David Berger has provided several principles of document writing, regarding the terms used, procedure numbering and even lengths of sentences, etc. In general, these may involve document drafting, formatting, submitting, reviewing, approving, distributing, reposting and tracking and it could also involve creating content from scratch. Documentation should be easy to read and understand, if its too long and too wordy, it may be misunderstood or ignored. Clear, Short, Familiar words should be used to a maximum of 15 words to a sentence, only gender hyper neutral word should be used and cultural biases should be avoided. Procedures should be numbered when they are to be performed, Technical writers and corporate communicators are professionals whose field and work is documentation. Ideally, technical writers have a background in both the matter and also in writing and managing content. Corporate communications includes other types of documentation that is required for most companies. Marketing Communications, MarCom writers endeavor to convey the companys value proposition through a variety of print, electronic and this area of corporate writing is often engaged in responding to proposals. Technical Communication, Technical writers document a companys product or service, Technical publication include user guides, installation an configuration manuals, and troubleshooting/repair/replace procedures. Legal Writing, This type of documentation is often prepared by attorneys or paralegals who could be in practice or retained as corporate council. Compliance documentation, This type of documentation codifies Standard Operating Procedures, for any regulatory compliance needs, as for safety approval, taxation, financing, technical approval, there are many types of software and applications used to create documentation. SOFTWARE DOCUMENTATION FOLDER A common type of software document written by software engineers in the industry is the SDF. The document can be a page, MS word document or other environment. They should contain a section, an interface section to detail the communication interface of the software
Documentation
–
The multi-volume user guide to a 1975 programming language called
CB UNIX
13.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Modern art
–
Pablo Picasso, Dejeuner sur l'Herbe
Modern art
–
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
–
Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
–
Paul Cézanne,
The Large Bathers, 1898–1905
14.
Bauhaus
–
The Bauhaus was founded by Walter Gropius in Weimar. Nonetheless, it was founded with the idea of creating a work of art in which all arts, including architecture. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, the Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Although the school was closed, the continued to spread its idealistic precepts as they left Germany. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated, Gropius did not share these radical views, thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. In its first seven years, the Werkbund came to be regarded as the body on questions of design in Germany. The entire movement of German architectural modernism was known as Neues Bauen, beginning in June 1907, Peter Behrens pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. Behrens was a member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity, beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a minimal dwelling written into the new Weimar Constitution, ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, the Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization, the two schools were the first to train artist-designers in a modern manner. Vkhutemas was a school than the Bauhaus, but it was less publicised outside the Soviet Union. With the internationalism of modern architecture and design, there were exchanges between the Vkhutemas and the Bauhaus. In addition, El Lissitzkys book Russia, an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906
Bauhaus
–
The Bauhaus Dessau.
Bauhaus
–
1921/2,
Walter Gropius '
Expressionist Monument to the March Dead
Bauhaus
–
Typography by
Herbert Bayer above the entrance to the workshop block of the Bauhaus, Dessau, 2005
Bauhaus
–
The Bauhaus Museum - Tel Aviv
15.
Joseph Beuys
–
Joseph Beuys was a German Fluxus, happening, and performance artist as well as a sculptor, installation artist, graphic artist, art theorist, and pedagogue. His career was characterized by passionate and only rarely acrimonious open public debates on a wide range of subjects including political, environmental, social. He is widely regarded as one of the most influential artists of the half of the 20th century. Joseph Beuys was born in Krefeld, the son of the merchant Josef Jakob Beuys, the parents had moved from Geldern to Krefeld in 1910, and Beuys was born there on 12 May 1921. In autumn of that year the family moved to Kleve, a town in the Lower Rhine region of Germany. There, Joseph attended primary school and secondary school and his teachers considered him to have a talent for drawing, he also took piano and cello lessons. On several occasions he visited the studio of the Flemish painter, other interests of note include Nordic history and mythology and especially the natural sciences. Beuys 1936 membership in the Hitler Youth is documented, the organization comprised a majority of German children and adolescents at that time. He participated in the Nuremberg rally in September 1936, when he was 15 years old, around 1939 he worked for a circus on the side, postering and taking care of animals for about a year. He graduated from school in the spring of 1941 with his Abitur, in 1941, Beuys volunteered for the Luftwaffe. It is also during this time that he began to consider a career as an artist. In 1942, Beuys was stationed in the Crimea and was a member of various combat bomber units, from 1943 on he was deployed as rear-gunner in the Ju 87 Stuka dive-bomber, initially stationed in Königgrätz, later in the eastern Adriatic region. Drawings and sketches from that time have been preserved and already show his characteristic style, on 16 March 1944, Beuyss plane crashed on the Crimean Front close to Znamianka. They were the nomads of the Crimea, in what was no mans land between the Russian and German fronts, and favoured neither side. I had already struck up a relationship with them. ‘Du nix njemcky’ they would say, ‘du Tartar, ’ and their nomadic ways attracted me of course, although by that time their movements had been restricted. Yet, it was they who discovered me in the snow after the crash, I was still unconscious then and only came round completely after twelve days or so, and by then I was back in a German field hospital. So the memories I have of that time are images that penetrated my consciousness, the last thing I remember was that it was too late to jump, too late for the parachutes to open
Joseph Beuys
–
Offset poster for Beuys' 1974 US lecture-series "Energy Plan for the Western Man", organised by Ronald Feldman Gallery - Courtesy Ronald Feldman Fine Arts, New York
Joseph Beuys
–
Joseph Beuys on his lecture "Jeder Mensch ein Künstler - Auf dem Weg zur Freiheitsgestalt des sozialen Organismus" photographed by Rainer Rappmann (de) in Achberg / Germany 1978
Joseph Beuys
–
Beuys Felt TV performance by
Lothar Wolleh
Joseph Beuys
–
Some of the
7,000 Oaks planted between 1982 and 1987 for Documenta 7 (1982)
16.
Entartete Kunst
–
Degenerate art was a term adopted by the Nazi regime in Germany to describe Modern art. Such art was banned on the grounds that it was un-German, Jewish, or Communist in nature, and these included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art. Degenerate Art also was the title of an exhibition, held by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung, designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. Similar restrictions were placed upon music, which was expected to be tonal and free of any jazz influences, films and plays were also censored. The early twentieth century was a period of wrenching changes in the arts, in the visual arts, such innovations as Fauvism, Cubism, Dada and Surrealism—following Symbolism and Post-Impressionism—were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art which many resented as elitist, morally suspect, under the Weimar government of the 1920s, Germany emerged as a leading center of the avant-garde. It was the birthplace of Expressionism in painting and sculpture, of the musical compositions of Arnold Schoenberg. Films such as Robert Wienes The Cabinet of Dr. Caligari, the Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from a conservative aesthetic taste, and partly from their determination to use culture as a propaganda tool, on both counts, a painting such as Otto Dixs War Cripples was anathema to them. It unsparingly depicts four badly disfigured veterans of the First World War, then a familiar sight on Berlins streets, rendered in caricatured style. Featured in the Degenerate Art exhibition, it would hang next to a label accusing Dix—himself a volunteer in World War I—of an insult to the German heroes of the Great War. As dictator, Hitler gave his personal taste in art the force of law to a never before seen. Only in Stalins Soviet Union, where Socialist Realism was the style, had a modern state shown such concern with regulation of the arts. In the case of Germany, the model was to be classical Greek and Roman art, Art historian Henry Grosshans says that Hitler saw Greek and Roman art as uncontaminated by Jewish influences. Modern art was an act of violence by the Jews against the German spirit. Such was true to Hitler even though only Liebermann, Meidner, Freundlich, took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew. By propagating the theory of degeneracy, the Nazis combined their anti-Semitism with their drive to control the culture, the term Entartung had gained currency in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book, Entartung. He attacked Aestheticism in English literature and described the mysticism of the Symbolist movement in French literature as a product of mental pathology, explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture
Entartete Kunst
–
Adolf Hitler and
Adolf Ziegler visit the
Degenerate Art Exhibition, 1937. The wall behind them calls attention to the works of the
Dada artists with depreciatory comments
Entartete Kunst
–
A still from
The Cabinet of Dr. Caligari
Entartete Kunst
–
Das Magdeburger Ehrenmal (the Magdeburg cenotaph), by
Ernst Barlach was declared to be degenerate art due to the "deformity" and emaciation of the figures—corresponding to
Nordau's theorized connection between "mental and physical degeneration."
Entartete Kunst
–
Cover of the exhibition program: Degenerate Art exhibition, 1937. Note the word "Kunst", meaning art, in
scare quotes
17.
Fauvism
–
While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
–
Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
18.
Expressionism
–
Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
Expressionism
–
The Scream by
Edvard Munch (1893), which inspired 20th-century Expressionists
Expressionism
–
Portrait of Eduard Kosmack by
Egon Schiele
Expressionism
–
"View of Toledo" by
El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Historically however it is an example of
Mannerism. [
citation needed]
Expressionism
–
Wassily Kandinsky, On White II, 1923
19.
Cubism
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
20.
Blauer Reiter
–
Der Blaue Reiter was a group of artists united in rejection of the Neue Künstlervereinigung München in Munich, Germany. They considered that the principles of the Neue Künstlervereinigung München, a group Kandinsky had founded in 1909, had become too strict, Der Blaue Reiter was an art movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded in 1905. Der Blaue Reiter lacked an artistic manifesto, but it was centered on Kandinsky, Kandinsky wrote 20 years later that the name is derived from Marcs enthusiasm for horses and Kandinskys love of riders, combined with a shared love of the colour blue. For Kandinsky, blue is the colour of spirituality, the darker the blue, within the group, artistic approaches and aims varied from artist to artist, however, the artists shared a common desire to express spiritual truths through their art. They believed in the promotion of art, the connection between visual art and music, the spiritual and symbolic associations of colour, and a spontaneous. Members were interested in European medieval art and primitivism, as well as the contemporary, as a result of their encounters with cubist, fauvist and Rayonist ideas, they moved towards abstraction. Der Blaue Reiter organized exhibitions in 1911 and 1912 that toured Germany and they also published an almanac featuring contemporary, primitive and folk art, along with childrens paintings. In 1913 they exhibited in the first German Herbstsalon, the group was disrupted by the outbreak of the First World War in 1914. Franz Marc and August Macke were killed in combat, Wassily Kandinsky, Marianne von Werefkin and Alexej von Jawlensky were forced to move back to Russia because of their Russian citizenship. There were also differences in opinion within the group, as a result, Der Blaue Reiter was short-lived, lasting for only three years from 1911 to 1914. Supported by their dealer Galka Scheyer, Kandinsky, Feininger, Klee, together they exhibited and lectured together in the United States from 1924 on. An extensive collection of paintings by Der Blaue Reiter is exhibited in the Städtische Galerie in the Lenbachhaus in Munich. Conceived in June 1911, Der Blaue Reiter Almanach was published in early 1912, by Piper, Munich, in an edition of 1100 copies, on 11 May, Franz Marc received a first print. The volume was edited by Kandinsky and Marc, its costs were underwritten by the industrialist and art collector Bernhard Koehler and it contained reproductions of more than 140 artworks, and 14 major articles. A second volume was planned, but the start of World War I prevented it, instead, a second edition of the original was printed in 1914, again by Piper. The art reproduced in the Almanac marked a turn away from a Eurocentric. The five works by Van Gogh, Cézanne, and Gauguin were outnumbered by seven from Henri Rousseau and thirteen from child artists. From January 1912 through July 1914, the exhibition toured Europe with venues in Cologne, Berlin, Bremen, Hagen, Frankfurt, Hamburg, Budapest, Oslo, Helsinki, Trondheim and Göteborg
Blauer Reiter
–
Wassily Kandinsky, cover of Der Blaue Reiter almanac, c.1912
Blauer Reiter
–
Franz Marc, Blue Horse I, 1911
Blauer Reiter
–
Wassily Kandinsky, Der Blaue Reiter, 1903
Blauer Reiter
–
100th anniversary postage stamp, Germany (2012)
21.
Pittura Metafisica
–
Metaphysical art was a style of painting that flourished mainly between 1911 and 1920 in the works of the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a threatening, mysterious quality. De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school, while Futurism staunchly rejected the past, other modern movements identified a nostalgia for the now faded Classical grandeur of Italy as a major influence in their art. Giorgio De Chirico first developed the style that he later called Metaphysical Painting while in Milan and it was in the more sedate surroundings of Florence, however, that he subsequently developed his emphasis on strange, eerie spaces, based upon the Italian piazza. Many of De Chiricos works from his Florence period evoke a sense of dislocation between past and present, between the subject and the space he or she inhabits. These works soon drew the attention of artists such as Carlo Carrà. The arcades in this painting, as well as the deep space and dark-toned sky, are pictorial devices typical of De Chirico’s strange. He gave his paintings enigmatic titles—such as The Nostalgia of the Infinite, The Philosopher’s Conquest, other Metaphysical painters included Filippo de Pisis and Mario Sironi. The Metaphysical school proved short-lived, it came to an end about 1920 because of dissension between De Chirico and Carrà over who had founded the group, Giorgio de Chirico, The Spirits Released, De Chirico and Metaphysical Perspective
Pittura Metafisica
–
The Disquieting Muses by Giorgio de Chirico
Pittura Metafisica
–
The Song of Love by Giorgio de Chirico
22.
Abstract art
–
Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract art
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract art
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract art
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract art
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
23.
Abstract paintings
–
Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract paintings
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract paintings
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract paintings
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract paintings
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
24.
Pop Art
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Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art presented a challenge to traditions of art by including imagery from popular culture such as advertising. In pop art, material is sometimes removed from its known context, isolated. Pop art employs aspects of culture, such as advertising, comic books. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture and it is also associated with the artists use of mechanical means of reproduction or rendering techniques. Pop art is interpreted as a reaction to the then-dominant ideas of abstract expressionism. Due to its utilization of found objects and images, it is similar to Dada, Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. Pop art often takes imagery that is currently in use in advertising, product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbells Soup Cans, by Andy Warhol. Even the labeling on the outside of a box containing food items for retail has been used as subject matter in pop art. The origins of pop art in North America developed differently from Great Britain, in the United States, pop art was a response by artists, it marked a return to hard-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to defuse the personal symbolism, in the U. S. some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art. By contrast, the origins of pop art in post-War Britain, while employing irony, early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from afar. Similarly, pop art was both an extension and a repudiation of Dadaism, among those artists in Europe seen as producing work leading up to pop art are, Pablo Picasso, Marcel Duchamp, and Kurt Schwitters. During the 1920s, American artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery, the Independent Group, founded in London in 1952, is regarded as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. This material of found objects such as advertising, comic characters, magazine covers. One of the collages in that presentation was Paolozzis I was a Rich Mans Plaything, following Paolozzis seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertising. Nevertheless, Alloway was one of the critics to defend the inclusion of the imagery of mass culture in the fine arts
Pop Art
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Richard Hamilton 's collage
Just what is it that makes today's homes so different, so appealing? (1956) is one of the earliest works to be considered "pop art".
Pop Art
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Andy Warhol, Campbell's Tomato Juice Box, 1964. Synthetic polymer paint and silkscreen ink on wood, 10 inches × 19 inches × 9½ inches (25.4 × 48.3 × 24.1 cm),
Museum of Modern Art,
New York City
Pop Art
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Charles Demuth,
I Saw the Figure 5 in Gold 1928, collection of the
Metropolitan Museum of Art,
New York City
25.
Minimal Art
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As a specific movement in the arts it is identified with developments in post–World War II Western Art, most strongly with American visual arts in the 1960s and early 1970s. Artists themselves have reacted against the label due to the negative implication of the work being simplistic. Minimalism is often interpreted as a reaction against Abstract expressionism and a bridge to Postminimal art practices, Minimalism in visual art, generally referred to as minimal art, literalist art and ABC Art emerged in New York in the early 1960s. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, in the wake of those exhibitions and a few others the art movement called minimal art emerged. Others will come after us who will do the same and that is the tremendous secret of the future. Monochrome painting was initiated at the first Incoherent arts exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel. Minimal art is inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The wide range of possibilities of interpretation of monochrome paintings is arguably why the monochrome is so engaging to so many artists, critics, although the monochrome has never become dominant and few artists have committed themselves exclusively to it, it has never gone away. It reappears as though a spectre haunting high modernism, or as a symbol of it, appearing during times of aesthetic and sociopolitical upheavals. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, in general, Minimalisms features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials. Robert Morris, an influential theorist and artist, wrote a three part essay, Notes on Sculpture 1-3, originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and these essays paid great attention to the idea of the gestalt - parts. Bound together in such a way that create a maximum resistance to perceptual separation. Morris later described an art represented by a marked lateral spread, the general shift in theory of which this essay is an expression suggests the transitions into what would later be referred to as postminimalism. The decisions about structures on the front surface of the canvas were therefore not entirely subjective, in the show catalog, Carl Andre noted, Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes, there is nothing else in his painting
Minimal Art
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Donald Judd, Untitled, 1991,
Israel Museum Art Garden,
Jerusalem.
Minimal Art
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Frank Stella,
Die Fahne Hoch!, 1959,
Whitney Museum of American Art
Minimal Art
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Tony Smith, Free Ride, 1962, 6'8 x 6'8 x 6'8
Minimal Art
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Kazimir Malevich, Black Square, 1915, oil on canvas,
Tretyakov Gallery,
Moscow
26.
Kinetic Art
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Kinetic art is art from any medium that contains movement perceivable by the viewer or depends on motion for its effect. Canvas paintings that extend the viewers perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art, more pertinently speaking, kinetic art is a term that today most often refers to three-dimensional sculptures and figures such as mobiles that move naturally or are machine operated. The moving parts are generally powered by wind, a motor or the observer, Kinetic art encompasses a wide variety of overlapping techniques and styles. There is also a portion of art that includes virtual movement. This term also clashes frequently with the apparent movement, which many people use when referring to an artwork whose movement is created by motors, machines. Both apparent and virtual movement are styles of art that only recently have been argued as styles of op art. Kinetic art as a developed from a number of sources. This triumvirate of impressionist painters all sought to create art that was more lifelike than their contemporaries, by the early 1900s, certain artists grew closer and closer to ascribing their art to dynamic motion. Naum Gabo, one of the two artists attributed to naming this style, wrote frequently about his work as examples of kinetic rhythm and he felt that his moving sculpture Kinetic Construction was the first of its kind in the 20th century. From the 1920s until the 1960s, the style of art was reshaped by a number of other artists who experimented with mobiles. The strides made by artists to lift the figures and scenery off the page and prove undeniably that art is not rigid took significant innovations, Édouard Manet, Edgar Degas, and Claude Monet were the three artists of the 19th century that initiated those changes in the Impressionist movement. Even though they each took unique approaches to incorporating movement in their works, in the same period, Auguste Rodin was an artist whose early works spoke in support of the developing kinetic movement in art. It is almost impossible to ascribe Manets work to any one era or style of art, one of his works that is truly on the brink of a new style is Le Ballet Espagnol. The figures contours coincide with their gestures as a way to suggest depth in relation to one another, Manet also accentuates the lack of equilibrium in this work to project to the viewer that he or she is on the edge of a moment that is seconds away from passing. The blurred, hazy sense of color and shadow in this work similarly place the viewer in a fleeting moment, in 1863, Manet extended his study of movement on flat canvas with Le déjeuner sur lherbe. The light, color, and composition are the same, the woman bending in the background is not completely scaled as if she were far away from the figures in the foreground. The lack of spacing is Manets method of creating snapshot, near-invasive movement similar to his blurring of the objects in Le Ballet Espagnol. Edgar Degas is believed to be the extension of Manet
Kinetic Art
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Naum Gabo, Kinetic Construction, (also titled Standing Wave) made in 1919-1920
Kinetic Art
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George Rickey, Four Squares in Square Arrangement, 1969, terrace of the
New National Gallery,
Berlin, Germany, Rickey is considered a Kinetic sculptor
Kinetic Art
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Édouard Manet, Le Ballet Espagnol, (1862).
Kinetic Art
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At the Races, 1877–1880, oil on canvas, by Edgar Degas,
Musée d'Orsay, Paris
27.
Adolf Wolfli
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Adolf Wölfli was a Swiss artist who was one of the first artists to be associated with the Art Brut or outsider art label. Wölfli was born in Bern, Switzerland and he was abused both physically and sexually as a child, and was orphaned at the age of 10. He thereafter grew up in a series of foster homes. He worked as a Verdingbub and briefly joined the army, but was convicted of attempted child molestation. After being freed, he was re-arrested for an offense and in 1895 was admitted to the Waldau Clinic. He was very disturbed and sometimes violent on admission, leading to him being kept in isolation for his time at hospital. He suffered from psychosis, which led to intense hallucinations, at some point after his admission Wölfli began to draw. His first surviving works are dated from between 1904 and 1906, in this respect, Wölfli was an iconoclast and influenced the development and acceptance of outsider art, Art Brut and its champion Jean Dubuffet. Wölfli produced a number of works during his life, often working with the barest of materials and trading smaller works with visitors to the clinic to obtain pencils. Morgenthaler closely observed Wölflis methods, writing in his book, Every Monday morning Wölfli is given a new pencil. The pencil is used up in two days, then he has to make do with the stubs he has saved or with whatever he can beg off someone else. He often writes with pieces only five to seven long and even with the broken-off points of lead. He carefully collects packing paper and any other paper he can get from the guards and patients in his area, at Christmas the house gives him a box of coloured pencils, which lasts him two or three weeks at the most. The images Wölfli produced were complex, intricate and intense and they worked to the very edges of the page with detailed borders. In a manifestation of Wölflis horror vacui, every empty space was filled with two small holes, Wölfli called the shapes around these holes his birds. His images also incorporated an idiosyncratic musical notation and this notation seemed to start as a purely decorative affair but later developed into real composition which Wölfli would play on a paper trumpet. In 1908, he set about creating an epic which eventually stretched to 45 volumes. Text and illustrations formed the narrative, sometimes combining multiple elements on kaleidoscopic pages of music, words, after Wölfli died at Waldau in 1930 his works were taken to the Museum of the Waldau Clinic in Bern
Adolf Wolfli
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Portrait of Adolf Wölfli
Adolf Wolfli
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Wölfli's Irren-Anstalt Band-Hain, 1910
Adolf Wolfli
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General view of the island Neveranger, 1911
