In 1913 French writer Charles Péguy wrote …"the world has changed less since the time of Jesus Christ than it has in the last thirty years".
What kind of changes do you think he was referring to?
We
talked about the Eiffel tower and it's impact on society, how this
became a symbol of how nature was being over taken by industry.
The
Eiffel Tower itself
is
to represent a person in time standing tall and to proclaim Paris as
a metropolis, it
was visible from all around the city for everyone to see what ever
class you are which
was important at the time.
It
also offered an arial view of the city, which was a view only very
few had seen, like Felix Nadar who had taken photographs from his hot
air ballon.
So
the Eiffel tower was a great leveller of people and offered a new
perspective on the world around them.
This is the perspective people were subject to before the eyes were open to seeing the world from great heights and angles.
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1854 painting of The Crystal Palace
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Aundre
Derain – In the mountains.
It
was used this as a different way to represent space.
In
the years after 1888 a great technological age came about with -
Cotton
industry
Technology
for home and work place
Flight
Transport
Movies
were brought out
Secularisation
War
Photography
Lightbulb
1879
Kodak
1888
How
do you think all of this technology effected painters?
It
made them redundant and gave them the freedom to look into
experimental and created “ism's” Fauvism, surrealism,
impressionism ect
This
new influx of technology meant that people would move away from from
the country to the city and effected art. No longer were fields and
farmer the popular subject as it changed to city scape's.
Transportation was one factor in this as the scenes became
fragmented ART IN THEORY BOOK QUOTE.
Fernand Léger, The Card Players, 1917
It looks industrial, fragmented, Mechanised, use of colours.
Leger, Three Women (Le Grand Dejeuner), 1921
It's like clockwork, shading = industrial he finds it adaptable.
Leger, Mechanical Elements, 1924
insert concept.
Filippo Tommaso Marinetti, ‘Manifesto of Futurism’, 1909
"We intend to sing the love of danger, the habit of energy and fearlessness.
We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath – a roaring car that seems to run on shrapnel is more beautiful than the Victory of Samothrace.
For too long has Italy been a dealer in second-hand clothes. We mean to free her from the numberless museums that cover her like so many graveyards".
From Art in Theory, pp146-149.
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Eadweard Muybridge photographs, 1880s
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Muybridge photographs, 1870s
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Giacomo Balla, Dynamism of a Dog on a Leash, 1912
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Boccioni, Dynamism of a Cyclist, 1913
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Umberto Boccioni, The City Rises, 1910
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Georges Braque, Violin and Candlestick, 1910
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Pablo Picasso, Le Torero, 1912
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Metropolis directed by Fritz Lang, 1927
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Jacob Epstein, The Rock Drill, 1913/14
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Wassily Kandinsky, Improvisation 19, 1911
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Wassily Kandinsky, Concerning the Spiritual in Art, 1912
"When religion, science, and morality are shaken (the last by the mighty hand of Nietzsche), when the external supports threaten to collapse, then man’s gaze turns away from the external toward himself.
Literature, music, and art are the first and most sensitive realms where this spiritual change becomes noticeable in real form….they turn away from the soulless content of modern life, toward materials and environments that give a free hand to the nonmaterial strivings and searchings of the thirsty soul".
Extract from Art in Theory, pp82-89, p87/l.1-12
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Kandinsky, All Saints, 1911
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Reading for 22/10/12:
Georges Braque, ‘Thoughts on Painting’ (1917) in Art in Theory, pp.214 & 215
Pablo Picasso, ‘Picasso Speaks’ (1923) in Art in Theory, pp.215 – 217, p 217,l.23-36
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