28 Mart 2012 Çarşamba

Futurism

Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre, film, fashion,textiles, literature, music, architecture and even gastronomy. Key figures of the movement include the Italians Filippo Tommaso Marinetti,Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Tullio Crali and Luigi Russolo, and the Russians Natalia Goncharova, Velimir Khlebnikov, and Vladimir Mayakovsky. Important works include its seminal piece of the literature, Marinetti's Manifesto of Futurism, as well as Boccioni's sculpture, Unique Forms of Continuity in Space, and Balla's painting, Abstract Speed + Sound (pictured). Futurism influenced art movements such as Art Deco, Constructivism, Surrealism, Dada, and to a greater degree, Rayonism and Vorticism.

The Futurist architect Antonio Sant'Elia expressed his ideas of modernity in his drawings for La Città Nuova (The New City) (1912–1914). This project was never built and Sant'Elia was killed in the First World War, but his ideas influenced later generations of architects and artists.[citation needed] The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. They[who?]wanted to see the bare bones, the structure behind things as part of the aesthetic quality. Sant'Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralised into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.
Futurist architects were sometimes at odds with the Fascist state's tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 1920–1940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento's railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.
Antonio Sant'Elia was born in Como, Lombardy. A builder by training, he opened a design office in Milan in 1912 and became involved with the Futuristmovement. Between 1912 and 1914, influenced by industrial cities of the United States and the Viennese architects Otto Wagner and Adolf Loos, he began a series of design drawings for a futurist Città Nuova ("New City") that was conceived as symbolic of a new age.
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die brücke

Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905, after which the Brücke Museum in Berlin was named. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism.[1]
Die Brücke is sometimes compared to the Fauves. Both movements shared interests in primitivist art. Both shared an interest in the expressing of extreme emotion through high-keyed color that was very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings make their French counterparts, the Fauves, seem tame by comparison.
Some of the painters in the group sympathized with the revolutionary socialism of the day and drew inspiration from Van Gogh's ideas on artists' communities. Die Brucke expressionists believed that their social criticism of the ugliness of modern life could lead to a new and better future.
A successor group formed in 1919, the Dresdner Sezession, including painter Conrad Felixmüller.
Die Brücke was one of two groups of German painters fundamental to Expressionism, the other being Der Blaue Reiter group ("The Blue Rider"), formed in Munich in 1911.

Hilmar Friedrich Wilhelm Bleyl, known as Fritz Bleyl, (8 October 1880, Zwickau, Kingdom of Saxony – 19 August 1966, Bad Iburg) was a German artist of the Expressionist school, and one of the four founders of artist group Die Brücke ("The Bridge"). He designed graphics for the group including, for their first show, a poster, which was banned by the police. He left the group after only two years, when he married, to look after his family, and did not exhibit publicly thereafter.
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26 Mart 2012 Pazartesi

Les Fauves

Fauvism is the style of les Fauves (French for "the wild beasts"), a short-lived and loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. 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.[1][2] The leaders of the movement were Henri Matisse and André Derain.[1]


Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, the Dutch painter Kees van Dongen, the Swiss painter Alice Bailly, and Georges Braque (subsequently Picasso's partner in Cubism).[1]
The paintings of the Fauves were characterised by seemingly wild brush work and strident colours, while their subject matter had a high degree of simplification and abstraction.[3] Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat[3] and other Neo-Impressionist painters, in particular Paul Signac. Other key influences were Paul Cézanne[4] and Paul Gauguin, whose employment of areas of saturated colour—notably in paintings from Tahiti—strongly influenced Derain's work at Collioure in 1905.[5] In 1888 Gauguin had said to Paul Sérusier:[6]
“How do you see these trees? They are yellow. So, put in yellow; this shadow, rather blue, paint it with pure ultramarine; these red leaves? Put in vermilion.”
Fauvism can also be seen as a mode of Expressionism.[3]

Albert Marquet (27 March 1875 – 14 June 1947) was a French painter, associated with the Fauvist movement.

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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, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4]
Expressionism was developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic,[1] particularly in Berlin. The style extended to a wide range of the arts, including painting, literature, theatre, dance, film, architecture and music.
The term is sometimes suggestive of emotional 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 and other artistic styles such as naturalism and impressionism.[5]
Some of the style's main visual artists of the early 20th century were:

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