art and literature dominant artistic movements in europe 1910 to 1940: how did they influence camus?

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Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

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Page 1: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Art and Literature

Dominant artistic movements in Europe

1910 to 1940: how did they influence Camus?

Page 2: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Visual Literacy and Artistic Vocabulary

• Perspective• Collage• Abstraction• Composition• Landscape• Portrait• Dimensions

Page 3: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Visual Literacy and Artistic Vocabulary

• Distortion• Motif• Realism• Primitive• Rhythm• Tension• Framing

Page 4: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Design Vocabulary

• Line– Path of

movement– Thick, thin, dark,

light• Shape and Form

– Solid, void– Positive,

negative– Sphere, cube

• Space– Interior, exterior– Positive,

negative

Page 5: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Design Vocabulary

• Light/Color/Value– Shade– Primary, secondary,– Neutral– Intensity

• Texture– Matte, gloss

• Balance– Symmetrical,

asymmetrical

• Rhythm/Movement• Proportion

Page 6: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Respond

• Note taking: on a sheet of paper number each painting and respond to:– What do you notice about this painting?– How does the painting make you feel?

• Leave room between each response for a “before” and “after” note.

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The beginnings of cubism

Credited to Pablo Picasso and George Braque

Note: you will take notes of the text highlighted in yellow

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Page 15: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Picasso and his beginnings

• At thirteen, Picasso proved his mastery over contemporary realism with his admittance into the Barcelona School of Fine Arts.

• As a prodigy, he was seeking new challenges in artistic representation. Cubism was born from his boredom with realism.

• Still Life With Chair Caning represents primary concern of cubism: breaking subject into its parts, analyzing, reassembling into abstract form to create new meaning

• Simultaneity: act of seeing from many perspectives

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Transitions

• Picasso soon tired of cubism, which he deemed to be overly analytical

• Girl Before A Mirror represents his next phase of painting as he was influenced by a new movement:

• DadaThe first anti-art movement. It was meant to shock, did not follow any rules, and was absurd and outrageous. The provocative and frequently nonsensical work of the Dadaists challenged the artistic norms, cultural values and traditions of the period.

Page 21: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Title:

The Bride Stripped Bare By Her Bachelors, Even/The Large Glass

Page 22: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Title:

Nude Descending a Staircase

Page 23: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Dada: Began in Switzerland @1916: movement of visual and literary and performing artFrom the Dadaist Manifesto: There is a literature that does not reach the voracious mass. It is the work of creators, issued from a real necessity in the author, produced for himself. It expresses the knowledge of a supreme egoism, in which laws wither away. Every page must explode, either by profound heavy seriousness, the whirlwind, poetic frenzy, the new, the eternal, the crushing joke, enthusiasm for principles, or by the way in which it is printed. On the one hand a tottering world in flight, betrothed to the glockenspiel of hell, on the other hand: new men. Rough, bouncing, riding on hiccups. Behind them a crippled world and literary quacks with a mania for improvement. …

Page 24: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

…I say unto you: there is no beginning and we do not tremble, we are not sentimental. We are a furious Wind, tearing the dirty linen of clouds and prayers, preparing the great spectacle of disaster, fire, decomposition.* We will put an end to mourning and replace tears by sirens screeching from one continent to another. Pavilions of intense joy and widowers with the sadness of poison. Dada is the signboard of abstraction; advertising and business are also elements of poetry.

Page 25: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Title: Persistence of Memory

Page 26: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Illustration from the Adventures of Alice in Wonderland

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Illustration from the Divine Comedy

Page 28: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Surrealism

• Surrealist artists primarily concerned with psychology

• Strongly influenced by the work of Sigmund Freud

• Rene Magritte – noteworthy in surrealist movement (both literature and visual)

Page 29: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Title: This Is Not A Pipe

Page 30: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

“An object never serves the same function as its image – or its name.”

Rene Magritte

Page 31: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Title: Son of Man (Man In A Bowler Hat)

Page 32: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Title: Golconda

Page 33: Art and Literature Dominant artistic movements in Europe 1910 to 1940: how did they influence Camus?

Magritte wrote,“There is a crowd of men here, different men. When you think of a crowd, however, you don’t think of an individual ; accordingly, these men are all dressed alike, as simply as possible, so as to suggest a crowd……Golconda was a wealthy Indian city, something like a wonder. I consider it a wonder that I can walk through the sky on the earth. On the other hand, the bowler hat constitutes no surprise – it is a quite unoriginal article of headgear. The man in the bowler hat is Mr Average in his anonymity. I, too, wear one ; I have no great desire to stand out from the masses.”