ART APPRECIATION

Name: Nandni Sethi

Interior Design and Styling

2014-16

Duration: 30 day

Date of submission

: 10.12.2014 1

Letter Of Acknowledgement

I would like to take this opportunity to thank the people who

have supported me in the duration of this project.

First of all I would like to thank Suhasini Ma’am, for giving

us this chance to explore the various art styles of the past and

present and Harroop Ma’am for guiding us to complete this

project in the most accurate format.

Also, I am thankful for the support I received from Nitin Sir

and my fellow classmates while doing this project. I am also

grateful to my parents and brother for their love and support.

Nandni Sethi

PG-IDS 2

MESOPOTAMIAN

Contents

Executive summary

Page no:13 Mesopotamian civilization

Page no: 14

Egyptian Civilization

Page no: 19

Greek civilization

Page no: 24 Roman civilization

Page no: 32

Renaissance

Page no: 37

Baroque

Page no:42

Rococo

Page no:45

Romanticism

Page no:47

Realism In Art

Page no: 51

Impressionism

Page no: 62

5 Futurism

Page no: 87

Art Nouveau

Page no:66

Art Deco

Page no: 71

Fauvsim

Page no:81

Expressionism

Page no:75

Cubism

Page no: 84

6

Surrealism

Page no: 91

Dada Movement

Page no: 95

Pop Art

Page no:99

Environmental

Page no: 110

Minimalism

Page no:104

Op Art

Page no: 107

7

Limitations

Page no: 117

Bibliography

Page no: 119

Cubism

Page no: 118

Installation Art

Page no: 114

S. No Page No.

1 Fig 1. 'winged bull with human head' 15

2 Fig 2. Statue of Gudea 16

3 Fig 3. Albaster with shell eyes 16

4 Fig 4. lion eating a man (sculpture) 16

5 Fig 5. Ziggurat , near Iraq 17

6 Fig 6. Hanging Graden of Babylon (painting) 18

7 Fig 7. God Sobek 20

8 Fig 8. tomb of Sarenput II (painting) 20

9 Fig 9. Ramses tomb 21

10 Fig 10. Head of Amenhotep III (sculpture) 21

11 Fig 11. Menkaura and queen (sculpture) 22

12 Fig 12. ancient sculpture 23

13 Fig 13. Golden Ratio 25

14 Fig 14. Doric Order oloum 26

15 Fig 15. Corinthain Order Coloum 26

16 Fig 16. Ionic Order Coloum 26

17 Fig 17. Twin Kouroi of Argos 27

18 Fig 18. .‘Diadumenos 28

19 Fig 19. Parthenon in Athens 29

20 Fig 20. The Charioteer of Delphi 29

Table of Images

8

21 Fig 21. Laocoon and his sons 30

22 Fig 22. Aphrodite of Milos 31

23 Fig 23. Pergamon Altar 31

24 Fig 24. The Palazzo Farnese 33

25 Fig 25. The Fontana delle Naiadi 34

26 Fig 26. The Pantheon 34

27 Fig 27. Santa Maria Maggiore (groin vault) 35

28 Fig 28. The Cloisters 36

29 Fig 29. Cathedral of Reims 36

30 Fig 30. Transfiguration 1516-20, Rafel 39

31 Fig 31. Leonardo da Vinci,’ Lady with an Ermine’ 1489–1490 40

32 Fig 32. Donatello, ‘David 40

33 Fig 33. Tempietto di San Pietro in Montorio, Rome 41

34 Fig 34. The Triumph of the Immaculate by

Paolo de Matteis

43

35 Fig 35. Château de Maisons 44

36 Fig 36. Rococo style mirrior 46

37 Fig 37. J.M.W. Turner, 1839 48

38 Fig 38. Crusaders Thirsting near Jerusalem Francesco Hayez 49

39 Fig 39. The Voyage of Life

Old Age,1842, Thomas Cole

50

40 Fig 40. Albion Rose, 1794-5 William Blake 50

41 Fig 41. The Sower, 1850, Jean-François Millet 52

9

43 Fig 43. Jules Brenton, The End of Working Day, 1886-87 54

44 Fig 44. Le Sommeil (Sleep), 1866, Gustave Courbet 56

45 Fig 45. Jean-François Millet, 'The Gleaners' 1857 58

46 Fig 46. Gustav Courbet, Young Women from the Village ,1852 60

47 Fig 47. Winslow Homer, The Fox Hunt, 1893 61

48 Fig 48. Monet.C .'Rouen Cathedral in Full Sunlight’,1893 63

49 Fig 49. Degas. E, 'Four Dancers', 1899 64

50 Fig 50. Monet.C, 'Nympheas' (Water-lily Pond),1918 64

51 Fig 51. Monet.C, 'Impression Sunrise',

1872

65

52 Fig 52. Degas.E, L'Absinthe, 1876, Musee d'Orsay, Paris 65

53 Fig 53. Beardsley. A,’The Peacock Skirt’, 1892 67

54 Fig 54. Art Nouveau interior ,1900 68

55 Fig 55. Tassel House stairway in Brussels 69

56 Fig 56. Louis Comfort Tiffany, Vase, 1913 69

57 Fig 57. interior of the Vitebsk Railway Station in St. Petersburg 70

58 Fig 58. Chrysler Building in New York City, William Van Alen; built 1928–30 72

59 Fig 59. County Courthouse doors, Bisbee, Arizona, 1931 72

60 Fig 60. Window Design 73

10

61 Fig 61. sunburst design above front doors,1930 73

62 Fig 62. A. M. CASSANDRE ,'Nord Express' 1927 74

63 Fig 63. Tamara de Lempicka,"The Musician",

1929

74

64 Fig 64. Gogh. V, ‘Starry Night’, 1889 76

65 Fig 65. Gogh. V, ‘sunflowers’ ,1888 77

66 Fig 66. Munch. E, ‘Madonna’,1894 78

67 Fig 67. Munch. E , “The Scream” 1893 78

68 Fig 68. Matisse. H, ’green strip’,1905 82

69 Fig 69. Matisse. H, 'Self Portrait', 1937 82

70 Fig 70. MATISSE.H, 'The Goldfish', 1912 83

71 Fig 71. Matisse. H, ’Red Interior: Still Life on a Blue Table‘ ,1947 83

72 Fig 72. Picasso.P,'Factory, Horta de Ebbo', 1909 85

73 Fig 73. GRIS. J, 'Violin and Glass', 1915 86

74 Fig 74. PICASSO. P ,'Still Life with Chair Caning', 1912 86

75 Fig 75. Boccioni .U, ‘ The Laugh’, 1911 88

76 Fig 76. Umberto Boccioni, ‘self-portrait’ 89

77 Fig 77. Boccioni .U, ‘development of bottle in space’ ,1913 90

78 Fig 78. Boccioni.U,‘unique forms of continuity in space’,1913 90

79 Fig 79. Chirico. D. G ,’The Disquieting Muses’, 1916 92

80 Fig 80. Dali. S, ‘un-chien-andalou, film still’,1928 93 11

81 Fig 81. ‘Photograph of S.Dali and M.Ray’ 92

82 Fig 82. MIRO. J, ‘The Birth of the World’, 1925 93

83 Fig 83. Dali. S,‘accommodation of desire’, 1929 93

84 Fig 84. 'DER DADA NO.2' 1919 (magazine cover)

Edited by Raoul Hausmann, John Heartfield,

and George Grosz

96

85 Fig 85. Duchamp.M, 'Fountain’, 1917 97

86 Fig 86. Duchamp.M, 'L.H.O.O.Q', 1919 97

87 Fig 87. Grosz.G and Heartfield.J

'Life and Work in Universal City 12:05 Noon’ 1919

98

88 Fig 88. Hausmann.R, 'ABCD’,1920 98

89 Fig 89. Lichtenstein, Roy ,’Blam’(1962) 100

90 Fig 90. Paolozzi, E,'I was a Rich Man's Plaything',(1947) 101

91 Fig 91. Rauschenberg, R, 'Retroactive 1', (1964) 102

92 Fig 92. Warhol, A , 'Marilyn Diptych' (1962) 103

93 Fig 93. Piet Mondrian, Composition II in Red, Blue, and Yellow, 1930 106

94 Fig 94.Piet Mondrian, "Composition No. 10" (1939–42) 106

95 Fig 95. Riley, B, Loss (1964) 109

96 Fig 96. Edith Meusnier, Artefact, Bois de Belle Rivière, (installation) 112

97 Fig 97. Environmental Art in the woods , (Scotland) 113

98 Fig 98. Kinetic rain installation 116

99 Fig 99. Kinetic rain installation 116

12

Executive Summary

This project is tracing the development of art and architectural style

beginning from ancient civilization to the present. after working on

this project I have gained an insight of the way the thought process

of design has changed with the changing times.

Having an understanding of the art history helps us as design

students in understanding the ‘evolution of design thinking’. This

project would help in my course of Interior design and styling, as it

would guide my understanding of the different styles of deign.

13

MESOPOTAMIAN CIVILIZATION 14

INTRODUCTION

One of the oldest civilizations to have existed. The art of this civilization was influenced by three factors. First, the socio-political organization of city states, this was found in the way cities were planned and the irrigation system Second, the role of organized religion, since city was responsibility of temple. Third, the influence of natural environment, since it was not favorable to use wood or stone they had to use terracotta. Here evidence of earliest use of painted ornament on pottery vessels.

Fig 1. Winged bull with a human head, guardian figure from the gate of the palace at Dur Sharrukin, near Nineveh; in the Louvre. Credit: Cliché Musées Nationaux, Paris www.britannica.com, accessed:7.12.2014 15

Fig 2. One of 18 Statues of Gudea, a ruler around 2090 BC, www.wikipedia.org, accesed:7.12.2014

Fig 4. One of the Nimrud ivories shows a lion

eating a man. , www.wikipedia.org, accessed:7.12.2014

Fig 3. Alabaster with shell eyes, Sumerian male worshiper, 2750-2600 BC,www.wikipedia.org, accessed:7.12.2014 16

The Architecture

Among the Mesopotamian architectural accomplishments are the development of urban planning, the courtyard house, and ziggurats.

17

Fig 5. The reconstructed facade of the Neo-Sumerian Great Ziggurat of Ur, near Nasiriyah, Iraq www.wikipedia.org, accessed:7.12.2014

The hanging gardens of Babylon, were developed over the architecture of Mesopotamian ziggurats. This showed the architectural advancement of the Mesopotamian civilization.

Fig 6. Painting depicting the Hanging gardens of Babylon, www.wikipedia.org, accessed:7.12.2014

18

EGYPTIAN CIVILIZATION 19

The painting and sculptures of Egyptian highly stylized and symbolic. During this period symbolism used to depict gods and goddesses. Animals were depicted in symbolic figures.

Art form of Egyptian period included detailed depiction of gods, human beings, heroic battles, and nature.

INTRODUCTION

Fig 7. god Sobek (anmal symbolism) www.wikipedia.org, accessed: 8.12.2014

Fig 8. Tomb of Sarenput II. www.wikipedia.org,

accessed: 8.12.2014 20

The sculpture of this period was found to be following same figure convention as the one for paintings, wherein figures had parted legs (where not seated) and head shown from the side, but the torso from the front, and a standard set of proportions making up the figure. Found both large and small sculptures n this civilization.

fig 10. sculpted head of Amenhotep III, www.wikipedia.org, accessed:8.12.2014

Fig 9. Ramses tomb, example of large sculptures, www.tripadvisor.com, accessed: 8.12.2014

SCULPTURES

21

Fig 11. Menkaura (Mycerinus) and queen, www.wikipedia.org, accessed:8.12.2014

The formality of the pose is reduced by the queen's arm round her husband.

22

Of the materials used by the Egyptian sculptors, we find - clay, wood, metal, ivory, and stone - stone was the most plentiful and permanent, available in a wide variety of colors and hardness. Sculpture was often painted in vivid hues as well. distinctive qualities found is the cubic forms of sculptures, since the stone cube or block formed the base of the figure.

fig 12. www.crystalinks.com,

accessed:8.12.2014

Image showing the cubic form

of ancient Egyptian sculpture

23

24

INTRODUCTION The Greek Civilization has provided the ancient world with the finest and most distinctive sculptures and architecture. The greeks strived for perfection in their understanding of structures and human body. They achieved this by uncovering the rule of ‘Golden Proportion’ and applying it in building of their structures and sculptures.

The development of greek architecture and understanding of human proportions can be traced over Three periods- • Archaic Period • Classical Period • Hellenistic Period

Fig 13. Golden ratio seen implemented in architecture, www.theglobeandmail.com,accessed:5.12.2014 25

The greek architecture is know to have Three Orders • Doric Order • Ionic Order • Corinthian Order

The different orders were applied to the whole range of buildings and monuments. The development of these orders can be traced in Classical Period of Greek civilization.

Three Orders

Fig 14. Architectural elements of the Doric Order showing simple curved echinus of capital

DORIC

Fig 16.Capital of the Ionic Order showing volutes and ornamented echinus

IONIC

CORINTHIAN

Fig 15. Capital of the Corinthian Order

showing foliate decoration and

vertical volutes.

Images : www.wikipedia.com, accessed:5.12.2014

26

In Archaic period, small solid figures in clay, ivory, and bronze were largely found. The human figures resemble those in contemporary Geometric pottery designs, having elongated limbs and a triangular torso. Even though, largely bronze sculptures with small bases were prevalent, the understanding of human proportions in this period can be seen in the large stone figures of kouroi - nude male youths and kore - clothed female figures. These kind of sculptures were rigid with the arms held straight at the sides, the feet are almost together and the eyes staring blankly ahead without any particular facial expression.

Fig 17.Twin Kouroi of Argos - named Kleobis and Biton - sculpted by Polymedes (c 580 BCE), mature archaic style. Delphi Archaeological Museum, Greece. www.ancient.eu, accessed: 5.12.2014

27

Classical period is known to have resurgence of art and underwent ‘structural revolution’. Greek sculptors would break off the shackles of convention as they created life-size and life-like sculpture which glorified the human body and especially nude male form. Thus, they had achieved perfection in depicting the human anatomy and idealized classical sculptures.

The sculptures no longer seemed to be sculptures but were figures instilled with life and verve, as the marble figures depicted life like expressions, clothing and positions.

Fig 18.‘Diadumenos’, www.wikipedia.org, accessed:5.12.2014

28

The Classical Period also saw an increase in the use of statues and sculptures as decorations of buildings. The characteristic temples of the Classical era, such as the Parthenon in Athens, and the Temple of Zeus at Olympia, used relief sculpture for decorative friezes, and sculpture in the round to fill the triangular fields of the pediments.

Fig 19. Parthenon in Athens, temple in classical period, www.wikipedia.org, accessed:5.12.2014

Fig 20.The Charioteer of Delphi, 478 or 474 BC, Delphi Museum, www.wikipedia.org,

accessed:5.12.2014 29

this period marked by the death of Alexander the great, there was exaggeration of depiction as the sculptures added more drama and added a narrative to the sculpture. There was a shift towards increasing naturalism and common people, women, children, animals, and domestic scenes became acceptable subjects for sculpture.

The sculptures no longer needed to depict human as ideals of beauty or physical perfection. Rather compared to classical sculptures, sculptures began expressing more power and energy during this time period.

Fig 21. Laocoon and his sons (Late Hellenistic), Vatican Museum, www.wikipedia.com, accessed:5.12.2014 30

Fig 22. Aphrodite of Milos (Venus de Milo), www.wikipedia.org, accessed:5.12.2014

Fig 23. Pergamon Altar, Pergamon Museum, Berlin, www.wikipedia.org, accessed:5.12.2014

31

ROMAN Civilization 32

Introduction

7n civilization architecturally carried forward the characteristics of Greece architecture but is known to have brought the use of concrete to build.

The ‘concrete revolution’ in the field of architecture enabled them to build arches and break away from the Greek architectural styles. The use of concrete to make arches lead to the introduction of use of bricks in architecture.

Fig 24. The Palazzo Farnese, www.wikipedia.org, accessed:6.12.2014 33

Fig 25. The Fontana delle Naiadi, www.wikipedia.org, accessed:8.12.2014

Fig 26. The Pantheon, www.wikipedia.org, accessed: 8.12.2014

34

Prominent in roman architecture were the use of different vaults: • Groin Vault • Barrel Vault • Ribbed Vault

Groin Vault It refers to the edge between the intersecting vaults. This is characterized by four corners and is known to be stronger than most. These arches are usually pointed instead of being round.

Fig 27. Santa Maria Maggiore at Guardiagrele in Abruzzo www.wikipedia.org , accessed:8.12.2014 35

Barrel Vault These vaults were mostly circular and the simplest form of a vault, since it was a series of arches placed one after another. They were also known as tunnel vault or wagon vault.

Fig 28. The Cloisters, New York City, www.wikipdia.org, accessed:8.12.2014

Ribbed vaults

Fig 29. Cathedral of Reims, France, www.wikipedia.org, accessed:8.12.2014

The intersection of two or three barrel vaults produces a rib vault

36

LEONARDO DA VINCI, 'The Madonna of the Rocks’,www.artyfactory.com, acessed:7.12.2014

RENAISSANCE

37

Renaissance, emerging as a distinct style in Italy in about 1400, in parallel with developments which

occurred in philosophy, literature, music and science. Renaissance drew on the wealth and power of the Italian courts and was a blend of secular and

religious forces.

the Early Renaissance was the period of artistic development in Italy when art broke away from the rigid Byzantine and Gothic traditions to develop a

more naturalistic approach to drawing and the organization of figures within a landscape.

INTRODUCTION

38

High renaissance to have begun in 1490’s and declined in 1527The word 'Renaissance' means 'rebirth' - a rebirth of the classical ideals from Ancient Rome and Greece. The artists of this period achieved a revival of the classical ideals of beauty and form; an anatomical and scientific accuracy in drawing; a sensual and psychological response to color and composition,

Fig 30. Raphael, ‘Transfiguration’,1516–20,www.wikipedia.org, accessed:8.12.2014 39

Fig 31. Leonardo da Vinci,’ Lady with an Ermine’ 1489–1490,www.wikipedia.org,

accessed:8.12.2014

Fig 32. Donatello, ‘David’, www.wikipedia.org, accessed: 8.12.2014

40

RENAISSANCE ARCHITECTURE demonstrated a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture, Renaissance style places emphasis on symmetry, proportion, geometry and the regularity of parts as they are demonstrated in the architecture of classical antiquity and as seen in ancient Roman architecture. During this period in the architecture use of Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches.

Fig 33. Tempietto di San Pietro in Montorio, Rome, 1502, www.wikipedia.org, accessed:

8.12.2014

41

BAROQUE

INTRODUCTION

As an art style it exaggerated motion and interpreted detail to evoke drama, tension, grandeur in all the works – paintings, architecture, literature, dance, music.

The background of this art style included the protestant reformation, because of which the church began to promote art to communicate religious themes.

Fig 34. The Triumph of the Immaculate by

Paolo de Matteis , www.wikipedia.com,

accessed:5.12.2014

The boroque architecture begun in late 16th century Italy, it was characterized by new explorations of form, light and shadow and dramatic intensity.

The architecture depicted both emotions and wealth and power of church. In the 17th century the style became prevalent in palaces and it was during the 17th century that it spread through Europe and Latin America.

Fig 35. Château de Maisons, www.wikipedia.com, accessed:5.12.2014

ROCOCO

Also known as “Late Baroque”, this 18th century Artistic movement developed as a reaction against the grandeur, symmetry, and regulations of Baroque. This movement developed first as a decorative and interiors style. In Interiors the style was done as a total work of art, with elegant and ornate furniture, small sculpture, tapestry to compliment it, wall paintings.

The furniture was lighthearted, physically and visually. The idea of furniture had evolved to a symbol of status and took on a role in comfort and versatility.

Rococo mirror and stuccowork in Schloss Ludwigsburg reflect the style's characteristic anti-architectural integration of materials and forms

Fig 36. www.wikipedia.org, accessed:5.12.2014

ROMANTICISM

Théodore Géricault, The Raft of the Medusa, 1819,www.wikipedia.org,accessed:6.12.2014

47

The word 'Renaissance' means 'rebirth' - a rebirth of the classical ideals from Ancient Rome and Greece. It originated in Europe toward the end of the 18th century. It followed the Enlightenment period and can be described as anticlassicism since it developed in part inspired by a revolt against aristocratic social and political norms.

INTRODUCTION

Fig 37. J.M.W. Turner, The Fighting Téméraire tugged to her last Berth to be broken up, 1839,www.wikipedia.org, accessed:7.12.2014

48

Romanticism can be loosely defined by what it stood against. The movement championed spiritualism over science, instinct over deliberation, nature over industry, democracy over subjugation, and the rusticity over the aristocracy. they glorified huge, complex concepts such as liberty, survival, ideals, hope, awe, heroism, despair, and the various sensations that nature evokes in humans.

Fig 38. Francesco Hayez, Crusaders Thirsting near Jerusalem, www.wikipedia.org, accessed:7.12.2014 49

Fig 39. Thomas Cole, The Voyage of Life Old Age,1842, www.wikipedia.org ,

accessed:7.12.2014

Fig 40. William Blake, Albion Rose, 1794-5, www.wikipedia.org, accessed:7.12.2014

50

REALISM IN ART

51

Introduction Realism (or naturalism) in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements.

Realism was an art movement that revolted against the emotional and exaggerated themes of Romanticism. Artists and writers began to explore the reality of every day life.

Fig. 41. Jean-François Millet, The Sower, 1850, www.wikipedia.org, accessed:6.12.2014

Realism Movement

The Realism movement lasted around forty years from 1840 to 1880. It followed the Romanticism movement and came before Modern Art.

Movement began in the mid-19th century as a reaction to Romanticism and History painting.

In favor of depictions of 'real' life, the Realist painters used common laborers, and ordinary people in ordinary surroundings engaged in real activities as subjects for their works.

Its chief exponents were Gustave Courbet, Jean-François Millet, Honoré Daumier, and Jean-Baptiste-Camille Corot.

Fig 42. Jean-François Millet, „A Norman Milkmaid at Gréville‟, 1871, www.wikipedia.org, accesssed:6.12.2014

Characteristics of realism

Realism artists tried to depict the real world exactly as it appears.

They painted everyday subjects and people.

They didn't try to interpret the setting or add emotional meaning to the scenes.

Fig 43. Jules Breton, The End of the Working Day, 1886–87,www.wikipedia.org, accessed:6.12.2014

Characteristics: Genres and Subject Matter

The style of Realism spread to almost all genres, including History painting, portraits, genre-painting, and landscapes.

Favourite subject matter for Realist artists included: genre scenes of rural and urban working class life, scenes of street-life, cafes and night clubs, as well as increasing frankness in the treatment of the body, nudity and sensual subjects.

Realism heralded a general move away from the 'ideal' (as typified by the art of Classical mythology, so beloved by Renaissance artists and sculptors) towards the ordinary.

In their figure drawing and figure painting, Realists portrayed real people not idealized types. Artists felt increasingly free to depict real-life situations stripped of aesthetics and universal truths.

Realism reflected a progressive and highly influential shift in the significance and function of art in general, including literature as well as fine art.

Fig 44. Gustave Courbet, Le Sommeil (Sleep), 1866, Petit Palais, Musée des Beaux-Arts de la Ville de Paris, www.wikipedia.org, accessed:6.12.2104

Some of the Realist Artists..

First, Jean-Francois Millet, was a French painter and was part of the Realism art movement.

The Gleaners, was one of the most well know painting of Millet.

This painting is a great example of realism. It shows three peasant women gleaning a field for some scraps of wheat. They are bent over in hard work in the hope of finding a tiny bit of food

fig 45. Jean-François Millet, The Gleaners 1857; www.wikipedia.org, accessed: 6.12.2014

This painting was not well received by the French upper class when it was first exhibited in 1857 as it showed the harsh reality of poverty.

Second, Gustave Courbet, is another famous French painter who led the Realist movement in 19th-century French painting.

He was Committed to painting only what he could see, he rejected academic convention and the Romanticism of the previous generation of visual artists.

Young Women from the Village, one of Courbet‟s work shows stark contrast to romanticism.

The three women are dressed in their country clothes and the landscape is rough and a little ugly. Even the cows are scraggly looking. The rich lady is handing some money to the poor girl while the others look on.

Fig 46. Gustav Courbet, Young Women from the Village (1852), www.gustave-courbet.com, accessed: 6.12.2014

Courbet was criticized for the "reality" of this painting, but that was what he found beautiful and was trying to capture.

Third, Winslow Homer, in his painting shows a hungry fox hunting in the snow for food. At the same time there are ravens which are so

driven to hunger they are hunting the fox. There is nothing heroic or romantic about this painting, just the

reality of what happens in the winter to hungry animals.

Fig 47. Winslow Homer, The Fox Hunt, 1893, www.wikipedia.org, accessed: 6.12.2014

IMPRESSIONISM Begin: Early 1872

Decline : Early 1892

62

This art movement grew to become the most popular movement in history of art. With the development of scientific thought, the artists to explored the sensory effect of a scene. They explored the optical effect to light and tried to capture the effects of light and shadow in nature.

The artist in this period were renowned for their painting technique and approach to using colour in art. The artists explored the colour theory further, for instance rather than using the traditional way of making shadows by using black and brown. The artists began mixing different colours to create the shadow effect. Thus, this art movement is known to have brought the freshness of colour and energy of brush strokes to the art world.

Fig 48. Monet.C .'Rouen Cathedral in Full Sunlight’,1893, www.artyfactory.com, accessed: 4.12.2014

63

The Changes it brought to the Art World

The artists moved away from the traditional focal of the painting from the central position in a composition. The artists didn't compose their paintings in the conventional way.

This movement also lead to the artists moving out of their studios to street and countryside. Thus, many art works of this period are capturing moments of beautiful Landscape.

Fig 49. DEGAS.E, 'Four Dancers', 1899, www.artyfactory.com , accessed:4.12.2014

Fig 50. Monet.C, 'Nympheas' (Water-lily Pond),1918, www.artyfactory.com, accessed: 4.12.2014

64

Famous Works

Fig 52. Degas.E, L'Absinthe, 1876, Musee d'Orsay, Paris , www.theartstory.org,

accessed:4.12.2014

Fig 51. Monet.C, 'Impression Sunrise', 1872, www.artyfactory.com,

accessed:4.12.2014 65

Begin:1890 Decine: 1905

66

It was a decorative Art and Architectural style of late 19th- early 20th century. It was given a French name –’Art Nouveau’, which means “new art”. It was a move away from historical styles as it aimed to modernize design. The artists achieved the modern designs by using organic and geometric forms to evolve design. They began to use flowing natural forms with more angular contours. This style movement was important predecessor to modern art.

INTRODUCTION

Fig 53. Beardsley. A,’The Peacock Skirt’, 1892, www.wikipedia.org,

accessed:2.12.2014

67

Characteristics:

This style was characterized by organic, flowing lines with - forms resembling the stems and blossoms of plants- as well as geometric forms such as squares and rectangles.

Fig 54. Möhring. B, Art Nouveau interior at the 1900 Paris Universal Exhibition, German pavilion, www.wikipwedia.org,

accessed:2.12.2014 68

Fig 56. Louis Comfort Tiffany, Vase, 1913, www.wikipedia.org, accessed:

2.12.2014

Fig 55. Victor Horta's Tassel House stairway in Brussels, www.wikipedia.org, accessed:2.12.2014

69

Fig 57. The interior of the Vitebsk Railway Station in St. Petersburg, www.wikipedia.org, accessed:2.12.2014

70

ART DECO

Begin : 1920’s Decline: 1930’s

Image: cwkovach.blogspot.in 71

It was an elegant style of decorative Art, Design, and Architecture which began as a Modernist reaction against the Art Nouveau style.

INTRODUCTION

It first appeared in France after World War I , and spread internationally in the 20’s. The Art Deco themes of 30’s-era skyscrapers can be seen in –New York’s Chrysler building and Empires state building.

Fig 58. Spire of the Chrysler Building in New York City, William Van Alen; built 1928–30 www.wikipedia.org, Accessed: 4.12.2014

72

This style was Characterized by the use of –angular, symmetrical geometrical forms. It combined traditional craft motif and machine age imagery and materials.

Fig 60. Window Design, www.purlfrost.com, accessed: 4.12.2014 73

FAMOUS WORKS Well known artists of this period were- Tamara De Lempicka, Glass artist- Rene Lalique, and Gaphic designer Adolphe Mouron (professionally known as Cassandre).

Fig 62. A. M. CASSANDRE ,'Nord Express' 1927,www.artyfactory.com, accessed: 4.12.2014

Fig 63. Tamara de Lempicka,"The Musician",

1929, wwwiwikipedia.ord\g, accessed:4.12.2014

74

Expressionism

Begin : 1905 Decline : 1933

75

• This Art movement encouraged Art to come form within rather than taking from external world. Paintings were to be taken as depicting the character of artists feelings rather than just focusing on the composition.

• During this movement the artists used swirling, swaying, exaggerated brush strokes. This way of painting was indicative of the emotional state of the artists.

• The term „Expressionism‟ was coined in 1910, much later than the work of the famous artists- Edvard Munch and Vincent Gogh .

• Both these artists focused on a form of “self-expression”.

Fig 64. Gogh. V, „Starry Night‟, 1889, www.wikiart.org, accessed: 2.12.2014

Painting by Van Gogh

This artist was known to express himself through color, and became an influential artist in this period. His brushstrokes were the key in the development of this style of painting technique. In this painting, „sunflowers‟(1888), was an eye opener towards the intensity of expressive colour.

Fig 65. Gogh. V, „sunflowers‟ ,1888 www.artyfactory.com, accessed: 2.12.2014

Paintings by Edvard Munch

As an artist Van Gogh produced work that derived inspiration from his emotions and his works portray his emotions through the use of colors and brushstrokes

Fig 67. Munch. E , “The Scream” 1893 www.artyfactory.com, accessed: 2.12.2014

His work „The Scream‟ (1893), came from a walk on the bridge during an evening. It is there that he “heard the enormous, infinite scream of nature”(as said by Van Gogh himself). This painting evokes a strong emotion in the viewer and portrays an anxiety towards the world. Fig 66. Munch. E, „Madonna‟,1894

www.ayay.co.uk, accessed: 2.12.2014

Abstract Expressionism

Begin : 1943 Decline: late 1965

This art movement grew up in New York in 40‟s and 50‟s. it applied not only to an expressive use of color but also gestural expressionism. The commonality of this movement was that all artists focused on a form of expressive art. The artists in this period were influenced by surrealism, as abstract expressionists artists found a painting to be a struggle between self-expression and the unconsciousness.

Begin: 1899 Decline : 1908

Fauvsim

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As a movement of Modern Art, it was inspired by the post-impressionist painters way of painting ,forms, and especially by the use of un-mixed colors. Henri Matisse was recognized as the leader of this art movement, as his style involved use of intense colors to depict color , space and the painters emotions.

Fig 69. Matisse. H, 'Self Portrait', 1937, www.artyfactory.com, accessed:3.12.2014

Fig 68. Matisse. H, ’green strip’,1905, www.wikipedia.org, accessed:2.12.2014

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• They used color outside the color theory and used unnatural combinations os colours in the paintings.

Some key points of this movement: • Fauves took the subject matter like Impressionists which included landscapes, scenes

of bourgeois leisure. • This movement stood out because of the use of un-mixed color.

Fig 71. Matisse. H ’Red Interior: Still Life on a Blue

Table‘ ,1947, www.artyfactory.com, accessed:2.12.2014

Fig 70. MATISSE.H, 'The Goldfish', 1912, www.artyfactory.com, accessed:2.12.2014

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CUBISM Begin: 1907

Decline: 1922

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INTRODUCTION

It was the first style of abstract art to evolve in beginning of the 2oth century. It was developed by Pablo Picasso and Georges Braques. This art style challenged conventional forms of representation, focused on developing a new way of seeing, which also reflective of the modern age.

The artists develop a new style by ignoring the traditions of perspective drawing and showing many views of a subject at one time. The artists began to see in a new light and not depict modernity in the traditional way of perspective drawings. Thus, they introduced collage into a painting.

Fig 72. Picasso.P,'Factory, Horta de Ebbo', 1909, www.artyfactory.com, accessed: 4.12.2014

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Cubism described as Two forms

• ‘Analytic’ Cubism

Moved away from perspectives and analyzed subjects from different view points. They avoided realistic modeling of figures.

• Synthetic cubism

To create something different, artists began to represent objects. Pablo and Barque began to explore different objects as abstract signs.

Fig 73. GRIS. J, 'Violin and Glass', 1915 (analytic cubism), www.artyfactory.com, accessed: 4.12.2014

Fig 74. PICASSO. P ,'Still Life with Chair Caning', 1912, (synthetic cubism), www.artyfactory.com, accessed:

4.12.2014

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FUTURISM Begin : 1909 Decline: Late 1920’s

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Futurism originated among Italian artists in 1909, after the publication of the “Futurist Manifesto” written by Filippo Tommaso Marinetti. Initially this was prevalent in Milan, but it spread to other areas as Marinetti promoted it. This Movement of 20th century celebrated advanced technology and urban modernity. The ideas prominent in this movement were committed towards the future, even if that was by destroying the older forms culture. This ideology lead them to celebrate the arrival of First World War.

Fig 75. Boccioni .U, ‘ The Laugh’, 1911, www.wikipedia.com, Accessed:2.12.2014

The artists found beauty in the modern Life- in the machines, the speed, violence and change. They were so futuristic that they embraced popular media and new technology to communicate their ideas.

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Some key points: • It was the only art movement of the

20th century to embrace far-right politics.

• Unlike other art movements this movement did not immediately get identified with a distinctive style. It borrowed aspects from post-impressionism, divisionism, etc.

Umberto Boccioni He was the most prominent artist among the Italian futurists. He took geometric forms and depicted them to evoke feeling of crashing, startling sound with movement.

Fig 76. Umberto Boccioni, ‘self-portrait’, www.wikipedi.org, accessed:2.12.2014

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Umberto Boccioni moved from making paintings to produce futuristic sculptures.

Fig 77. Boccioni .U, ‘development of bottle in space’ ,1913, www.wipedia.org, accessed:2.12.2014

Fig 78. Boccioni.U,‘unique forms of continuity in space’,1913,www.wikipedia.org, accessed:2.12.2014 90

Begin: 1924 Decline : late 1966

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This 20th century art movement differed from others since it sought to break the bounds of creativity from rational thought , by exploring the ‘unconscious mind’- referring to dreams and imagination. They gave importance to ‘power of imagination’. •It began in Paris, as a literary movement but it stood out because of the way it propagated that relevations could be found from everyday life. •The surrealist artists were influenced by Freud, wherein they took the interpretation of dreams to be a great source of inspiration for their art.

INTRODUCTION

•Most important influence was of Italian artist, Giorgio de Chirico, with his style of painting called ‘Pittura Metafisica’ (metaphysical art).

Fig 79. Chirico. D. G ,’The Disquieting Muses’, 1916, www.artyfactory.com, accessed: 3.12.2014

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It was in this movement that artists like Salvador Dali and Man Ray produced great art works. They worked not only to produce art but also in commercial field of fashion, film and photography. Many instances where these two artists have worked together. The works of Salvador Dali resonates the ideas behind surrealism.

Fig 81. ‘Photograph of S.Dali and M.Ray’, www.wikimedi.org, accessed:2.12.2014

Fig 80. Dali. S, ‘un-chien-andalou, film still’,1928, www.wikiart.org. Accessed:2.12.2014

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Fig 82. MIRO. J, ‘The Birth of the World’, 1925, www.artyfactory.com, accessed: 3.12.2014

Fig 83. Dali. S,‘accommodation of desire’, 1929,

www.artyfactory.com, accessed: 3.12.2014 94

DADA MOVEMENT

BEGIN: 1916

DECLINE: 1924

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As a movement it influenced works in all fields – art to poetry, photography, sculpture, collage. As an art movement it promoted the idea that simple things in life can be art. This movement came to be in Cabaret Voltarie in Zurich in 1916. The art style was born out of the experimental, groundbreaking group of painters, poets, filmmakers. It was the only movement to be named by the artists themselves.

The movement developed against establishment, bourgeois convention and also attacked the traditionalistic values. They considered the existing art world as they saw it as a part of the system.

Fig 84. 'DER DADA NO.2' 1919 (magazine cover) Edited by Raoul Hausmann, John Heartfield,

and George Grosz ,www.artyfactory.com, accessed:3.12.2014

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Fig 85. Duchamp.M, 'Fountain’, 1917

(ready-made) www.artyfactory.com ,

Accessed: 3.12.2014

The artists believed that everything existing could be remade. In this movement, the art varies so much that it was hard to pin a particular style to this movement.

Fig 86. Duchamp.M, 'L.H.O.O.Q', 1919 (ready-made),www.artyfactory.com

Accessed: 3.12.2014 97

Fig 87. Grosz.G and Heartfield.J 'Life and Work in Universal City 12:05 Noon’ 1919 (photomontage), www.artyfactory.com, accessed: 3.12.2014

Fig 88. Hausmann.R, 'ABCD‟, 1920 (collage),www.artyfactory.com,

accessed:3.12.2014

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BEGIN: Mid 50’s

DECLINE: Mid 70’s

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• It coincided with the consumer

boom of 1950’s & 60’s and came along the globalization of pop music.

• This movement endorsed the capitalist market as it promoted mass production.

• The movement developed in different ways in Britain and America.

INTRODUCTION As an art movement it differed from others because of the attitude that lay behind this movement. The art was indicative of fun and youthful energy.

Fig 89. Lichtenstein, Roy ,’Blam’(1962) , www.ayay.co.uk ,accessed:2.12.2014

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• In Britain, the name of this movement

was coined in 1954 by a critic Lawrence Alloway. The Independent Group promoted this art through exhibitions. The famous British artists of this art period were Richard Hamilton & Eduardo Paolozzi. The British artists saw the American land to be free of the class hierarchy and more youthful. they were also inspired by the Dadaists and focused the pop art to reflect mass imagery of popular culture.

Fig 90. Paolozzi, E,'I was a Rich Man's Plaything',(1947), www.artyfactory.com, accessed:2.12.2014

Tracing the development of movement

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• In this work Rauschenberg used the narrative of powerful figure like Christ with other Elements like the figure of Kennedy who was assassinated in the period and the red cloudSymbolizing the Cuban missile.

• The American pop art movement

developed as a reaction against the elitist Abstract Expressionism. The noteworthy artists included- Jasper Johns & Robert Rauschenberg. Seeing Rauschenberg’s work mainly involved collages with used oil paintings and images. This enabled him to experiment with contemporary images, thus his work used images in a way to reflect the way we experienced mass-media.

Fig 91. Rauschenberg, R, 'Retroactive 1', (1964),www.artyfactory.com,accessed:2.12.2014

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ANDY WARHOL • One of the most prominent artist of the Pop-Art movement. He was known for taking

second hand images of icons and products, made them into works that were of the status of being museum art.

• He removed meaning and emotion from his works since they had received mass exposure. He looked at this aesthetic of mass-production to mirror the American Culture.

• His statements like “art should be meaningful in the most shallow way” resonates in his work.

His work- “ Marilyn diptych” was based on his idea that the sense of “self” is degraded by repetition of the image.

Fig 92. Painting 1 Warhol, A , 'Marilyn Diptych' (1962), www.artyfactory.com, accessed:2.12.2014

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104

About the Movement

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Fig 94.Piet Mondrian, "Composition No. 10" (1939–42), www.wikipidea.org, accessed: 3.12.2014

Fig 93. Piet Mondrian, Composition II in Red, Blue, and Yellow, 1930, www.wikipedia.org, accessed: 3.12.2014

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OP ART Begin: 1964

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This kind of art is also referred to as Optical Art , and basic idea in the art works was to create an OPTICAL ILLSUSION. In 1964, The times magazine coined the term “optical art” (op art). The art works achieved this illusion by giving a sense of movement or showing hidden images, patterns in the image. Therefore, the art work was done in monochrome – black and white- to create an effective illusion. The art work was seen on television and print. The most noteworthy artist was- Bridget Riley. Some characteristics of this art movement : • As an art movement it lasted three years, however, op-ish works have often been

undertaken by Art students in projects. • The work is non-representational and uses more of geometric work. • Elements used in the art works are to create a perspective. • Gives equal importance to negative and positive spaces in a composition.

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fig 95. Riley, B, Loss (1964),www.artyfactory.com,accessed: 2.12.2014

This work showed the geometric forms in an abstract way.

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ENVIRONMENTAL

ART

Introduction

Environmental Art is an „umbrella term’- describes both historical approach to nature and works depicting eco-political issues. The works show “ecological” concerns, the art depicts activists concerns, as well as the artists connection with nature. This kind of art implies work that is related with natural world “art in nature”.

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Fig 96. Edith Meusnier, Artefact, Bois de Belle Rivière, Québec, 2010, www.wikipedia.org, accessed: 6.12.2014

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Fig 97. Environmental Art in the woods at Balloch, Scotland, www.wikipedia.org, accessed:6.12.2014 113

INSTALLATION

ART

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INTRODUCTION

It refers to Three-dimensional works that are site

specific and designed to transform the perception of

space.

Installations have a sensory affect taking space as a

dimensional constant and involves manipulating it to

represent a theme or issue in the artists vision.

They are applied to interior spaces since,

installations in exterior spaces are called Public art,

Land art or intervention art.

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• Moving installation

• installed in Sinagpore airport

(July2012)

• Collaboration with animators, programmers

KINETIC RAIN

INSTALLATION

Fig 98.

www.thisiscolossal.com

accessed: 6.12.2014

Fig 99.

www.impressivemagazine.com,

Accessed: 6.12.2014 116

Limitations

In the duration of this project I faced a few limitations while

researching and with the time period I had available to complete it.

In the context of research, I had to go over a lot of historical matter to

understand the prevalent design thinking of the period. This was a

time taking process and made it difficult to find matter relevant to my

topic.

Also, due to shortage of time for covering this large topic, as a student

I had to aim my research to be very topic-specific. However, working

on this project was an enriching experience.

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Conclusion

In conclusion, this project traces the art and

architectural styles that have influenced the

design thinking over the years. In the end, this

also shows the way in which the historical styles

have influenced the way of thinking and lead to

the present way of design and art.

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2.12.2014]

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3.12.2014]

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BIBLIOGRAPHY

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