IMPRESSIONISM

Impressionism can be considered as the first distinctly modern movement in painting. Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the United States. Its originators were artists who rejected the official, government-sanctioned exhibitions, or salons, and were consequently shunned by powerful academic art institutions. It is characterized by relatively small, thin yet visible brush strokes. In turning away from the fine finish and detail to which most artists of their day aspired, the impressionists aimed to capture the momentary, sensory effect of a scene which is the impression objects made on the eye in a fleeting instant. To achieve this effect, many impressionist artists moved from the studio to the streets and countryside, painting en plein air which means plein air painting, it is a french pronunciation with the meaning of open air. Another strand of plein-air painting chiefly explored by French and English artists was Orientalist painting which is typically the everyday scenes in North Africa.

ALFRED SISLEY (1839-99)
'Flood at Port Marley', 1876 (oil on canvas)

EDGAR DEGAS (1834-1917)
'Four Dancers', 1899 (oil on canvas)

ANDO HIROSHIGE (1797-1858)
'The 53 Stations of the Tokaido (no.26)', 1831-34 (woodblock print)

HENRI DE TOULOUSE-LAUTREC (1864-1901)
'At the Moulin Rouge', 1892-95 (oil on canvas)

POP ART

Pop art is now most associated with the work of New York artists of the early 1960s such as Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg, but artists who drew on popular imagery were part of an international phenomenon in various cities from the mid-1950s onwards. Following the popularity of the Abstract Expressionists, Pop's reintroduction of identifiable imagery was a major shift for the direction of modernism. The subject matter became far from traditional "high art" themes of morality, mythology, and classic history, rather, Pop artists celebrated commonplace objects and people of everyday life, in this way seeking to elevate popular culture to the level of fine art. Perhaps owing to the incorporation of commercial images, Pop art has become one of the most recognizable styles of modern art.

JASPER JOHNS (1930-)
'Numbers in Color', 1958-59 (encaustic and newspaper on canvas)

EDUARDO PAOLOZZI (1924- 2005)
'I was a Rich Man's Plaything' , 1947 (collage)

ANDY WARHOL (1928-1987)
‘Marilyn Diptych’, 1962 (silkscreen on canvas)

SIR PETER BLAKE (1932-)
'The Beatles - Sgt Pepper's Album Cover, 1967 (record sleeve)

ROY LICHTENSTEIN (1923-1997)
'Whaam!', 1963 (oil and acrylic resin on canvas)

EXPRESSIONISM

Expressionism, artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person. The artist accomplishes this aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements. In a broader sense Expressionism is one of the main currents of art in the later 19th and the 20th centuries, and its qualities of highly subjective, personal, spontaneous self-expression are typical of a wide range of modern artists and art movements.

The Scream (1893)
EDVARD MUNCH

Der Blaue Reiter (1903)
WASSILY KANDINSKY

Hans Tietze and Erica Tietze-Conret (1909)
OSKAR KOKOSCHKA

Houses at Night (1912)
KARL SCHMIDT-ROTTLUFF

Mad Woman (1920)
CHAIME SOUTINE

ASSIGNMENT 05 - LEVITATION PHOTOGRAPHY

Think of levitation as one of many elements of your photo. There are still a lot of other things to think about other than just the levitation part: your subject’s pose, the setting, the light, makeup, clothing, props, and all the other technical elements of the shot. Think about what unique ideas you can bring to your levitation photography project.  I think that creating a surreal portrait exemplifies the creative process. When you have the intention of creating something surreal, all the constraints and bounds on your creativity are loosened.

" Let me help you, lil girl. "

" Life is so much easier when you chill out. "

"The worst part of life is waiting. The best part of life is having someone who worth waiting for. "

" Life is one time offer, use it well."

" Adventure is worthwhile."

ASSIGNMENT 05 - LEVITATION SKETCHES

We did some sketches as ideas for our levitation photography later on. We included the indoor and outdoor photography to exceed the limit of creativity. While sketching, i thought about the possibilities of the model, venue for photo shoot, creativity and the dress code of my models. The sketches act as references for what we're gonna pose during the photo shoot.

1) Someone lying above the bench relaxing. -indoor-

2) Someone waiting for another sitting above the bench. -outdoor-

3) A fairy lending help to a little girl. -indoor-

4) Someone standing on a high(dangerous) place looking down -outdoor-

5) Someone who is too light flying away. -outdoor-

ASSIGNMENT 05 - LEVITATION REFERENCES

Levitation images are magical! They draw the viewer in and make them think about what’s not quite right. If you search the internet for levitation photography, you will find amazing examples. However, levitation photography hasn’t become wildly popular yet. I assume it’s because levitation photography looks really difficult. I think most people would be surprised to learn that in its most basic form, it’s just compositing two or more images in editing software. I had these references as my ideas, by combining these ideas, im trying to create something which is a bit different from them. 

Hold Hands

The Umbrella

 Lie Down

 Sit On Bench 

 Dangerous Moves

DADAISM

Perhaps best summed up by the famous Dadaist poet Hugo Ball, the Dadaist goal of art was not to have art be “an end in itself, but an opportunity for the true perception and criticism of the times we live in.” And surely enough the times of Dadaism were filled with grief, destruction, and chaos, as they witnessed the rampant mass devastation of WWI.Dadaists were not connected by their styles, mediums, or techniques. Instead, they were connected by their uniform practices and beliefs. They saw themselves as crusaders against rational thought, which they believed to be responsible for the declination of social structures, the growth of corrupt and nationalist politics, and the spread of violence and war. They challenged and mocked the definition of art and its elitist establishment with such works as Marcel Duchamps Fountain (1917), which was a porcelain urinal, and they utilized photomontages, as well as a plethora other artistic mediums, in their public meetings to protest against the nascent Nazi party in Germany. Dadaists fought strongly across the globe against such repressive social institutions, though were written-off by some as merely absurdist and inconsequential based on their plentiful antics and scattered network.

MAX ERNST (1891-1976)
'The Chinese Nightingale' 1920 (photomontage)

GEORGE GROSZ (1893-1959)
'The Pillars of Society' 1926 (oil on canvas)

RAOUL HAUSMANN (1886-1971)
'ABCD' 1920 (collage)

FRANCIS PICABIA (1879-1953)
'Love Parade' 1917 (oil on cardboard)

RAOUL HAUSMANN (1886-1971)
'The Spirit of Our Time', 1920 (assemblage)

CUBISM

As all we know, cubism has come to be associated with one name in particular, Pablo Picasso. However, it should be duly noted that Georges Braque was also a leader of the movement and that he and Picasso worked so well off of one another that, at the height of Cubism’s reign, their paintings are practically indistinguishable from one another. It’s often noted that Cubism was ushered in a definitive movement with the revelation of Picasso’s Les Demoiselles d’Avignon (1907), which shows nude women in a fractured perspective and which demonstrates a significant African influence. The central aims of Cubists were to discard the conventions of the past to merely mimic nature and to start in a new vein to highlight the flat dimensionality of the canvas. This effect was achieved through the use of various conflicting vantage points the paint pictures of common objects such as musical instruments, pitchers, bottles, and the human figure. As they progressed in their work, Braque and Picasso adopted the use of a monochromatic scale to emphasize their focus on the inherent structure of their works. 

PABLO PICASSO (1881-1973)
'Weeping Woman', 1937 (oil on canvas)

PABLO PICASSO (1881-1973)
'Factory, Horta de Ebbo', 1909 (oil on canvas)

PABLO PICASSO (1881-1973)
'Still Life with mandolin and Guitar', 1924 (oil on canvas)

JUAN GRIS (1887-1927)
'Violin and Glass', 1915 (oil on canvas)

GEORGES BRAQUE (1882-1963)
'Violin and Jug', 1910 (oil on canvas)

FAUVISM

This famous avant-garde movement is credited with being one of the first of its kind to prosper at the start of the 20th century. Pioneered by Henri Matisse owed a significant debt to impressionism, as it exhibited vibrant colours in order to capture landscapes and still lifes, However, it became its own movement as Fauvists, such as Matisse, instilled a heightened sense of emotionalism into their paintings, often utilizing crude and blatant brushstrokes and vivid colours straight from their tubes that are first appalled audiences. It was the overly expressiveness of these raw and basic techniques that led art critic Louis Vauxcelles to christen such painters fauves (wild beasts). Other notable fauvists include Andre Derain, Maurice de Vlaminck, and George Braque, the latter evolving from the unclad emotionalism of Fauvism to create the more structured and logical focuses of cubism, which is viewed as being a direct descendent of Fauvism.

ANDRÉ DERAIN (1880-1954)
'The Pool of London', 1906 (oil on canvas)

ANDRÉ DERAIN (1880-1954)
'The Turning Road at L'Estaque', 1906 (oil on canvas)

HENRI MATISSE (1869-1954)
'The Roofs of Collioure', 1905 (oil on canvas)

RAOUL DUFY (1877-1953)
'Henley Regatta', 1933 (gouache)

POST IMPRESSIONISM

Often thought of as a necessitous precursor to the plentiful art movements formed under the Modernist umbrella, Post-Impressionism had its start in the waning years of the 19th century. It was made famous by the unforgettable works of Paul Cézanne, Georges Seurat, Vincent van Gogh, and others, as they focused on extending the limitations of the movement’s predecessor, Impressionism, by investigating techniques that would allow them to gain a purer form of expression, while, in most cases, retaining Impressionism’s use of bright and fantastic colors displayed with short brushstrokes. Post-Impressionists, unlike many members of other art movements, mainly composed their artworks independently of others, thus, allowing them to experiment in varying directions, from intensified Impressionism, as characterized by van Gogh, to pointillism, as seen in Seurat’s most famous work Sunday Afternoon on the Island of La Grande Jatte (1884–86).

PAUL GAUGUIN (1848-1903)
'Tahitian Landscape', 1893 (oil on canvas)

GEORGES SEURAT(1859-1891)
Study: 'A Sunday Afternoon on the Île de la Grande Jatte',1884 (oil on canvas)

VINCENT VAN GOGH (1853-1890)
'Wheatfield with Crows', 1890 (oil on canvas)

VINCENT VAN GOGH
'Sunday Afternoon on the Island of La Grande Jatte (1884-86)

PAUL CÉZANNE (1839-1906)
'The Château at Médan', 1880 (oil on canvas)