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avant garde exam 2
| Term | Definition |
|---|---|
| Modernism (c. 1860s–1960s | Broad cultural movement embracing innovation, experimentation, and a break with tradition. Covers many movements. |
| Russian Avant-Garde (c. 1890s–c. 1932) | Umbrella term for radical art in Russia (Symbolism, Cubo-Futurism, Suprematism, Constructivism). Artists pursued abstraction and new visual languages in response to rapid social change and the 1917 Revolution. |
| Cubo-Futurism (c. 1912–c. 1915) | Russian movement combining Cubism’s fragmented forms with Futurism’s dynamism and speed. Explores movement, technology, and modern life with broken, angular forms. |
| Suprematism (c. 1915–early 1920s) | Founded by Kazimir Malevich; focuses on basic geometric shapes and limited color. Aims at “pure feeling” and a spiritual, non-objective art that abandons representation |
| Dada (c. 1916–early 1920s) | Anti-art movement born during WWI in Zurich, then spreading to Berlin and New York. Uses nonsense, chance, collage, performance, and readymades to attack bourgeois culture and rationality. |
| De Stijl (1917–early 1930s) | Dutch movement seeking universal harmony through horizontal/vertical lines and primary colors plus neutrals. Applied to painting, design, and architecture to create a rational, ordered modern environment. |
| Return to Order (Retour à l’ordre) (c. 1918–mid-1920s) | Post-WWI shift back to tradition, clarity, and classical forms after the chaos of war and avant-gardes. Many artists returned to stable figuration and solid volumes (e.g., Picasso in the 1920s). |
| The New Woman – Germany (c. 1920–early 1930s image/ideal) | Weimar cultural figure of the modern, emancipated urban woman: short hair, working, smoking, sexually and socially independent. A symbol of new freedoms and a focus of anxieties about changing gender roles. |
| The New Objectivity (Neue Sachlichkeit) (c. 1923–early 1930s) | German realist movement reacting against Expressionism’s emotional excess. Uses sharp, often cold realism to critique society, exposing corruption, war trauma, and urban alienation. |
| Surrealism (mid-1920s–1940s) | Launched with André Breton’s 1924 manifesto; centered in Paris. Aims to access the unconscious through dreams, free association, and strange juxtapositions, using automatism and dreamlike imagery to liberate thought and desire from rational control. |
| Mural movement (c. 1920s–1940s, peak in 1930s) | Large-scale public murals in Mexico and the U.S. In Mexico, Rivera, Orozco, and Siqueiros paint revolutionary, historical, and labor themes; in the U.S., New Deal projects fund murals in public buildings to educate and inspire the public. |
| Hans Hofmann’s Push-Pull theory (developed c. 1930s–1940s) | Color and composition theory explaining how some colors and shapes “push” forward and others “pull” back, creating depth without traditional perspective. Emphasizes dynamic tension and movement on the flat canvas. |
| Abstract Expressionism (late 1940s–mid-1950s) | Postwar American movement centered in New York. Includes action painting (gestural, energetic surfaces) and color field painting (large, atmospheric color areas), often read as expressing existential freedom and anxiety. |
| Clement Greenberg (1909–1994) | Influential American critic, especially in the 1940s–60s. Advocated formalism and “medium specificity,” championing Abstract Expressionist painting (especially Pollock) as the pinnacle of advanced modern art. |
| Pop Art (mid-1950s–late 1960s) | es imagery from mass culture ads, comics, celebrities, consumer goods and treats it as fine art. Often combines bright color, mechanical reproduction (silkscreen), and irony toward consumer society. |
| Kazimir Malevich, Black Square, 1915 – Suprematism – Oil on canvas, Russian | •Radically non-objective: no recognizable subject, just a black square on white. •Manifesto of Suprematism: art about pure feeling, not depiction of objects. •Hung like a Russian icon, suggesting a new “spiritual” art. |
| George Grosz, Republican Automatons, 1920 – Dada/New Objectivity – and pencil, German | • Bitter satire of Weimar society: soldiers and bourgeois shown as robots. • Figures look like mechanical dolls, suggesting loss of individuality and morality. • Mix of Dada irreverence and New Objectivity’s sharp, critical realism |
| 3. Otto Dix, Portrait of the Journalist Sylvia von Harden, 1926 – New Objectivity – Oil and tempera on wood, German | • Harsh, unsentimental portrait typical of New Objectivity. • Depicts the “New Woman”: bobbed hair, cigarette, cocktail, • Sharp lines and acidic colors emphasize urban alienation. • Shows both fascination with and anxiety about changing gender roles |
| 4. Marcel Duchamp, Fountain, 1917 – Dada – Readymade (porcelain urinal), French | • An ordinary urinal presented as art, signed “R. Mutt.” • Challenges what counts as art: idea and context vs. craftsmanship. • Rejected by the 1917 exhibition, exposing institutional control in the art world. • Classic readymade |
| 5. Marcel Duchamp, L.H.O.O.Q., 1919 – Dada – Altered postcard (pencil), French | • Mona Lisa postcard with moustache and goatee drawn on. • Title is a French pun implying “she has a hot ass.” • Irreverent attack on museum masterpieces and bourgeois taste. • Plays with gender and identity, making the iconic woman appear male |
| 6. Piet Mondrian, Composition with Yellow, Red, Black, Blue and Gray, 1921 – De Stijl/Neoplasticism – Oil on canvas, Dutch | • Uses only horizontal/vertical lines and flat primary colors + neutrals. • universal harmony through balance and asymmetrical order. • Rejects representation for pure abstraction and clarity. • Model for De Stijl’s vision of a rational, spiritual mod |
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