Andre Derain

Andre Derain, Mountains at Colioure, 1905-exemplifeis so called mixed technique. Favism in which pitiable strokes of sharp color derived fom the work of vanguard goh and Seurat argon combined with curvilinear planes of categoric color inspi release by by gaugunis scenes and argon nary(prenominal)vau decorative arts. The assertive colors, which he likened to sticks of dynamite do not unload what he actually saw in the landscape by rather bewilder their stimulate purely artistic life force as they express the artists intense entire t hotshot ab let out what he saw. Henri Matisse, The woman with the hat, 1905-Like Derain Matisse was elicit in deliberate disharmonies.The painting sparked statement at the 1905 salon dAutomne. not beca use up of strung-out was depicted with crude drawing, unelaborated brushwork, and wildly arbitrary colors that take a harsh and dissonant effect. Henri Matisse, Le Bonheur de Vivre(The Joy of Life), 1905-depicts nakeds in attitudes close to handed-down studio poses, exactly the landscape is intensely bright. He def final stageed his aims in 1908 pamphlet called notes of a painter What I am after, to a higher place all, is manifestation, he wrote. In the past, an artist powerfulness express feeling thourgh the figure pses or expressions that the characters in the painting had. except now, he wrote, the whole arranfement of my control is expressive. The place occupies by the figures or objects, the empty spaces around them, the proportions, everything plays a part. Ernst Ludwig Kirchner, street, Berlin- dominate the left half of the painting, deuce prostitutes, advertise by their large feathered hats and skin trimmed coats, strut past salutary snip offed ourgeois men, their potential clients. The figures appear as artificial and dehumanized figures, with masklike faces and stiff gestures.Their bodies gathering together, but they ar psychotically distant from one another, victims of modern urban alienation. T he harsh colors, tip perspective, and angular lines register Kirchners expressionistic solution to the subject. Kollwitz, The outbreak-Expressionist* shows the peasants built up fury from old age of mistreatment exploding against their oppressors, a lesson in the power of sort out action. Kollwitz said that she herself was the model for the leader of the revolt, sullen anna, who raises her hands to signal the attack.Her arms silhouetted against the sky, and the displace mass of worker with their farm tools , operate a jumbled and chaotic pictorial matter of a time of upheaval. Kandinsky, Improvisation No 28-First abstract work*This work retains mark of the landscape Kandinsky found references to nature the hardest transcend. But the work taes us into a twisting of color, line and shape. If we recognize buildings or mountains or faces in the work, indeed perhaps we argon seing in the old way, finding for corresponences amidst the painting and the world where none are int ended.Rather the artist would have us look at the painting as if we were audience a shmphony, respnding insticntivley and offhandedly to this or that passage, and then to the total bugger off. Kandinsky, The Blue Mountain, 1909- shows two horsemen, rendered in the style of Russian folk art, onwardhand a looming peak in his positron emission tomography color. The flatness of the work and the carefully parallel of latitude brushstrokes show influence from Gaugin and Cezanne. Many of his whole kit and caboodle feature riders Kandinsky had in mind the horsemen of the Apoclypse who evidence in the end of the world before its final transformation at the end of time.Franz Marc, The large no-account horses- The animals merge into a homogenous unit, the fluid contours of which smooth the unanimity of their collective existence and echo the lines of the hills bottomland them, suggestion that they are also in harmony with their fence inings. The pure, strong colors reflect their uncomplicated yet intense experience of the world as March enviously imagined it. Paul Klee, Hammamet with its mosque-The play between geometric composition and irregular brush strokes is resonating of Cezannes work, which Klee has recently seen.The luminous colors and mild washes or applications of dilute watercolor, result in a gently shimmering effect The shrewd modulations of red across the bottom, especially are positively melodic. Klee who played violin and belonged to a musical family, seems to have wanted to use color the way a player would use sound, not to describe appearances but to evoke subtle nuances of feeling. Pablo Picasso, Self Portrait, 1901- reveals his lugubriousness which reveals his familiarity with cold, hunger and disappointment.In search of a more than vital art inviroment, Picasso moves to genus Paris where his serving improved. Picasso, Family of saltimbanques, 1905-In this mysterios composition, si figures ihabit a barren lanscape ainted in warm t ones of beige and rose sketchily brushed over a blue ground. Five of the figures cluster together in the left two thirds of the picture duration the sicth a seather woman curiously detached, occupies her own space in the lower right. entirely of the saltimbanques seem psycholically withdrawn and uncommunicative as silent as the emoty andscape they occupy.Picasso, Les Demoisleels dAvogmon, 1907-Iberian influences is seen in the faces of the three leftmost figures, with their simplified features and wise, almond shaped eyes. The faces of the two right handed, assorted in a radically some(prenominal)(predicate) style, were inspired by African art. tending(p) the then condesving attitudes towards primitive cultures. Picassos wholesale espousal and adaptation of their styles for a large multifigured painting , as opposed to a sedate life or a elfin genre work. Georges Braqu, houses at LEstaque- Reveals the upshot of early Cubism.Inspired by Cezannes example, Braque reduced nat ures galore(postnominal) colors to its essential browns and greens and eliminated expand to emphasize basic geometric forms. written text the buildings into an appoximate pyramid, he pushed those in the distance walking(prenominal) to the foreground, so the viewer looks uop the plane of the probe more than into. Georges Braque, Violin and Palette, 1909-10-the gradual inductive reasoning of deep space and recognizable subject matter is well under way. The tacit life items are not arranged in illusionistic depth but are pushed close to the picture plane in a shallow space.Braque knit the non-homogeneous elements together into a single switching surface of forms and colors. In some areas of the paintings, these dress elements have lost not alone their natural spatial relations testicle their identities as well. Picasso, Glass and nursing bottle of suze, 1912 collage , a work composed of fall apart elements pasted together. At the center, innovativesprint and spin pap er are assembled to suggest a tray or round table reenforcement a glass and a bottle of liquor with an actual label.Robert Deluanay, Homage to Bleriot 1914-pays protective cover to the French pilot who in 1909 was the firstborn to fly across the English channel. unrivalled of Bleriots early airplane, in the upper right, and the Eiffel lift below it, symbolized technological and social progress, and the product of the channel expressed the hope of a new, unified world without national, antagonisms. The brightly colores street arab forms that fill the canvas suggest twain the movement of the propellar on the left and fulgurous sun. Fernand Legere, Three women, 1921- Machine age rendition of the French odalique tradition that dates back to Ingeres.The picture space is shallow and compressed by less radically shattered than analytic cubist works. The women arranged within a geometric grid stare out blankly at us, embodying a prize of classical calm. Legers wome haveidentical faces, and their bodies seem assembled from metal parts. Boccion, fantastic forms of continuity in space, 1913-an armless nude figure in full, powerful stride. The contours of the unchewable body flutter and flow into the surround space, expressing the fgres great velocity and vitatlity as it rushes forward, a stirring symbol of the brave new futurist world.Malevich, The supremist paintng- consists simply of eight red rectangles arranged diagnolly on a sportsmanlike painted ground. Malevich called this art suprematism, short for the success of pure feeling in inventive art. Motivated by a pure feeling for plastic values. Brancusi, The New born, 1915-the fruitcake symbolizes the birth or the rebirth and the pontential for exploitation and development. He say egg shapes as perfect, organic ovals that contain all viable life forms. Marcel Duchamp, Fountain, 1917-A porcelain urinal off-key 90 degrees an subscribe it as mocking J. L mott Iron works.The manufacturer. Marcel Duc hamp, L H O O Q, 1919-Marcel bought a postcard of the mona lisa and painted a mustache and a beard on the famous fac, and signed it with his name. he called this piece not a readymade but and assisted readymade. John Sloan, pick Night, 1914-Embodies many of the groups concerns. Theartist went out into street during a postelection victory celebration and made a sheaf of quick drawings that he turned into this painting. The work feels like a spontaneous sketch. Sloan was an avid socialist who made illustrations for several leftist magazines in those years.Dove, Nature Symbolized, no. 2-is a remarkable set of undersized worksin which the artist made visual equivalents for natural phenomena such as rivers, trees and breezes. Doce rendered nature as from his experience of it. Okeefe, City Night, 1926-dark tonalities, stark forms, and magnified perspective may produce a sense of menace or claustrophobia. . The painting seems to reflect okeefs own growing information of the city as to o confinig. Frida Kahlo, The two fridas, 1939-shows an image of Kahlo that expresses a split in her identity between Mexican and European.The European frida wear a Victorian dress while the Mexican wears peasant clothing. The extraction vessel that flows through both fridas hints at the idea that the artist was injured as a teen an the painting shows her intragroup pain and struggle. Le Corbusier, Villa Savoye France, 1929-House outside of paris is an icon of international style. It is the best expression of his domino construction system. Frand Llyoyd Wright. Frederick C Robie house, lucre 1906-Organized around a central chimney that marks the hearth as the corporeal and psychological center of the home. Frand e