Abstract Expressionism and Action Painting

Pollock, Jackson :Eyes in the Heat 1946 (320 Kb); Oil on canvas, 54 x 43 in; Peggy Guggenheim Collection, Venice 

To read about these movements click here.

Work done by Bagliardi, Betiana  &  Cruz, María Laura

Remembering XXth Century Art in London

In 2011 I had the pleasure of visiting The Tate Modern , in London,  one of the best modern art museums. Here is my tour:



This appeared in this blog previously:

http://lenguaycultura2isfd97.blogspot.com.ar/2011/10/looking-for-modern-art-in-london_20.html

Surrealism in Latin America by PAULA BLEYNAT DEBORAH DI GREGORIO XIMENA VALENZUELA

SURREALISM IN LATIN AMERICA

Wifredo Lam (Cuban, 1902–1982). The Jungle. Date:1943. Medium: Gouache on paper mounted on canvas. 

What is Surrealism?

Before talking about Surrealism in Latin America it is necessary to explain what Surrealism is. Surrealism is an artistic, philosophical, intellectual and political movement that aimed to break down the boundaries of rationalization to access the imaginative subconscious. It is a descendent of the Dadaism movement, which disregarded tradition and the use of conscious form in favor of the ridiculous. First gaining popularity in the 1920s and founded by Andre Breton, the approach relies on Freudian psychological concepts.

Proponents of surrealism believed that the subconscious was the best inspiration for art. They thought that the ideas and images within the subconscious mind was more “true” or “real” than the concepts or pictures the rational mind could create. Under this philosophy, even the ridiculous had extreme value and could provide better insights into a culture or a person’s desires, likes or fears.

A major reason why many people took issue with the movement was because it tossed away conventional ideas about what made sense and what was ugly. In fact, much of what advocates produced was designed to break rules in overt ways. The art and writing of the style often holds images or ideas that, under traditional modes of thought, are disturbing, shocking or disruptive. Its major exponent was Salvador Dali (1904-1989), the most eccentric and imaginative figure in Spanish painting

Read more.

Picasso, Master of Cubism

Art Nouveau

"Dancer" , Alphonse  Mucha 

Click here to get their work. 

Work delivered and done by L.Tapia Grande & V. Segura

German Expressionism

Click here, to see the Popplet about it and here  and here to read the reports.

Futurism

Read the report here.



Listen to Luigi Russolo ,Italian Futurist painter and composer, here.


Work done by Jaimerena, Pereyra & Antinao

Cubism

Work done by Acuña, Maciel & Cruz,L.

Fauvism

Blue Window, Henri Matisse, 1911

Work done by Campagnone, V; Reyes, D & Gallego, A

Click here to see their Popplet and here to read their report.

Art Movements of the XXth Century

Opt Art, Pop Art & Minimalism

Follow the link to see the complete presentation: http://prezi.com/-hrgbgnl7j4b/?utm_campaign=share&utm_medium=copy&rc=ex0share

Beat Generation in Literature, Flower Power and Counterculture

Work done by Espòsito, Pavilonis & Batiz

Follow the link:

http://prezi.com/xsmaxretutvg/?utm_campaign=share&utm_medium=copy&rc=ex0share

Abstract Impressionism

To see the complete presentation, follow this link:

http://prezi.com/ev--m8fo3trf/?utm_campaign=share&utm_medium=copy

Prepared by Tarsitano, Casadidio, Natale & Moita

20th Century Art (part 1)

20th cent art from Patricia Guzman

Obras de Dalí, Picasso y Miró en La Plata

Por primera vez se exhibirán en una misma exposición numerosas obras de estos tres referentes del arte del siglo XX

Desde el próximo sábado 11 de mayo podrá visitarse en el Teatro Argentino la exposición “Dalí, Picasso, Miró: los españoles inmortales”. Esta muestra está compuesta por series de esculturas, platas, grabados, efectos visuales, litografías y linografías de estos tres grandes representantes del arte universal.

Salvador Dalí (1904-1989) es uno de los máximos referentes del surrealismo. Las obras incluidas en esta exposición, realizadas entre 1950 y 1980, fueron provistas a coleccionistas argentinos por Enrique Sabater, amigo del matrimonio Gala-Dalí.

En tanto, Pablo Picasso (1881-1973) fue uno de los mayores artistas del Siglo XX. Pintor, grabador, impresor, ceramista y escultor, abordó además otros géneros como la ilustración de libros y el diseño de escenografías y vestuarios teatrales. Esta muestra está conformada también por litografías de Joan Miró (1893-1983) incluido entre las máximas figuras de la vanguardia española. 

Las entradas están disponibles en las boleterías del Teatro (calle 51 entre 9 y 10), de martes a domingos, de 10 a 20. Para realizar visitas guiadas, comunicarse al Tel. 429-1745, de lunes a viernes, de 9 a 15.

¡IMPERDIBLE!!! 

When flappers ruled the Earth

The wild women of 1920s dance didn't just get everyone doing the Charleston and the Grizzly Bear. Stars like Josephine Baker and Tallulah Bankhead also played a pivotal role in women's emancipation

The Nefertiti of now' ... Josephine Baker at the Casino of Paris in 1939. Photograph: Lipnitzki/Roger Viollet/Getty.

In 1908, wearing little more than a jewelled breastplate and a transparent skirt, the Canadian dancer Maud Allan stormed the fortress of British proprieties with her solo work, The Vision of Salomé. Allan danced an audacious choreography of desire, her body "swaying like a witch, twisting like a snake, and panting with [a hypnotic] passion", according to one dazed viewer. But while several theatres outside London barred Allan's performance as indecent, to her legions of women admirers, she was an inspiration. Margot Asquith, wife of the Liberal PM, was among those who saw Allan's dancing as a liberating expression of female sexuality.The early decades of the 20th century were an exhilarating battleground for women, with key gains made in political and legal reform. But women were also testing out another arena of emancipation: their bodies. As fashions grew simpler and skirts rose higher, reaching knee-length by the late 1920s, women found new physical freedoms – or, at least, those with sufficient money and time to take advantage of them.

In contrast to their bustled, draped and corseted grandmothers, they could feel the sun and wind on their limbs; they could run, stride and ride a bicycle with ease. They could also dance – and it's surely no coincidence that this was an era obsessed with dancing. From the barefoot ecstasies of Isadora Duncan, whosefree, expressive dancing struck a blow against the corseted rigours of classical ballet, to the collective "jazzing" of the 1920s, dance came to play a surprisingly emblematic role in the story of women's liberation.

The impact of Allan's Salomé spread far beyond theatre. To one rightwing politician, Noel Pemberton Billing, its eroticism was nothing less than an incitement to female depravity, specifically lesbianism. A decade later, with Britain at war, Billing published an article in his magazine Vigilante, accusing Allan of being key to a perniciously widespread "cult of the clitoris", and symptomatic of the unpatriotic decadence that was undermining the upper echelons of British society.

Even if Allan wasn't driving women to Sapphic wickedness, she was, in the words of another commentator, "promoting a dangerous tendency to dancing". And it wasn't just on the stage, but on the dancefloor, too, that women were displaying an alarming lack of modesty, with the social dances that began spreading through the west just before the first world war. Driven by the rhythms of American ragtime, the Bunny Hug, the Turkey Trot and the Grizzly Bear triggered a riotous deviation from the formality of the ballroom.

These encouraged dancers to kick up their feet, rock crazily from side to side and lock their swaying pelvises together. In 1914, the Vatican felt compelled to issue a formal denunciation of their suggestive, animalistic moves. To the young and very aristocratic British socialite Lady Diana Manners, these ragtime dances were part of a new "budding freedom", a sign that "Victorianism" had finally lost its grip.

Nightclubs had begun to appear in London in 1912 and, whenever Manners was able to evade her chaperones, these dark and crowded basements promised a cocktail of illicit thrills: smoking cigarettes, wearing lipstick, drinking Pink Ladies – and dancing. Her own expertise on the floor had been fuelled by a year of formal training in ballet and Russian folk dance. The physical poise she acquired wasn't just unusual for a woman of her class, though; it also provided a necessary boost to her confidence after the war, when she further flouted tradition by embarking on an acting career. Not only did this take her to Broadway, it also allowed her to support her husband, Duff Cooper, through his first years as a politician.

In the 1920s, ragtime was superseded by the wayward jangle and bounce of the Charleston and by the pert, buttock-flourishing naughtiness of the Black Bottom. Zelda Fitzgerald, famously the inspiration for her husband F Scott's fictional flapper heroines, was also a wicked exponent of the decade's jazz dances. The celebrity myths that accumulated around the Fitzgeralds were fed by stories of Zelda lifting her skirts high above her waist to emphasis the sway of her hips – and the flash of what Ernest Hemingway was pleased to call her "long nigger legs".

If dances were getting wilder, so too were morals. Between 1914 and 1929, the divorce rate doubled in the US and surveys reported that premarital sex was rising even faster. The promiscuity of young women caused alarm, particularly in Britain where, after the carnage of the war, it was estimated that only one in 10 were likely to find a husband and settle down to marriage and motherhood. As early as 1919, sympathy for their plight ebbed as the press began to speculate about the kinds of selfish, destabilising pleasures these single young women might be indulging in. The Daily Mail warned that the number of "superfluous" females could be a "disaster to the human race".

Dancing continued to be a lightning rod for public concern. In 1923, when Tallulah Bankhead came to London to advance her acting career, it wasn't just the delicious huskiness of her Alabama accent or the fizz of her personality that clinched her success. It was the topicality of the play in which she made her debut. The Dancers, written by Gerald du Maurier and Viola Tree, dramatised the arguments for and against liberated 1920s flappers through the stories of two very different dance-mad women. Bankhead's character Maxie was a professional cabaret artist whose dancing symbolised her independence; she earned her own money, and made her own way in the world. Her opposite number Audry, however, was a socialite whose addiction to dancing led only to a neurotic netherworld of nightclubs, cocktails and sex.

Fizz ... Tallulah Bankhead in 1925. Photograph: Alamy

The moral chaos of Audry's world was captured in a picture painted by the Scottish artist John Bulloch Souter in 1926. Titled, starkly, The Breakdown, it showed a naked flapper dancing the Charleston to the accompaniment of a jazz saxophonist. The latter was seated astride a fallen statue of Minerva, goddess of wisdom; the fact that he was also black contributed to the public furore that got Souter's painting forcibly removed from the walls of the Royal Academy in London.

Race was another taboo being broken, as the era saw a mass emigration of black American musicians and dancers into the major cities of Europe.Ada "Bricktop" Smith, a cabaret singer from West Virginia, became doyenne of the Paris nightclubs, giving Charleston lessons to everyone from the writer and heiress Nancy Cunard to the Prince of Wales. And when a skinny chorus girl from St Louis called Josephine Baker was shipped over to Paris in 1925 to perform in the fashionable Revue Nègre, her subversively inventive versions of jazz dance were hailed by artists and intellectuals as genius. Picasso called her the "Nefertiti of now" – and such was the impact of her dancing that she became elevated to an aesthetic ideal.

Having endured racial abuse and discrimination back home, Baker was now advertising beauty products that allowed white women to mimic her own glossy cropped hair, her burnished skin and supple silhouette. It was an astonishing turnaround for her. But it also demonstrated the power that the symbols of the jazz age – its clothes, music and dancing – had to cut across social barriers.

Alive and kicking ... a Charleston competition at the Parody Club, New York in 1926. Photograph: Hulton Archive/Getty

There is, of course, a less benign story to tell about the degree to which these symbols became commodified by the new billion-dollar advertising, fashion and beauty industries, and about the pressures they imposed. Young flappers may have thrown off the tyranny of the corset, but they discovered the new tyranny of dieting. A schoolgirl in Chicago tried to gas herself because her parents wouldn't let her bob her hair or shorten her skirts along with her classmates.

But to the American writer Dorothy Dunbar Bromley, the flapper represented a new spirit of emancipation. If women were to follow their "inner compulsion to be individuals", they had to throw off their shackling inheritance of obedience, whether to the puritanical tenets of old-schoolfeminism or to the sentimentalised duties of marriage and motherhood. It wasn't hardcore politics but, on the dancefloor at least, these women of the 1920s embodied Bromley's views. As they shimmied their shoulders and swivelled their hips, they were released into a brief but deeply subversive world – a world of freedom.

• More on this story

• 
  Josephine Baker and the wild women of 1920s dance – in pictures
  Flappers angered the Vatican and stood accused of starting 'the cult of the clitoris' in Britain. But they also played a huge role in the emancipation of women

Flappers: Women of a Dangerous Generation

1. by Judith Mackrell

http://www.guardian.co.uk

The Return of Pop Art

Campbell’s Releases Warhol-Inspired Soup Cans

In honor of one of their biggest fans, Campbell’s will release their tomato soup with Andy Warhol-inspired designs.  The cans celebrate the fiftieth anniversary of Warhol’s pop art masterpiece, “32 Campbell’s Soup Cans.”

“I used to have the same lunch every day for twenty years,” Warhol had famously said of Campbell’s soup.  The company sent him cases of it, knowing how much he loved the brand.

The Warhol-inspired tomato soup will be available at Target locations starting in September.  They retail for $.75 per 10.5 oz can.

The Campbell’s Facebook page is giving fans a chance to turn their portraits into pop art.

“In the future, everybody will be world-famous for 15 minutes,” Warhol said, and now a few soup fans can get their “15 minutes.”  A few users’ photos will be selected and featured on the company’s Facebook page.

More on Andy Warhol and Pop Art in this blog.

http://lenguaycultura2isfd97.blogspot.com.ar/2011/10/pop-art-opt-art.html


http://abcnews.go.com

Work done by Grellet & Serio. PPP here; report in the ecaths blog.

Surrealism

Click here to get the PPP on Surrealism by Jungblut and Cardozo. You will find more information in the e-caths blog.

Cubism

 CUBISM

Cubism is 20th century avant garde art movement that revolutonized European art. Until the first decade of 20th century, art, was essentially pictorial and  was based on themes of real world ideas, with the emergence of a new "modernist" thinking and an increasing use of machines in industry and daily life, artists sought new ways to interpret the changes taking place around the world. Modern concepts of art were born in Europe. Modern artists reacted abandoning intellect for intuition and depicting the world as they percieved it, they rejected the old victorian standars of how art should be made. Cubism emplied a rupture with the classical aesthetic and a new way to see works of art with the eyes of the mind. The viewer is obligaged to move his eyes to reasemble the picture. Cubism is one of the most influential art styles and it was pioneered by Pablo Picasso and George Braque in Paris , 1907. Its main characteristics are the use of geometric forms, mostly cilinders, cones, spheres and cubes. Artists reduced and fractured the objects into geometric forms and then reasembled them to show several views of objects simultaneously.

In 1914, the start of the world war I wiped out a generation of young artists. After the war, many cubist artists continued developing this style at the U.S.A. where modern art became popular as in the case of collage.  

In fact the geometric forms gave the name to the movement.
Cubism is not only found in paintings but also in literature , poetry and arquitecture.
The major part of the work has been done between 1907 and 1914 .
Les demoseilles D"avignon is the first cubist work done by P.picasso... (  Although this is a painting about prostitutes in France   which caused
surprise was not the sexual subjet. It was the new and revolutionary tecnique).
As the cubist artists rejected the established concept that art should copy nature as well as the traditional tecniques did.


According to critics of art from that time this movement has been divided in two phases:

The first one is called ANALITIC CUBISM where painters reduced and fractured the objects into geometric forms to realined them, so that they could  be reassembled in an abstrat form, the predominant colours were the monocromatic of blue, grey, green and brown.

This ANALITIC period lasted up to 1912 when Picasso incorporated everyday materials such as newspaper cuttings, tickets, tobacco wrappers to the paintings , this marked a difference from the previous phase. So this second Phase was known as SINTHETIC CUBISM.
by introducing physicall elements of real life art  ,would become more real and simpler.Colour and texture became more relevant and the word Collage gained and space within art.

Although cubist painters intertwined their work with other styles , from time to time they came over to cubism.In 1937  P. Picasso painted  El Guernica, which reflects the Spanish civil war in the city of guernica and the total destruction of the same.
In this picture there is no colour at all , just white and black to express the horror, the sadness  and the mourning.

  It is necessary to mention in the arquitecture field the work done by Le Corbusier and the Curuchet house here in La Plata.

arquitecture characteristics:
 spacial ambiguity,transparency and multiplicity. not classical perspective. IT BECAME AN INFLUENTIAL FACTOR FOR MODERN ARQUITECTURE FROM 1912 . IT IS THE LINKING OF BASIC GEOMETRIC FORMS, BEAUTY AND INDUSTRIAL APPLICATION..

In Argentina one of the most well known  cubist painter  is Emilio Pettoruti who has been highly influenced by their contemporaries.

More pictures here.