Several problems about art

1. Fauvism: the first modernist school that rose in France in the early 20th century. 1905, a group of young people, headed by Matisse, studied in the studio of the symbolist master Morrow and sent their works to the "Autumn Salon" in Paris. Most of these works, with wild colors, flying brushstrokes and strange images, surprised the audience and immediately caused a sensation in Paris. At that time, a critic compared these works to a group of wild animals devouring those gentle academic arts, and the name of "Fauvism" spread from then on. These painters think that the most important thing in painting is color, emphasizing the contrast of colors, boldly using pure colors, daring to break through the shackles of the body, and pursuing the expression of strong emotions and the liberation of personality have become their knowledge and purpose of action. In fact, they have neither a clear program nor a strict organization, but a multi-faction loose organization under the banner of Fauvism. Fauvism painting movement reached its climax from 1905 to 1906, and the peak was very short, but it had a great influence on later modernist art, especially German expressionism. After that, their respective works no longer had the same appearance, and the Fauvism disintegrated on its own. Representative painters are Matisse, Dylan, Duffy, Flemish and Van Gogh. Dong Gen, Luo, Yavlinski, etc.

Matisse, Flanders, Dylan,

2. Expressionism: Monk, Klimt, Karhi.

Cubism: The Girl in avignon and guernica by Picasso.

Preserved bread

4. Futurism: Bala, Bochuni

5. Dadaism:

Duchamp's naked girl went down the stairs, l? h？ o？ o？ Ask "

Between the two world wars

1. Surrealism

Dali's obsession with memory

Ernst, Margaret, Milo.

Step 2 be abstract

Kandinsky, mondriaan, Klee.

4. bauhaus: Gropius, Miss? Where is it? De? collect

After World War II

1. Abstract expressionism: the first important modernist painting school and artistic trend of thought that appeared in the United States in the 1950s. It inherits the exploration achievements from van Gogh to surrealism in pursuing the abstraction, directness and automaticity of art and expressing the subconscious self. It emphasizes the freedom and aimlessness of the author's actions, and promotes the creative behavior itself to an important position. Among them, the creator's behavior has always been pregnant with the factors of art communication media. Abstract expressionism adapted to the psychological state and aesthetic requirements of Americans after World War II.

Gorky and Pollock in Germany? Kunin, Newman, Lewis

2. Minimalism: Originated from abstraction and rebelled against abstract expressionism.

3. Pop art: The word "pop" has a popular, popular and popular meaning, which was put forward by Allawi, a British art critic. He collectively referred to the art of using popular images as its content, which was later accepted and widely adopted by critics.

Vohor raushenbai

4. Photographic realism: It rose in the United States in the late 1960s, and a large number of abstract works made people tired, so some painters engaged in pop art turned to reproduce the reality cruelly, which was obviously a return to conservatism.

Almost, Hansen,

5.op art: Opart is the abbreviation of light effect art, which was developed together with pop art in the 1960s, but it only gained social attention later. It is rooted in abstract art and a new schema developed from abstraction. Generally, through static color patterns, the audience will have illusion, rotation, lighting and other visual effects. It is a new development of abstract art in illusion.

Victor Vasavelli

6. Conceptual art: Su En.

8. Earth Art: Crystal

2. Pablo Picasso (1881-1973) is one of the most influential artists in the 20th century. He left a surprising number of works in his life, with rich and varied styles and extraordinary creativity. Picasso was born in Malaga, Spain, and later settled in France for a long time. His father is an art teacher. He likes art since he was a child. /Kloc-At the age of 0/5, he entered the Barcelona Academy of Fine Arts with excellent results and then transferred to the san fernando Academy of Fine Arts in Madrid. He came to Paris in 1900 and began to describe the lives of the poor with great sympathy. At this time, his works are full of tragic colors. The thin image and the cold gray-blue tone make his paintings full of loneliness and despair, disaster and misfortune. People call this period the "blue period" of his creation (1900-1904). 1904-1906 is the "pink period" of Picasso's creative career. His works in this period mainly depict circus figures. Although his image is melancholy, he is not lonely. From 65438 to 0906, influenced by African primitive sculptures and Cezanne paintings, Picasso turned to explore new painting styles. So, he drew a landmark masterpiece-"The Maiden of avignon".

Avignon girl

This incredible huge oil painting not only marks a major turning point in Picasso's personal artistic course, but also a revolutionary breakthrough in the history of modern western art, which triggered the birth of cubism movement. The Maiden of avignon began at 1906 and finished at 1907, during which it was revised several times. In this painting, five naked women and a group of still life constitute a formal composition. The title of this painting was added by Picasso's friend Andrew selman. It is said that Picasso himself didn't like it. But anyway, this is just the name of the work. In modern art, the correlation between titles and works is getting smaller and smaller, and painters often consciously do not use titles to explain the contents of works. So must Picasso's Girl in avignon. The original intention of the painting is to take the allegory of sexually transmitted diseases as the title and name it "Reward of Sin", which is clear in the original sketch; There is a man with a skeleton in his hand in the sketch, which reminds people of an old Spanish moral maxim: "Everything is vanity". But in the formal creation of this painting, these anecdotes or hidden details were removed by the painter. Its ultimate power of shock does not come from any literary description, but from the touching power of its painting language.

This painting is the first cubist work. The images of three naked women on the left of the picture are obviously the rigid deformation of the classical human body; The rough and abnormal faces and postures of the two naked women on the right are full of the wild characteristics of primitive art. Fauvism painters discovered the original charm of African and Oceania sculptures and introduced them to Picasso. However, it was Picasso who destroyed classical aesthetics with primitive art, not the fauvism painter. In this painting, not only the proportion, but also the organic integrity and continuity of the human body are denied. So this painting (as one critic said) is "like broken glass". Here, Picasso destroyed many things, but in the process of destruction, what did he gain? When we recovered from the shock when we first saw the painting, we began to find that the destruction was quite orderly: everything, whether the image or the background, was broken down into angular geometric blocks. We noticed that these fragments are not flat, they have a feeling of three-dimensional space, because they have shadows. We are not always sure whether they are concave or convex; Some of them look like solid blocks, while others look like fragments of transparent body. These unusual blocks give the picture some integrity and continuity.

From this painting, we can see a new technique of expressing three-dimensional space on a two-dimensional plane, which has been adopted in Cezanne's paintings as early as possible. We see that the faces of the two images in the center of the picture are positive, but their noses are drawn as sides; The head is on the left side of the image, but the eyes are positive. Videos from different angles are combined in the same image. This so-called "synchronous video" language is more obviously used in the squatting image on the right side of the picture. This image of three-quarters of the back is separated from the central axis of the spine due to decomposition and stitching. Its legs and arms are elongated, suggesting a deep extension; The head was turned over and stared at the audience. Picasso seemed to circle 180 degrees around the image before synthesizing images from various angles into this image. This painting method completely broke the limitation of perspective on painters in the 500 years since the Italian Renaissance.

Picasso tried to keep the picture flat. Although many blocks in the painting feel concave and convex, they are not deep concave or high convex. The space displayed on the screen is actually so shallow that the painting looks like a relief image. The painter deliberately eliminated the distance between the characters and the background, trying to make all parts of the picture displayed on the same surface. If we pay a little attention to the blue block in the background on the right, we can find the artist's originality. Blue, usually has the effect of retreating visually. In order to eliminate this effect, Picasso hooked these blue blocks with dazzling white edges, so they looked desperately prominent.

The girl in avignon is actually an independent painting structure, leaving the outside world alone. It cares about the world made up of its own shapes and colors. It was born out of Cezanne's immortal works depicting bathing girls. It forms a pure painting structure in an order different from the natural order.

Ka si le Xiang

Portrait of Kasler, Picasso, 19 10 year, oil painting, 100 × 6 1.5cm, Chicago, Chicago Art Center.

Picasso1909-1911The paintings in the period of "Analytical Cubism" further showed the neglect of objective representation. During this period, the images in his works, whether still life, scenery or characters, were completely decomposed, which made the audience not know much about them. Although every painting has a title, it is difficult for people to find objects related to the title. Those decomposed shapes and backgrounds blend with each other, so that the whole picture is covered with blocks of different shapes interwoven with vertical, oblique and horizontal lines. In this complex network structure, images only emerge slowly, but can be dissolved in complex blocks immediately. The role of color is minimized here. There seems to be only some monotonous black, white, gray and brown in the painting. In fact, what the painter wants to show is only the structure composed of lines, shapes and shapes, and the tension emitted by this structure.

This portrait of Kasler clearly shows how Picasso applied this analytical cubist painting language to the shaping of specific characters. It is puzzling that Picasso never gave up learning from the model in this extremely abstract description of decomposing images and abandoning colors. In order to draw this picture, he made his old friend Mr. Kessler sit patiently in front of him for twenty times. He took pains to decompose the form in detail, thus obtaining a picture structure that seems to be composed of transparent color blocks overlapping layers. The colors in the painting are only blue, ochre and grayish purple. Color only plays a secondary role here. Although the outline of Mr. Canweiler's image can still be vaguely seen in the crisscross of lines and squares, it is difficult for people to judge its similarity with real people. Roland Penrose, the most famous expert on Picasso, once commented after seeing this painting: "Every time a face is separated, a plane is separated from the adjacent part, and it keeps moving backwards, constantly producing a direct feeling, which reminds people of the layers of ripples on the water. Your eyes wander in these ripples, and you can catch some signs here and there, such as a nose, two eyes, some neatly combed hair, a bracelet and a pair of crossed hands. However, when the line of sight turns from this point to that point, it will constantly feel the pleasure of swimming around on some surfaces, because these surfaces are convincing with their similar appearance ... Seeing such a picture will produce imagination; Although this picture is ambiguous, it seems to be true. Driven by the symmetrical and harmonious life of this new reality, it will make its own explanation with joy. "

Bottles, glasses and violins

1890 ——1892, oil painting, 45× 57cm, at Musee d 'Orsay, Paris.

From 19 12, Picasso turned to his "comprehensive cubism" style painting experiment. He started collage creation. This work called Bottle, Glass and Violin clearly shows this new style.

In this painting, we can distinguish several characters from ordinary objects: a bottle, a glass and a violin. Are represented by newspaper clippings. Here, the focus of the painter's attention is actually the basic form.

However, this problem is treated with a brand-new attitude at this time. In the analysis of cubism, the image is reduced to its basic elements, that is, it is broken down into many small pieces. Picasso took these building blocks as elements and formed a new order of objects and space in his paintings. He used short and thick strokes to connect the blocks side by side, and obtained a clear picture structure, which embodied a rigorous and rational painting procedure. Now, in the works of comprehensive cubism, he just takes the opposite procedure. He no longer takes the real object image as the starting point and decomposes the object image into the basic elements, but takes the basic elements as the starting point and transforms the basic shapes and blocks into the graphics of the objective object image. In other words, he has organized and arranged an abstract picture structure before showing bottles, cups and violins. By giving up painting and brushwork, he even gained a more objective truth. He used newspapers, wallpaper, wood grain paper and other similar materials to collage different shapes of building blocks. On the one hand, these blocks show the world outside the painting, on the other hand, they show the unity and independence of the painting's own world with their organic combination. No wonder his art dealer and friend Kahn Weiler commented on him: "Even without the ability to play with brushes, he can create excellent works." In this collage, a newspaper on the left represents a bottle, and the paper printed with wood grain represents a violin. And a few strong lines drawn with charcoal brush make this change a reality and bring those irrelevant collage materials into an organic whole.

This collage art language is the main symbol of cubist painting. Picasso once said: "Even from an aesthetic point of view, people can prefer cubism. But paper paste is the real core of what we found. " In the use of this collage language, Picasso is obviously bolder and more imaginative than other cubist painters (such as Braque and Grice). Other painters should consider whether it conforms to the realistic logic when sorting out different papers. They always limit the grainy paper to objects that represent wood (such as tables and guitars). Picasso got rid of this bondage completely. In his paintings, you can use a patterned wallpaper to represent the desktop, or you can cut and paste a newspaper into a violin. Picasso once expounded his views on collage in a dialogue with Fran? ois Giraud:

"The purpose of using paper paste is to point out that different substances can be introduced into composition and become a reality comparable to nature on the screen. We try to get rid of perspective and find the spirit of wrong vision. Newspaper fragments are never used to represent newspapers. We use them to describe a bottle, a piano or a face. We never use the material according to its literal meaning, but divorced from its customary background, thus causing the conflict between the original visual image and its new final definition. If newspaper fragments can be turned into a bottle, it will make people think about the benefits of newspapers and bottles. The object was displaced and entered a strange world, a world out of place. We just want people to think about this strangeness because we realize that we live alone in a very disturbing world. " (Picasso in Lovers' Works translated by Fran? ois Giraud, Tianjin People's Publishing House, 1988, p. 60).

3. guernica

Guernica, Picasso, 1937, oil painting on canvas, 305.5× 782.3cm, Prado Museum.

The oil painting guernica is a masterpiece of great influence and historical significance created by Picasso in 1930s. Entrusted by the Spanish government, this painting was created for the Spanish Pavilion of the International Expo held in Paris in 1937. This painting shows 1937 the atrocities committed by the German Air Force in bombing the Spanish town of guernica. As an artist with a strong sense of justice, Picasso expressed great indignation at this barbaric behavior. It took him only a few weeks to complete this masterpiece as a condemnation and protest against fascist atrocities.

Although Picasso was keen on avant-garde artistic innovation, he did not give up his expression of reality. He said: "I am not a surrealist, and I have never been divorced from reality. I always stay in the real situation. " This may also be an important reason why he chose to paint guernica. However, the expression of reality in his paintings is completely different from traditional realism. The rich symbolic meaning in his paintings is hard to find in ordinary realistic works. Picasso himself explained the symbolic significance of this painting, saying that the bull symbolizes violence, the injured horse symbolizes suffering Spain, and the shining lights symbolize light and hope. Of course, the painting also depicts many realistic scenes. On the right side of this picture, a woman is crying at the sky with a dead baby in her arms. Below her was a soldier, who fell to the ground with flowers in his hand, a broken arrow and his arms outstretched. On the left side of the painting, a panicked man raised his hands in the air and screamed at the sky. Not far from him, the woman who bent down to escape panicked as if her hind legs were behind her. All this is a true portrayal of the victims in the terrible aerial bombing.

Many images in the painting reflect the painter's absorption of traditional painting factors. The image of a mother holding a dead child seems to come from the tradition of the virgin mourning for Christ; The woman with the oil lamp reminds people of the shape of the Statue of Liberty. The image of hands screaming in the air is similar to the dying posture of patriots in Goya's paintings; The image of a soldier lying on the ground with his arms outstretched seems to be related by marriage to the images in some war paintings in the early Italian Renaissance. It can be seen that Picasso is not only a bold innovator with rebellious spirit, but also an artist who respects and is proficient in tradition.

At first glance, this painting is very casual in image organization and composition arrangement, and we may even feel a little messy. This seems to be consistent with the chaotic atmosphere in which residents were scattered and frightened during the bombing. However, when we carefully examine this painting, we find that in this long picture space, all the shapes and images have been carefully conceived and scrutinized, with a strict and unified order. Although many images are dynamic, their fabric forms obviously reveal some classical meanings. We see that in the center of the picture, different bright images overlap each other to form an isosceles triangle; The central axis of the triangle just divides the whole strip picture into two squares. And the images at the left and right ends of the screen are so balanced. It can be said that this so-called pyramid composition has some similar characteristics with Leonardo da Vinci's The Last Supper. In addition, the whole painting can be divided into four sections from left to right: the first section highlights the image of the bull; The second paragraph emphasizes the injured and struggling horse, whose dazzling electric lights look like frightened and lonely eyes; In the third paragraph, the most striking thing is that the Statue of Liberty holds a lamp and sticks its head out of the window. In the fourth paragraph, the image of the frightened man with his arms stretched out into the sky immediately attracted our attention, and his desperate gesture was unforgettable. With this elaborate composition, Picasso showed the exaggerated and distorted images full of dynamic and exciting in a unified and orderly way, which not only portrayed rich and changeable details, but also highlighted and emphasized key points, showing profound artistic skills.

Here, Picasso still uses the artistic language of clip art, however, the visual effect of clipping in painting is not realized by real clipping means, but by hand drawing. The "cut-and-paste" characters superimposed on one another are limited to three colors: black, white and gray, thus effectively highlighting the tension and terror of the picture.

4. Cubism Cubism is a movement and genre in the history of modern western art, which is also translated as cubism. Started in France 1908. Cubist artists pursue the form of fragmentation, analysis and reorganization, forming a separate picture-taking many combined fragments as the artist's display goal. Artists describe objects from multiple angles and put them in the same picture to express the most complete image of objects. The overlapping of various angles of objects creates many vertical and parallel line angles, and the scattered shadows make the cubist picture have no three-dimensional sense caused by the traditional perspective of western painting. The background and the theme of the picture are alternately interspersed, which makes the cubist picture create two-dimensional painting characteristics.

Cubism began in 1906, by George? Braque and Pablo? Founded by Picasso, they live in Montmartre, Paris, France. They met at 1907. Until the outbreak of World War I in 19 14, the two had been working very closely together.

The emergence of the name cubism is accidental. 1908, georges braque (1882- 1963) exhibited the work "Estaque House" in Kahneweiler Gallery. Commentator L. Piston commented in Jill Brass magazine: "Mr. Braque restored everything ... into a cube." This style of painting is hence named. The main members of Cubism are Pablo Picasso and Braque. Picasso's oil painting "The Maiden of avignon" (19 10) is regarded as a cubist work.

The exploration of cubist painters originated from Cezanne's theory and creative practice. They regard Cezanne's sentence "cylinders, spheres and cones should be used to express nature" as their artistic pursuit. In essence, this is the reflection of the social reality of industrial civilization and machine age in the early 20th century on the painter's spirit.

Picasso once said, "When we engage in cubism, we don't intend to engage in cubism, but we want to express what we have." Braque admitted: "Cubism, or rather my cubism, is a means I created and used to make painting conform to my talent." The combination of their two temperaments, and through the efforts of Grice and Legge, enabled them to reunite, which formed a dynamic cubism.

The emergence of cubism painting method has gone through a brewing process. At the beginning of the 20th century, painting in Paris was very active. After post-impressionism and symbolism, young artists are generally concerned about how to innovate forms to express people's inner feelings and psychology in the rapidly changing industrial society. New schools have appeared in France, Germany, Italy and Russia. In France, with the rise of animism, another group of writers and artists gathered in Montmartre's "mobile laundry room". Participants included Picasso, Braque, Laurent Sen, Apollinaire, Salmon, renard, Grice, Legg, etc. They got the support of an art dealer, D.-H. Carnweiler, who opened a gallery in Paris on 1907, known as Cubist Society. Dellauren and Glades also took part in cubist activities. 19 10, a new cubist society was established with J. peron as the center. Because of its frequent activities in Pito, France, it is called Pito Group. Dutch painter P. mondriaan and Mexican J.de Rivera are also connected with the Pito Group. They endowed analytical cubism with order and rules, thus promoting cubism to develop in a more abstract and subjective direction. From 19 12, Picasso and others conducted a comprehensive cubist experiment. There is still a strong sense of light and space in the broken and transparent structure of analytic cubism. The painter concentrates the objects observed in different states and different viewpoints on one plane, resulting in the overall experience effect. Comprehensive cubism no longer starts from dissecting and analyzing an object, but creates a new motif by combining a variety of different materials, and tries to make artists close to the ordinary truth in life through physical collage.

Although the Golden Section Society, as a branch of cubism, continued to hold exhibitions in 1920 and 1925, cubism, as an art movement, lost its vitality as early as 19 14.

Cubism is an artistic school full of ideas. It mainly pursues the beauty of a geometric form and the aesthetic feeling produced by the arrangement and combination of forms. It denies the traditional method of observing and expressing things from one viewpoint, and simplifies the three-dimensional picture into a plane and a two-dimensional picture. The interest of light and shade, light, air and atmosphere gives way to the interest and artistic conception of outlines and blocks piled up with straight lines and curves. We don't look at things from one viewpoint, but shape things we observe and understand from different viewpoints in the picture, thus showing the continuity of time. In doing so, obviously, we don't mainly rely on visual experience and perceptual knowledge, but mainly rely on rationality, ideas and thinking.

Cubism has a strong formalism tendency under the slogan of anti-tradition. However, its exploration in artistic form has greatly promoted the practical art fields such as modern arts and crafts, decorative arts and architectural arts, which pay attention to formal beauty.

Cubist painters have no systematic theoretical guidance, and everyone explores according to their own ideas. Picasso said, "I want to paint according to my imagination, not according to what I see." Braque also said: "The painter does not want to constitute an anecdote, but creates a painting fact."

The emergence of cubism is also the inevitable development of art itself. In traditional painting, painting only according to the objective nature shows only a part and side of nature. With the changes of modern life of modern people: objectivity and microcosmic, speed and variability, and the limitation of machines on people, painting is required to show such diversity and complexity; Plato's view of geometric beauty in ancient Greece and Cezanne's view of deliberately describing the structure and eternity of things, together with the enlightenment of African black sculpture, led to the emergence of cubism art.

Representative figures and works:

Pablo Picasso (1881-1973), a young girl in avignon; Guernica;

Georges braque (1882— 1963), Estaque family;

Three Women by Fernand Leger (1885-1955);

Juan gris's guitar and music score (1887-1927);

Cubism has two schools in the 20th century. One is the laundry boat school, and the representatives of this school are Picasso and Poloch, who are also orthodox. The other school is the Hive School, represented by a group of up-and-coming cubist painters. The popularity of cubism is also catalyzed by these honeycomb painters.

At the same time, cubism has three periods. One is the early stage of development. In the history of cubism, that is, its gestation and initial stage, it sought a simple geometric form and gave up the analysis of light and color. Pursuing the form of objects. Secondly, the stage of analysis cubism still pays attention to the decomposition of form rather than the overall reorganization, and the color is basically single. The third stage is comprehensive cubism, which is relatively mature and perfected by analytical cubism. During this period, painters began to pay attention to the overall effect of the picture, rather than just emphasizing the partial decomposition. The color is gradually enriched, and the form of things is re-valued.