Today we reviewed the previous three weeks of the semester.

The third quiz will be on Monday, November 24th.

Today’s class had some technical problems as the colors projected were way off but we were able to view and discuss some of the key works and artists of dada and some of surrealism.

We wrapped up our discussion of dada by focusing on several German artists:

George Grosz and his satirical views on bureaucracy and division of the classes.

George Grosz "Fit For Active Duty" 1916-17

Otto Dix and his imagery based on his experiences in the trenches of World War I.

Otto Dix "Stormtroopers Advancing Under Gas" 1924

The complex allegories of Max Beckmann.

Max Beckmann "Departure" 1932-33

Then we began surrealism with some discussion of the techniques developed and employed by surrealist writers and artists.

Visual art began with Joan Miro and the biomorphic (or abstract) surrealist style.

Joan Miro "Carnival of Harlequin" 1924-25

Next class we will continue with surrealism and then visit the Barnes-Franklin Art Gallery to do our next in-class assignment.

Viewings:

• Slides from Lecture 20

Readings:

• Chapter 15: Surrealism

Reminder: the bonus point opportunity (posted on October 16) is due Monday, November 10.

Today’s class focused on dada and how it influenced art in terms of imagery, attitude, and technique. We keyed in on several artists who were directly involved in the movement and produced work that still has a lasting influence on the art world.

We looked at Marcel Duchamp who, through image, text, and ideas, developed a new type of artistic literacy. Not the least of which is the readymade.

Marcel Duchamp "L.H.O.O.Q." 1919

We discussed Man Ray who worked as painter, sculptor, photographer, and filmmaker. He manipulated objects of the commonplace that transformed their meanings and developed many photographic techniques still in use today such as the photogram and solarization.

Man Ray, "Gift" 1921

And Kurt Schwitters, who created his art out of what society threw away. Taking the concept developed by synthetic cubism to an extreme.

Kurt Schwitters "Picture with Light Center" 1919

Next class we will discuss the influences that dada had on the art world and other artists as well as begin our discussion on another major influence on the history of art: surrealism.

Viewings:

• Slides from Lecture 19

Readings:

• Chapter 13: From Fantasy to Dada and the New Objectivity

Reminder: the bonus point opportunity (posted on October 16) is due Monday, November 10.

Today we began the the second half of the course by viewing and discussing two unique artists who would have a strong influence on the future style of surrealism: Marc Chagall and Giorgio de Chirico.

The work of Chagall was a return to reality but one where the physical laws of the world did not apply.

Marc Chagall "Birthday" 1923

The work of de Chirico also focused on physical reality and executed in the tradition of Renaissance space. His particular approach was part of what is called the metaphysical school whose imagery dealt with bright sunlight (and shadow), open and deep spaces, and the juxtaposition of everyday objects that created a sense of surprise and strangeness.

Giorgio de Chirico "The Mystery and Melancholy of a Street" 1914

These works, in terms of their subject matter, was to anticipate the later movement known as surrealism.

Next we looked at some of the work of Jean Arp. An artist whose significance was in the process of creating his art.

Jean Arp "Collage Arranged According to the Laws of Chance" 1916-17

We than began a discussion of the movement known as dada.

Next class we will continue with dada, Marcel Duchamp, and the new objectivity.

Viewings:

• Slides from Lecture 18

Readings:

• Chapter 13: From Fantasy to Dada and the New Objectivity