{"id":1897,"date":"2018-02-01T01:55:36","date_gmt":"2018-02-01T01:55:36","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/arthistory2-91\/?post_type=chapter&p=1897"},"modified":"2018-06-05T14:11:38","modified_gmt":"2018-06-05T14:11:38","slug":"module-5-20th-century-art-discussion","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/atd-herkimer-arthistory2\/chapter\/module-5-20th-century-art-discussion\/","title":{"raw":"Module 5 20th Century Art Discussion","rendered":"Module 5 20th Century Art Discussion"},"content":{"raw":"In this module discussion,\u00a0we will be researching the art movements in the early 20th Century which changed everything in the world of art.<\/strong><\/span>\r\n\r\nIt is not possible to even begin to include many of the artists in modern art. Just because an artist is not here does not in any way diminish their important contribution to the history of art.<\/strong><\/span>\r\n\r\nStudents are required to research these early movements in modern art, using the two Lumen Art History Texts here:<\/span><\/strong>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/boundless-arthistory\/chapter\/european-art-in-the-early-20th-century\/<\/strong><\/span>\r\n\r\nHere are some of the important artists who contributed to the movement known as modern art.<\/strong><\/span>\r\n\r\nSee Chapters 12, and 13 in the Lumen Art History II Text.\u00a0<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/module-12-overview\/<\/a>\r\n\r\nModernism in Europe and America, 1900 to 1945_<\/strong>\r\n<\/b>The early twentieth Century was a time of great change, and experimentation in the arts.<\/strong><\/span>\r\n\r\nIn this discussion , choose a minimum \u00a0of two of the movements below to research, and report to the class for response.<\/strong><\/span>\r\n\r\nTry to imagine the shock and frustration felt by spectators who were used to traditional art, when<\/span> they encountered work by Matisse, Picasso, Kandinsky, Duchamp.<\/span><\/strong>\r\n\r\nYou should use Lumen Learning Texts above, and your own independent research to participate in this class discussion.<\/strong><\/span>\r\n\r\nAny supplementary website in the module is not required for students to be successful in student learning outcomes.<\/strong><\/span>\r\n\r\nBe sure to include citation \u00a0in your posts, so your reader can follow your link to an article, web site, or video. You can research the representative\u00a0work, but should add a minimum of two more works in your chosen movement.\u00a0<\/strong><\/span>\r\n\r\nExample:<\/strong><\/span>\r\n\r\nBelow is the movement, Fauvism, with the representative artist, Henri Matisse. You can research his Joy of Life, but should add two other Fauvist\u00a0works of art.\u00a0<\/strong><\/span>\r\n\r\nFauvism<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/introduction-to-fauvism\/<\/strong><\/a>\r\n\r\nHenry Matisse \u00a0 \u00a0 Joy of Life<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/matisse-bonheur-de-vivre\/<\/strong><\/span>\r\n\r\nCubism<\/strong><\/span>\r\n\r\nPablo Picasso \u00a0 Demoiselles\u00a0D'Avignon<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/picasso-les-demoiselles-davignon\/<\/a>\r\n\r\nhttps:\/\/www.moma.org\/collection\/works\/79766<\/a>\r\n\r\nThere were many periods associated with Cubism, but the main two are early_Analytic, and later_Synthetic.<\/strong><\/span>\r\n\r\nThere were two artists working together in the birth of cubism, Pablo Picasso, and George Braque. Above is the groundbreaking Les\u00a0Demoiselles\u00a0D'Avignon\u00a0by Picasso.\u00a0<\/span><\/strong>\r\n<\/strong><\/span>\r\n\r\nBelow is a later work by Georges Braque, The Portuguese:<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/braque-the-portuguese\/<\/strong><\/a>\r\n\r\nExpressionism<\/strong><\/span>\r\n\r\nEdvard Munch<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/munch-the-storm\/<\/strong><\/a>\r\n\r\nNon-Objective Art<\/strong><\/span>\r\n\r\nCubism led artists close to total abstraction, or what we call Non-Objective art. But other artists went further, trying to create art that was not a scene from the real world, but an equivalence to music, or emotion.\r\n<\/strong><\/span>\r\n\r\n\u00a0<\/strong>Kandinsky, Composition V<\/strong><\/span>\r\n\r\nhttps:\/\/www.moma.org\/interactives\/exhibitions\/2012\/inventingabstraction\/?work=5<\/a>\r\n\r\nPiet\u00a0Mondrian<\/strong><\/span>\r\n\r\nMondrian, Composition No. II \u00a0<\/span> \u00a0\u00a0<\/span>\u00a0<\/span>https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/mondrian-composition-no-ii\/<\/a><\/strong>\r\n\r\nPiet Mondrian,\u00a0<\/span>Composition No. II, with Red and Blue<\/em>, oil on canvas, 1929 (original date partly obliterated; mistakenly repainted 1925 by Mondrian). Oil on canvas, 15 7\/8 \u00d7 12 5\/8\" (40.3 \u00d7 32.1 cm), (The Museum of Modern Art)\u00a0<\/span><\/strong><\/span>\r\n\r\nMalevich\u00a0 Suprematism\u00a0 \u00a0White on White \u00a0<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/malevich\/<\/a><\/strong>\r\n\r\nhttps:\/\/www.moma.org\/collection\/works\/80385<\/a>\r\n\r\nFuturism<\/strong><\/span>\r\n\r\nBoccioni\u00a0 \u00a0 \u00a0Unique Forms of Continuity\u00a0in Space<\/strong><\/span>\r\n\r\nAbstraction in Sculpture<\/strong><\/span>\r\n\r\nConstantine Brancusi\u00a0 \u00a0 Bird in Space<\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/brancusi-bird-in-space\/\u00a0\u00a0<\/a>\r\n\r\nhttps:\/\/www.moma.org\/collection\/works\/81033<\/a>\r\n\r\nDadaism<\/strong><\/span>\r\n\r\nMarcel DuChamp \u00a0\u00a0<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/duchamp-fountain\/\u00a0<\/a>\u00a0\u00a0<\/strong>\r\n\r\nSurrealism<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/dali-the-persistence-of-memory\/<\/a>\r\n\r\nFrida\u00a0Kahlo<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/frida-kahlo-and-diego-rivera\/ \u00a0<\/a>\r\n\r\nJackson Pollock \u00a0<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/pollock-one-number-31-1950\/<\/a>\r\n\r\nMark Rothko<\/strong><\/span>\r\n\r\nhttps:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/rothko-no-3no-13\/<\/a>\r\n\r\nhttps:\/\/www.nga.gov\/content\/ngaweb\/features\/slideshows\/mark-rothko.html<\/a>\r\n\r\nEarly Abstraction<\/strong><\/span>\r\n\r\nGeorgia O'Keefe<\/span>\u00a0https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/georgia-okeeffe\/<\/a>\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n ","rendered":"

In this module discussion,\u00a0we will be researching the art movements in the early 20th Century which changed everything in the world of art.<\/strong><\/span><\/p>\n

It is not possible to even begin to include many of the artists in modern art. Just because an artist is not here does not in any way diminish their important contribution to the history of art.<\/strong><\/span><\/p>\n

Students are required to research these early movements in modern art, using the two Lumen Art History Texts here:<\/span><\/strong><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/boundless-arthistory\/chapter\/european-art-in-the-early-20th-century\/<\/strong><\/span><\/p>\n

Here are some of the important artists who contributed to the movement known as modern art.<\/strong><\/span><\/p>\n

See Chapters 12, and 13 in the Lumen Art History II Text.\u00a0<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/module-12-overview\/<\/a><\/p>\n

Modernism in Europe and America, 1900 to 1945_<\/strong>
\n<\/b>The early twentieth Century was a time of great change, and experimentation in the arts.<\/strong><\/span><\/p>\n

In this discussion , choose a minimum \u00a0of two of the movements below to research, and report to the class for response.<\/strong><\/span><\/p>\n

Try to imagine the shock and frustration felt by spectators who were used to traditional art, when<\/span> they encountered work by Matisse, Picasso, Kandinsky, Duchamp.<\/span><\/strong><\/p>\n

You should use Lumen Learning Texts above, and your own independent research to participate in this class discussion.<\/strong><\/span><\/p>\n

Any supplementary website in the module is not required for students to be successful in student learning outcomes.<\/strong><\/span><\/p>\n

Be sure to include citation \u00a0in your posts, so your reader can follow your link to an article, web site, or video. You can research the representative\u00a0work, but should add a minimum of two more works in your chosen movement.\u00a0<\/strong><\/span><\/p>\n

Example:<\/strong><\/span><\/p>\n

Below is the movement, Fauvism, with the representative artist, Henri Matisse. You can research his Joy of Life, but should add two other Fauvist\u00a0works of art.\u00a0<\/strong><\/span><\/p>\n

Fauvism<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/introduction-to-fauvism\/<\/strong><\/a><\/p>\n

Henry Matisse \u00a0 \u00a0 Joy of Life<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/matisse-bonheur-de-vivre\/<\/strong><\/span><\/p>\n

Cubism<\/strong><\/span><\/p>\n

Pablo Picasso \u00a0 Demoiselles\u00a0D’Avignon<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/picasso-les-demoiselles-davignon\/<\/a><\/p>\n

https:\/\/www.moma.org\/collection\/works\/79766<\/a><\/p>\n

There were many periods associated with Cubism, but the main two are early_Analytic, and later_Synthetic.<\/strong><\/span><\/p>\n

There were two artists working together in the birth of cubism, Pablo Picasso, and George Braque. Above is the groundbreaking Les\u00a0Demoiselles\u00a0D’Avignon\u00a0by Picasso.\u00a0<\/span><\/strong>
\n<\/strong><\/span><\/p>\n

Below is a later work by Georges Braque, The Portuguese:<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/braque-the-portuguese\/<\/strong><\/a><\/p>\n

Expressionism<\/strong><\/span><\/p>\n

Edvard Munch<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/munch-the-storm\/<\/strong><\/a><\/p>\n

Non-Objective Art<\/strong><\/span><\/p>\n

Cubism led artists close to total abstraction, or what we call Non-Objective art. But other artists went further, trying to create art that was not a scene from the real world, but an equivalence to music, or emotion.
\n<\/strong><\/span><\/p>\n

\u00a0<\/strong>Kandinsky, Composition V<\/strong><\/span><\/p>\n

https:\/\/www.moma.org\/interactives\/exhibitions\/2012\/inventingabstraction\/?work=5<\/a><\/p>\n

Piet\u00a0Mondrian<\/strong><\/span><\/p>\n

Mondrian, Composition No. II \u00a0<\/span> \u00a0\u00a0<\/span>\u00a0<\/span>https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/mondrian-composition-no-ii\/<\/a><\/strong><\/p>\n

Piet Mondrian,\u00a0<\/span>Composition No. II, with Red and Blue<\/em>, oil on canvas, 1929 (original date partly obliterated; mistakenly repainted 1925 by Mondrian). Oil on canvas, 15 7\/8 \u00d7 12 5\/8″ (40.3 \u00d7 32.1 cm), (The Museum of Modern Art)\u00a0<\/span><\/strong><\/span><\/p>\n

Malevich\u00a0 Suprematism\u00a0 \u00a0White on White \u00a0<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/malevich\/<\/a><\/strong><\/p>\n

https:\/\/www.moma.org\/collection\/works\/80385<\/a><\/p>\n

Futurism<\/strong><\/span><\/p>\n

Boccioni\u00a0 \u00a0 \u00a0Unique Forms of Continuity\u00a0in Space<\/strong><\/span><\/p>\n

Abstraction in Sculpture<\/strong><\/span><\/p>\n

Constantine Brancusi\u00a0 \u00a0 Bird in Space<\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/brancusi-bird-in-space\/\u00a0\u00a0<\/a><\/p>\n

https:\/\/www.moma.org\/collection\/works\/81033<\/a><\/p>\n

Dadaism<\/strong><\/span><\/p>\n

Marcel DuChamp \u00a0\u00a0<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/duchamp-fountain\/\u00a0<\/a>\u00a0\u00a0<\/strong><\/p>\n

Surrealism<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/dali-the-persistence-of-memory\/<\/a><\/p>\n

Frida\u00a0Kahlo<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/frida-kahlo-and-diego-rivera\/ \u00a0<\/a><\/p>\n

Jackson Pollock \u00a0<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/pollock-one-number-31-1950\/<\/a><\/p>\n

Mark Rothko<\/strong><\/span><\/p>\n

https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/rothko-no-3no-13\/<\/a><\/p>\n

https:\/\/www.nga.gov\/content\/ngaweb\/features\/slideshows\/mark-rothko.html<\/a><\/p>\n

Early Abstraction<\/strong><\/span><\/p>\n

Georgia O’Keefe<\/span>\u00a0https:\/\/courses.lumenlearning.com\/arthistory2-91\/chapter\/georgia-okeeffe\/<\/a><\/p>\n

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