1909-1916

Futurism in Italy
Futurism in Italy

 Futurism was an artistic and social movement that

originated in Italy in the early 20th century.
 It was an Italian phenomenon, though there were
parallel movements in Russia, England and
elsewhere.
 The Futurists practiced in every medium of art,
including painting, sculpture, ceramics, graphic
design, industrial design, interior design, theatre,
film, fashion, textiles, literature, music,
architecture and even gastronomy
Futurism in Italy
 The founder of Futurism and its most influential personality
was the Italian writer Filippo Tommaso Marinetti.
 Marinetti launched the movement in his Futurist Manifesto.
 The basic ideals of The Futurists are:
speed, technology, the car, the airplane and the
industrial city, all that represented the technological
triumph of humanity over nature. They repudiated the
cult of the past.
 Artist made "universal dynamism", which was to be directly
represented in painting.
 They often painted modern urban scenes.
Umberto Boccioni The City Rises
 The artworks includes
feelings and sensations of
time, using new means of
expression, including
"lines of force", which
shows the directional
tendencies of objects
through space The Futurists
aimed through their art
thus to enable the viewer to
apprehend the inner being
of what they depicted.
"States of Mind I: The Farewells”
Giacomo Balla

 Giacomo Balla adopted

the Futurism style,
creating a pictorial
depiction of light,
movement and speed.
1922

Early apstraction in Russia

Early apstraction in Russia
 Abstract art uses a visual language of form, color and
line to create a composition which may exist with a
degree of independence from visual references in the
world.
 Western art had been, from the Renaissance up to the
middle of the 19th century, underpinned by the logic of
perspective.
 By the end of the 19th century many artists felt a need
to create a new kind of art which would encompass the
fundamental changes taking place in technology,
science and philosophy.
Geometric abstraction and Lyrical
Abstraction
 Abstract art, nonfigurative art, nonobjective
art, and nonrepresentational art are loosely
related terms.
 Abstraction indicates a departure from
reality.
 Both Geometric abstraction and Lyrical
Abstraction are often totally abstract.
Rayonism
 Also known as Rayism and Luchism was a style of
abstract art developed by Russian artists Mikhail
Larionov (1881-1964), his partner Natalya Goncharova
(1881-1962) and a small number of followers.
 It lasted from roughly 1912 to 1914 and represented
their own version of Futurism.
 Larionov discovered Turner and became fascinated
with how to depict light in painting His eventual
method, based on a very unclear theory of invisible rays
, was to structure his paintings with slanting lines, like
rays of light.
Mikhail Larionov-Red Rayonism 1913

 The Rayonists is art

outside of time and
space, and to break the
barriers between the
artist and the public.
Artist uses of dynamic
rays with contrasting
color, representing lines
of reflected light —
crossing of reflected rays
from various objects.
Natalya Goncharova-The Cyclist
Natalya
Goncharova/"Laundre
sses"

She studied Russian

icons ,folk art,
traditional examples
of embroidery. The
distinction between
craft and high art is a
key characteristic of
the Russian avant-
garde.
Her first phase
belongs Neo-
primitivism.
Rayonism

 The conceptual nature of such images

explains, to some degree, how an ancient
heritage of icons and flat-pattern design
prepared Russians to accept total
abstraction.

Cubo-futurism-
Lybov Popova 1889-1924
Constructivism (art)
Suprematism

 Suprematism was a Russian abstract art

movement, founded by the Kiev-born painter
Kasimir Malevich (1878-1935) around 1915,
which was interested in elementary
geometric forms (squares, circles). It was one
of several modern art movements developed
in Russia during the early 20th century.
Kasimir Malevich (1878-1935)

 He was a Russian
painter and art
theoretician, born in
Ukraine of ethnic Polish
parents. He was a
pioneer of geometric
abstract art and the
originator of the Avant-
garde Supremacist
movement.
Kasimir Malevich (1878-1935)
The Knifegrinder, 1912

 In his early art work he

was influenced by
Larinova and
Goncareva.We can
recognise direct
influence from
Futurisam especially in
dynamic composition
with many broken
parts.
Taking in the Rye, 1911

 He experimented with
simple cylindric
form.Also in his picture
“Taking in the rye” we
can see strong influence
from Fernand Lege and
traditional Russian
art.He depicted a scene
from every day life of a
Russian village.
Englishman in Moscow 1914

 In his cariere he
experimented with many
diferent style. His works
were influenced by Natalia
Goncharova and Mikhail
Larionov, Russian avant-
garde painters who were
particularly interested in
Russian folk art called lubok.
He absorbed the cubist
principles and began using
them in their works.
Black Square on White Ground
 "From Cubism and Futurism to
Suprematism: The New Realism in
Painting."
 He wanted to develop a type of non-
objective art which includes natural
world with focus only on pure form.

 Suprematism was revolutionary and

new freedom of expression in total
abstraction.
 Malevich first used the name
Suprematism in his manifesto.
 Its centre piece, developed from his
Opera set designs of 1913, was the
picture Black Square on White Ground
Black Circle, painted 1915

 He developed
Suprematism in three
phases: first, black,
then colored, and
finally white.
 His picture Black
Square on White
Ground was an icon of
postoctober avant-
garde.
Kasimir Malevich Quotes
 With the most primitive means the artist creates something which the most
ingenious and efficient technology will never be able to create.

 ..in my desperate attempt to free art from the ballast of objectivity, I took
refuge in the square form and exhibited a picture which consisted of nothing
more than a black square on a white field.

 I have not invented anything, only the night I have sensed, and in it the new
which I called Suprematism.

 Color is the essence of painting, which the subject always killed.

 The square is creation of intuitive reason. The face of the new art. The
square is a living infant. The first step of pure creation in art.
Black Cross, 1923
 Although a supporter of
the Revolution with no
strong religious faith,
Malevich's approach to art
was relatively mystical,
even visionary.
Unfortunately, he was
looking for the secret of art
at a time when Bolshevik
dogma wanted art to be
only for the benefit of
society
Suprematism, 1921-1927

 Suprematism is the
rediscovery of pure art
White on White

 Around 1918 he
returned to his purest
ideals with a series of
White on White
paintings.
De Stijl (The Style)

(1916-1931)
The De Stijl
 The De Stijl (literally, "the style") art movement was founded by the painter and architect Theo van
Doesburg in Leiden in 1917.
 It is a new type of style in modern art and architecture. This movement used the artistic talent of the
artists by designing homes, buildings, and furniture.

Founders and members of the group included the painter Mondrian, the sculptor Vantongerloo, the
architect J.J.P.
 They were to develop a new aesthetic opinion and an objective art based on clear principles. Their
work and research extended to the fine arts, city and town planning, the applied arts and philosophy.
 A magazine called De Stijl, published between 1917 and 1932. In that magazine Mondrian wrote, "The
pure plastic vision should build a new society, in the same way that in art it has built a new plasticism."
 His article, "The New Plastic in Painting", best expresses their ideas for reduction of form and
simplistic abstraction:
 "The new plastic art...can only be based on the abstraction of all form and color, i.e. the straight line
and the clearly defined primary color"

 
   
The De Stijl
 Art was seen as a collective approach, with a language that
went beyond cultural, geographical and political divisions.
The depersonalization of the artwork was carried through
into the execution which was anonymous and impersonal.
 The artist's personality didn't important. Important was
working process. The key ideas is aesthetic theory of Neo-
Plasticism. This theory include only primary colors and
straight lines.

 The principles of De Stijl art and design exerted tremendous

influence on the Bauhaus Style in Germany in the 1920s, and
after Mondrian's immigration to New York in 1940, the U.S.A.
Piet Mondrian
 Mondrian was born in
Amersfoort in The
Netherlands. He began his
career as a teacher in primary
education ,but while teaching
he also practiced painting.
Most of his work from this
period is naturalistic or
impressionistic, consisting
largely of landscapes.These
pastoral images of his native
country depict windmills,
fields, and rivers
The trees under the moonlight

 Between his 1905

painting, The River
Amstel, and his 1907
Amaryllis, Mondrian
changed the spelling of
his signature from
Mondrian to Mondrian.
Red tree

 This period, including

such post-impressionist
works
 In his early carrea he
depicted scenes of
indistinct trees and
houses with reflections
in water.
Gray Tree

 The work came at a time when

Mondrian was beginning to
experiment with Cubism.
 Its foreground and background
elements seem to intermingle,
and the palette is very restricted.
 His studies of trees from that
year still contain a measure of
representation, they are
dominated by the geometric
shapes . Mondrian was absorbed
the Cubist influence into his
work.
Quotes

 I believe it is possible that, through horizontal

and vertical lines constructed with
awareness, but not with calculation, led by
high intuition, and brought to harmony and
rhythm, these basic forms of beauty,
supplemented if necessary by other direct
lines or curves, can become a work of art, as
strong as it is true
Ocean and Pier
 Mondrian began producing grid-
based paintings in late 1919,
 In the early paintings of this style
the lines delineating the
rectangular forms are relatively
thin, and they are gray, not black.
The lines also tend to fade as they
approach the edge of the painting,
rather than stopping abruptly. The
forms themselves, smaller and
more numerous than in later
paintings, are filled with primary
colors, black, or gray, and nearly all
of them are colored; only a few are
left white.
Composition II in Red, Blue, and
Yellow

 he used a black lines with the

flatten elements, with the least
amount of depth. The colored
forms have the most obvious
brush strokes, all running in one
direction. Most interesting,
however, are the white forms,
which clearly have been painted
in layers, using brush strokes
running in different directions.
This principle modeled a
greater sense of depth in the
white forms.
Composition with Yellow, Blue, and
Red, 1937–42
 Mondrian produced
Lozenge Composition
With Four Yellow Lines
(1933), a simple
painting that
introduced what for
him was a shocking
innovation: thick,
colored lines instead of
black ones.
London and New York 1938–1944
Composition 10-Composition A, 1923
Linear in colors
Bag colection
Wear colection
Modern design
Swim wear colection
Modern design