Futurism

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Futurism GIACOMO BALLA Dynamism of a
Dog on a Leash 1912 Oil on canvas 2'113/8" x 3'
71/4"
Simultaneity of Views Giacomo Balla's Dynamism
of a Dog on a Leash attempts to create the effect
of motion by repeating shapes and producing a
simultaneity of views.
2
Futurism UMBERTO BOCCIONI Unique Forms
of Continuity in Space 1913 (cast 1931)
Bronze approx. 3' 71/3" high
Capturing the Formal and Spatial Effects of
Motion Umberto Boccioni's Futurist sculpture
Unique Forms of Continuity in Space attempts to
show the formal and spatial effects of motion in
a striding human figure.
3
Dada JEAN ARP Collage Arranged
according to the Laws of Chance 19161917 Torn
and pasted paper 1' 71/8" x 1' 15/8"
In reaction to the war, the movement known as
Dada emerged. The Dadaists believed reason and
logic had been responsible for the disaster of
world war, and they promoted instead political
anarchy, the irrational, and the intuitive. They
also rejected convention or tradition, and sought
to undermine cherished notions and assumptions
about art.
The Anarchy of "Chance" Compositions In his
Collage Arranged according to the Laws of Chance,
Jean (Hans) Arp renounced artistic control and
used "chance" in composing the image.
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Dada MARCEL DUCHAMP Fountain 1917 Read
y-made 2' high
Freeing Art from Convention Marcel Duchamp's
Fountain is a "ready-made" sculpture.
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Dada HANNAH HÖCH Cut with the Kitchen
Knife Dada through the Last Weimar Beer Belly
Cultural Epoch of Germany 19191920 Photomontage 1
14 cm x 90 cm
A View of the Great Dada World Hannah Höch's Cut
with the Kitchen Knife Dada through the Last
Weimar Beer Belly Cultural Epoch of Germany is a
photomontage of cutout photographs (and some
cutout lettering) carefully arranged into a
composition that comments on contemporary issues
and also serves as a manifesto of Dadaist
beliefs.
6
Dada KURT SCHWITTERS Merz
19 1920 Paper collage approx. 71/4" x 57/8"
The Visual Poetry of Rubbish In Merz 19, Kurt
Schwitters uses the cast-off junk and trash of
modern society to compose a nonobjective design
in which "meaning" resides in the various
fragmented found objects.
7
Expressionism MAX BECKMANN Night 1918
1919 Oil on canvas 4' 4 3/8" x 5' 1/4"
The World's Violence Invades the Home Max
Beckmann's Night is a searing and horrifying
comment on society's condition. The dislocated
and contorted forms and the illogical space of
the composition add to the savage brutality and
violence of the scene.
8
Expressionism OTTO DIX War
Triptych 19291932 Oil and tempera on wood 204
cm x 408 cm
The Devastation of War Otto Dix's War Triptych
shows the devastation war inflicts on the terrain
and on humans.
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Surrealism And Fantasy Art
Surrealism and Fantasy ArtThe Surrealist
movement explored ways to express in art the
world of dreams, the inner world of the psyche,
and the realm of fantasy and the unconscious. The
Surrealists employed many of the Dadaists'
improvisational techniques, which they believed
were important for engaging the elements of
fantasy and activating the unconscious forces
that lie deep within every human being. Some
Surrealist artists, such as Joan Miró, pursued an
interest in biomorphic Surrealism, while
Naturalistic Surrealists, such as Salvador Dalí
and René Magritte, in contrast, presented
recognizable scenes that have undergone a
metamorphosis into a dream or nightmare image.
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Surrealism And Fantasy Art GIORGIO DE
CHIRICO Melancholy and Mystery of a
Street 1914 Oil on canvas 2'101/4" x 2'41/2"
Metaphysical Painting Giorgio De Chirico's
Melancholy and Mystery of a Street is an example
of Metaphysical Painting in which the images
transcend their physical appearances and evoke a
disquieting sense of foreboding.
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Surrealism And Fantasy Art MAX ERNST Two
Children Are Threatened by a Nightingale 1924 Oil
on wood with wood construction 1'101/4" high,
1'101/2" wide, 41/4" deep
Seeking the Sense of the Psychic In Two Children
Are Threatened by a Nightingale, Max Ernst
combines three-dimensional elements and a painted
surface in a dislocated and incongruous
relationship to create an ambiguous and
indecipherable dream-like image that seeks
deliberately to contradict and unbalance the
spectator's expectations.
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Surrealism And Fantasy Art SALVADOR
DALI The Persistence of Memory 1931 Oil on
canvas 91/2" x 1'1"
A Disturbing Blue Dreamscape In his precisely
painted The Persistence of Memory, Salvador Dalí
used his "paranoiac-critical method" to create a
haunting allegory of empty space where time has
ended.
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Surrealism And Fantasy Art RENÉ
MAGRITTE The Treachery (or Perfidy) of
Images 19281929 Oil on canvas 1' 115/8" x 3' 1"
Words Contradicting Images René Magritte's
meticulously rendered trompe l'oeil depiction The
Treachery (or Perfidy) of Images expresses the
Surrealist dreamlike dissociation of image and
meaning. The painting subverts the viewers'
assumption by stating in the caption beneath the
image of a pipe that "This is not a pipe".
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Surrealism And Fantasy Art MERET
OPPENHEIM Object (Le Déjeuner en
Fourrure) 1936 Fur-covered cup 4 3/8" in
diameter saucer, 9 3/8" in diameter spoon, 8"
Fuzzy Logic In Object (Le Déjeuner en Fourrure),
Meret Oppenheim lined with fur an otherwise
functional teacup and thereby transformed it into
an object that captures the incongruity, humor,
visual appeal, and eroticism that characterizes
Surrealist art.
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Surrealism And Fantasy Art FRIDA
KAHLO The Two Fridas 1939 Oil on canvas 5' 7" x
5' 7"
Wearing Her Heart on Her Sleeve In her deeply
personal double self-portrait The Two Fridas,
Frida Kahlo uses the details of her life as
powerful symbols for the psychological pain of
human existence
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Surrealism And Fantasy Art PAUL
KLEE Twittering Machine 1922 Watercolor and pen
and ink approx. 1'41/4" x 1'
Mechanical Birds Paul Klee's small-scale
Twittering Machine shows four diagrammatic
mechanical birds whose twittering action appears
to be produced by the turning of a crank-driven
mechanism. The meaning of the image is ambiguous.
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Surrealism And Fantasy Art MARC
CHAGALL I and the Village 1911 Oil on canvas 6' 3
5/8" x 4' 11 5/8"
Memories of a Russian Childhood In I and the
Village, Marc Chagall portrayed an assortment of
variously sized and overlapping images from his
memories of his Russian homeland depicted in
bright colors and in a Cubist fragmented space.
The painting has a fairy-tale, lyrical quality to
it.