1
The Stonebreakers- Gustave Corbet (1849) Realism
2
The Salmon Fishers Eilif Peterssen(1889) Reali
sm
3
Bonjour, Monsieur Corbet- Gustave Corbet
(1854) Realism
4
The Gleaners Jean Francois Millet
(1857) Realism
5
Luncheon of the Boating Party Pierre August
Renoir (1881) Early Impressionism some aspects
of Realism still evident!
6
The Regatta at Argenteuil Claude Monet
(1872) Impressionism
7
Bathing at Grenouillere Claude Monet
(1869) Impressionism
8
The Seine at Courbevoie Georges Seurat
(1885) Post - Impressionism
9
Olive Trees with Yellow Sky and Sun Vincent
Van Gogh (1889) Post - Impressionism
10
The Starry Night Vincent Van Gogh (1889) Post
- Impressionism
11
Paul Gauguin Spirit of the Dead Watching -
1892
12
Paul Gaugin Riders on the Beach - 1902
13
Bend in the Forest Road Paul Cezanne
(1906) Post - Impressionism
14
Odalisque with Red Culottes Henri Matisse
(1923) Post-Impressionism
15
Dada - Surrealism
Dada began as an anti-art movement or, at least,
a movement against the way art was appreciated by
what considered itself the civilized world
Surrealism was much more than an art movement and
it thrust home Dada's subversive attack on
rational and 'civilized' standards.
Dada had no formal aesthetic, virtually
disregarding easel painting, but the Dadaists
shared a nihilistic ethic. The word 'Dada',
ambiguously denoting both 'hobby horse' and
'father', was arrived at by chance and gained
immediate acceptance by its suitably childish and
nonsensical ring. An international movement
originating in Zurich and New York at the height
of the First World War, it quickly spread to
Berlin, Cologne, Hanover, Paris and, to some
extent, Russia. This revolt was against the
senseless barbarities of war. It pinpointed the
hypocrisy of those who felt that art created
spiritual values. Civilization - despite
Christianity, despite museums - had indeed broken
down when thousands of grown men shelled each
other day after day, from muddy trenches. It was
no use for the person 'of sensibility', one of
Dada's early targets, to take refuge in beauty.
The Dadaists adapted the Cubist idea of collage
to new purpose, that of making puzzling or
strikingly incongruous juxtapositions of images
and letters.
16
The Farm Joan Miro (1921) Surrealism
17
Horse, Pipe, and Red Flower Joan Miro
18
Still Life With Biscuits Pablo Picasso
(1924) Cubism
19
I and the Village Marc Chagall
20
The Juggler Marc Chagall
21
Self Portrait with Seven Fingers Marc Chagall
22
The Kiss Max Ernst (1927) Dadism - Surrealism
23
Portrait of Paul Eluard Salvador Dali
(1929) Surrealism
24
Still Life With Pedestal Table Pablo Picasso
(1931) Cubism
25
Persistence of Memory Salvador Dali
(1931) Surrealism
26
Threatening Weather Rene Magritte Surrealism
27
La Condition Humaine Rene Magritte Surrealism
28
Guernica Pablo Picasso (1937) Cubism
29
The Golden Fish Paul Klee Bauhaus -
Expressionsim
30
Head of a Man Paul Klee Bauhaus -
Expressionism
31
Contrasting Sounds - Wassily Kandinsky
(1924) Bauhaus
32
Assault Under Gas Otto Dix (1924) Dix
sometimes verges on the nightmarish. Seen head
on, close up, throwing their grenades among the
barbed wire and tree roots, the masked soldiers
appear inhuman, just like the surroundings which
appear unreal, the No Man's Land of the trenches.
It is noteworthy that Dix chose to depict not
enemy, but German soldiers.
33
The Kaufman House Fallingwater Frank Lloyd
Wright (1935)
34
Mealtime in the Trenches Otto Dix (1924) A
trench soldier quickly gulps a meal in the
company of a human skeleton trapped in the frozen
landscape beside him.
35
Dead Sentry in the Trenches Otto Dix (1924)
(From The War Series)
Skin Graft Otto Dix (1924) Many soldiers
returned home horribly disfigured by the war.
Efforts were made to improve their looks but
methods were primitive and wounds grotesque. Some
simply opted for masks.
36
Skull Otto Dix (1924) For all its waste, the
war provided a windfall for scavengers. World War
I produced generations of happy worms and
maggots. Trench rats roamed as big as beavers.
For Dix and other artists of the WWI era, skulls
were powerful tools in demonstrating the dark
reality of death that war inevitably brings.
37
This is an allegorical painting that represented
Germany's political situation at the time, and
was painted immediately after the Nazis had Dix
removed from his teaching position at the Dresden
Art Academy. The figures in the painting are
Avarice (the bent over old lady), Envy (riding
the back of Avarice), Sloth (the skeleton costume
whose body forms a rough looking swastika), Lust,
Anger (the horned figure), Pride (the giant
head), and Gluttony (wearing a pot on his head).
The figure of Envy is wearing a Hitler mask (Dix
did not paint in the moustache until after WW
II). The figure of Sloth is prominently featured
because Dix blamed the people of Germany for
their lack of alarm and concern as a major reason
that allowed the Nazis to rise to power.
The Seven Deadly Sins Otto Dix (1933)
38
Prager Street Otto Dix (1920)
39
The Match Seller Otto Dix (1921) This
mutilated veteran is a pitiful character. The war
has taken limbs and vision. His deformities are
highly visible yet the only attention he draws is
from a Daschund who pees on his stumps.
40
Flanders Otto Dix (1934) The Nazis achieved
power in 1933 and immediately placed the country
on a war footing. Industry began to produce
armaments and anti-war voices were quickly
silenced. This painting depicts the waste of
Flanders. The dead float in stagnant water while
the living resemble rotted stumps. A beautiful
sunset sinks below the Allied lines.
41
Triumph of Death Otto Dix (1934)
42
The Hero George Grosz (1936)
43
The Toads of Property or The Owners George
Grosz (1920) The problems in germany after World
War I are illustrated here by George Grosz. The
wealthy indulge in leisure activities ahile
guards protect their factories. The rest of the
people depicted are crippled veterans, bankrupt
businessmen, old women, young children, and the
poor. They are isolated, distrustful and out of
place. Capitalism and militarism is being
attacked.
44
My Pension George Grosz
Caution Dont Stumble George Grosz
45
Berlin Street Scene George Grosz (1920)
46
Blood is the Best Sauce George Grosz (1919)
47
Eclipse of the Sun George Grosz (1926) Since
the politicians seem to have lost their heads,
the army and capitalists are dictating what is to
be done. The people, symbolized by the blinkered
ass, simply eat what is put before them.
48
The Agitator George Grosz (1928) The agitator
is a version of Hitler, against whom Grosz warned
tirelessly. He is promising the masses that their
material needs will be satisfied, but his promise
implies rubber truncheons, jackboots and
swastikas too."