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Art History - Coggle Diagram

- - - - Père Tanguy
        
        Van Gogh was in the happiest period of his life when he painted this portrait. At that time he lived in Montmartre with his brother Theo and studied painting in the studio of Fernand Comont. He began to meet and paint with other Impressionist painters
  - - - Friendship
        
        Picasso's Friendship, painted in 1908, belongs to the analytical Cubist style. The painting depicts busts of two women, their faces and bodies broken down into geometric shapes, and the colors are mainly gray, brown, and green, with no obvious light and shadow effects. The picture gives people a sense of flatness and abstraction, but without losing the performance of the characters
  - - - The Circus
        
        Seurat's interest in the circus as a subject was part of a broader trend in the 1880s, when the circus was a popular form of entertainment and the subject of many artists, and his approach to circus subjects was unique in that he focused not only on the performance but also on the geometric and emotional aspects of the scene
  - - - Jacob Wresting With the Angle
        
        Paul Gauguin was a post-Impressionist painter whose artistic style gradually evolved into what is known as "synthesism" in the late 19th century. This style is characterized by the simplification of the form, the use of lines to outline the edges of the form, flat color painting, and the emphasis on decorative and symbolic
  - - - Cezanne's artistic career is generally divided into four periods, as the holy mountain in his heart, the shadow of the mountain can be seen in each period. Among Cezanne's oil paintings on Mont Saint-Victor, there are a total of 31 explicitly themed Mont Saint-Victor, and 5 appear as the background of the characters
- - - - Friedrich Nietzsche (born October 15, 1844, Röcken, Saxony, Prussia [Germany]—died August 25, 1900, Weimar, Thuringian States) was a German classical scholar, philosopher, and critic of culture, who became one of the most influential of all modern thinkers.
  - - - One of the two pioneering movements of German Expressionism, Der Blaue Reiter began in Munich as an abstract counterpart to Die Brücke's distorted figurative style. While both confronted feelings of alienation within an increasingly modernizing world, Der Blaue Reiter sought to transcend the mundane by pursuing the spiritual value of art. Wassily Kandinsky, Franz Marc, Gabriele Münter were the theoretical centers of the group, which included a number of Russian immigrants and native Germans. This internationalism led the group to mount several traveling exhibitions during their brief tenure, making them an indispensable force in the promotion of early avant-garde painting.
        
        Blue had spiritual significance for Kandinsky, who painted the knight as a group of colors without attention to detail. This emphasis on color foreshadowed his later exploration of color in abstract art. This painting shows the direction Kandinsky was going in, namely, the transition to abstract art. He painted the knight as a combination of colors rather than a detailed reproduction, which foreshadowed his later explorations in abstract art. It shows a knight in a blue cloak straddling a white horse as he speeds through a mountainous pasture. There are a lot of scattered blue shadows in front of the painting, which may be the shadow of the unpainted tree, which adds to the mystery and imagination of the picture.
      - Wassily Kandinsky was a Russian painter, printmaker, and art theorist who is widely regarded as one of the pioneers of abstract art. Born in Moscow in 1866, he grew up in an intellectual family, studied law and economics at an early age, and earned a doctorate at Moscow University. Kandinsky gave up his position as a law professor at the age of 30 to pursue a career in art, a decision influenced in part by his profound experience with Monet's paintings. Kandinsky's artistic career can be divided into several stages, each accompanied by a significant change in style and a deepening exploration of the language of abstract art. His early works are mainly figurative landscapes, influenced by Impressionism and post-Impressionism. After moving to Munich, Germany, his painting style gradually turned to symbolism and expressionism, and color and form began to go beyond realistic depiction to serve a deeper emotional and spiritual expression. In 1909, Kandinsky joined the German Expressionist society "Munich New Artists Society" and became its first president. The following year, he completed his first major theoretical work on abstract art, On the Spirit of Art, and created his first abstract work, Improvisation. During the First World War, Kandinsky returned to Moscow, but did not find much inspiration in the local art world. In 1921, he returned to Munich and taught at the Bauhaus School until it was closed by the Nazis in 1933. Kandinsky moved to France, where he remained for the rest of his life, becoming a French citizen and continuing his painting and writing work until his death in 1944
- - - - Kupka, a Czech who lived in Paris, was a strong proponent of Orphism. In 1912 he exhibited his abstract painting Disks of Newton (Study for Fugue in Two Colours) (1912). Kupka’s vibrating colour orchestrations on the canvas were intended to unite visual and musical ideas. His title refers both to music and to 17th-century physicist Sir Isaac Newton, who first understood the relationship of light to colour and the formation of a rainbow.
- - - - The second edition of Blast (1915),
- - - - Georges Braque (born May 13, 1882, Argenteuil, France—died August 31, 1963, Paris) was a French painter, one of the important revolutionaries of 20th-century art who, together with Pablo Picasso, developed Cubism. His paintings consist primarily of still lifes that are remarkable for their robust construction, low-key colour harmonies, and serene, meditative quality.
  - - - Les Demoiselles d'Avignon
        
        Picasso presents us with a visual challenge—the multiplicity of viewpoints, the poses assumed by the prostitutes, and the masks distorting the faces of the two women on the right all combine to generate the painting’s power (even if the viewer has no knowledge of the subject matter). Those masks speak to Picasso’s longstanding interest in so-called primitive art, as well as the primitivism of contemporary painters such as Paul Gauguin. This memory of a bordello has become a vision of sexual power, rendered in a radical geometric style that signaled Picasso’s advances toward Cubism.
        
        Cubism, highly influential visual arts style of the 20th century that was created principally by the artists Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honored theories that art should imitate nature. Cubist painters were not bound to copying form, texture, color, and space. Instead, they presented a new reality in paintings that depicted radically fragmented objects.
- - - - The birth of Fauvism: In 1905, Matisse and other young French painters exhibited at the Salon d 'Autumn in Paris a collection of works that the art critic Louis Volksell described as "like Donatello among beasts" because of their bold and unconventional colors.
        . Matisse's artistic breakthrough came in the early 20th century, when he abandoned his early exposure to artistic styles in favor of unrestrained color work, which was very different from naturalistic art. The Woman in the Hat is one of the masterpieces of this stylistic shift. Matisse pursued the true liberation of color, and once said: "The slave-like reproduction of nature is impossible for me." He strives for the harmony of colors on the picture, as well as the washing of the line and the purification of the color, so that the color is often directly squeezed out of the tin tube and smearing on the picture, making his painting as simple as possible. Matisse used bright green and vermilion brushstrokes in The Woman with the Hat, and not only the background and the hat, but also the woman's face, her features, were outlined with these bold colors. This use of color is not only a visual impact, but also an expression of emotion. Although Matisse had difficulty selling a painting at the time, The Woman with the Hat was well received and was bought by Leo and Gertrude Stein, which gave him great encouragement.
      - The woman with a hat
      - Matisse made bold use of bright colors in this painting, such as green and vermilion, which were squeezed out of the paint tube and applied directly to the canvas without being mixed. This use of color breaks through the color rules of traditional portraiture and brings a strong visual impact to the audience. In this painting, Matisse abandoned the traditional perspective and light and shadow treatment, and instead used flat forms and simplified lines.
- - - - Time Transfixed (La Duree poignardee, 1938) is an oil on canvas painting by Rene Magritte. It is part of the permanent collection of the Art Institute of Chicago and is usually on display in the museum's new Modern Wing. The painting was one of many done for surrealist patron and Magritte supporter Edward James. This was the second painting delivered to James for his London ballroom. Time Transfixed was purchased by the Art Institute from James in 1970 when he was raising capital to build his surrealist sculpture garden Las Pozas.The painting depicts a "Black Five" locomotive jutting out of a fireplace, at full speed, in an empty room. Only the clock and left candlestick are reflected in the mirror on the mantle, suggesting that there are neither people nor furniture in the room. Notably, the candlestick on the right has no reflection. Magritte described his motivation for this painting: decided to paint the image of a locomotive. In order for its mystery to be evoked, another immediately familiar image without mystery the image of a dining room fireplace was joined.”