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(Source: churchisforbrunettes)
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Marcel Duchamp, The Bride Stripped Bare by Her
Bachelors, Even (The Large Glass), 1915-1923.
Oil, lead, wire, foil, dust and varnish on glass.
The chocolate grinder is linked to a French euphemism for masturbation and relates to the apparent central theme of the work—the sexual frustration of the “bachelors” who are separate from and subordinate to the “bride” in the pane above.
Hannah Hoch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919. Photomontage.
Hoch photomontage to assemble nonsensical juxtapositions of reused images from magazines and newspapers. He replicates the chaos and inconsistency of German culture especially against the rise of Adolf Hitler and National Socialism in the 1930s.
Le Corbusier (Charles-Édouard Jeanneret), Notre Dame du Haut (exterior),
Ronchamp, France, 1954.
In keeping with the long-standing symbol of the church as a ship of the saved, the chapel takes the form of a ship. Le Corbusier employed a Modernist aesthetic to mystical ends.
Le Corbusier (Charles-Édouard Jeanneret), Villa Savoye, Poissy-sur-Seine,
France, 1929-30.
**PURISM- aimed to reform Cubism through the return to simple Classical forms. Anti Surrealism and Dada.
- It is elevated on freestanding posts.
- It uses a flat roof for a terrace.
- Its walls are used to divide the interior and for privacy on the exterior, but never for support.
- It has windows that run the length of a wall, known as ribbon windows.
El Lissitzky, Proun, ca. 1925. Ink and watercolor collage.
Constructivism: An art movement emerging during the Russian Revolution that emphasized abstraction and modern materials and sought to put artworks at the service of social needs.
-Represents Lissitzky’s expansion of Malevich’s Constructivist style through the exploration of spatial elements, shifting axes and multiple perspectives (uncomon ideas in Suprematism)
Naum Gabo, Head of a Woman, ca.1917-20 (after a work of 1916). Celluloid and metal
The placement of the work in the corner like icons not only emphasized the extent of forms into space, but also proclaimed faith in new “icons” of aesthetic values and modern industrial materials to create a new Machine Age aesthetic. This is known as “constructivist” art.
