Aaron Siskind , Young men Playing with Toy Swords , Harlem, New York, 1930's - PowerPoint PPT Presentation

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Aaron Siskind , Young men Playing with Toy Swords , Harlem, New York, 1930's PowerPoint Presentation
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Aaron Siskind , Young men Playing with Toy Swords , Harlem, New York, 1930's

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  1. Aaron Siskind (American “Abstract Expressionist” Photographer, 1903-1991) (left) New York, 24 x 20“, gelatin silver print, 1951 (right) compare Franz Kline, Siskind, oil on canvas, 1959

  2. Aaron Siskind, Boys Playing with Toy Swords, Harlem, New York, 1930’s

  3. Siskind, Chicago 25, 1957 "For the first time in my life, subject matter, as such, had ceased to be of primary importance. Instead, I found myself involved in the relationships of these objects, so much so that these pictures turned out to be deeply moving and personal experiences." Siskind moved from Social Realism to de-politicized formalist abstraction of the Chicago Institute of Design and second generation Abstract Expressionism (1950s)

  4. European Postwar Existentialism 1949 – a founding feminist text rooted in existential doubts about the true nature of Being. 1943 Jean-Paul Sartre Simone de Beauvoir 1938 Paris

  5. Jean Fautrier (French, 1898-1964) Art Informel, Head of a Hostage, 20," oil on panel, 1944, one of over thirty “hostage” paintings and sculptures that he made during the occupation of Paris alluding to the Nazi atrocities. “These paintings addressed the most important issue of their time, epitomizing a 'new human resolve' against the horrors of war." (Fautrier)

  6. Jean Fautrier, Large Tragic Head, bronze, 1943

  7. Germaine Richier (French, 1904-1959) , Crucified Christ, 1950, Notre-Dame de Tour Grâce d'Assy, France. Post-humanist?(lower right) Richier’s teacher, Emile-Antoine Bourdelle, Hercules, 1909

  8. Richier, The Shepherd of Landes, 1951; (right) Le Griffu, 1952Bronze, 98 x 94 x 74 cm

  9. Alberto Giacometti (Swiss, 1901-1966), (left) City Square, 1948, bronze, c. 8 x 25 x 17“(right) Giacometti, Portrait of a Seated Man (Diego), 1949, oil on canvas, 80 x 64 cm. 2 of 5 casts. Guggenheim collection photo, lower, shows preferred viewpoint (eye-level, close up) which alters the viewer’s perception of scale Portraits are the stopping point of an agonized struggle with perception as proof of existence

  10. Giacometti, The Palace at 4 a.m., 1932, construction in wood, glass, wire, and string, 25 x 28 x 15 in. Prewar Surrealist work Artist’s sketch, 1932

  11. Giacometti, Woman with Her Throat Cut, bronze, 1932, prewar Surrealist work drawing from the artist’s dreams and imaginings MoMA New York, 2005

  12. (left) Poseidon, Greek, c. 575 BC, bronze, found in the Aegean Sea in 1926: god as powerful warrior male(right) Giacometti,Man Pointing, 1947, bronze, 70 inches high, Existential man: “thrown naked into the void” (Heidegger, German WWII era existential philosopher). The Poseidon was a source for Giacometti Sac State Student, 2005

  13. Jean Dubuffet[French, 1901-1985] “Art Brut,”Large Sooty Nude, 1944, o/c, 64”H; (right) Tree of Fluids, 1952; compare (center) Willem de Kooning, Woman I, 1952“Art addresses the mind, not the eyes.” (Dubuffet)

  14. Jean Dubuffet, Art Brut, Fleshy Face with Chestnut Hair, 1951, Oil & mixed-media, 28”H

  15. Brassai, (Gyula Halasz, French b. Romania, 1899 - 1987)(left) Swastika Graffiti; (right) Passion Graffiti, both Paris, 1939

  16. Francis Bacon (British, 1909 -1992), (left) Painting, 1946, oil and pastel on linen, 6' 6" x 52“; (right) Head Surrounded by Sides of Beef, oil on canvas, 1954 Black umbrella was the symbol of British Prime Minister Neville Chamberlain’s policy of Nazi appeasement

  17. Francis Bacon,Study after Velazquez's Portrait of Pope Innocent X, 5 x 4 ft, 1953(right top) source: Velazquez, Pope Innocent X, 1650; (right below) Still from Sergei Eisenstein’s 1925 The Battleship Potemkin, Odessa steps sequence NOTE: Study for Portrait II, 1956, from Bacon’s series of papal portraits sold at Christie’s February, 2007 auction for $27.51 million

  18. Francis Bacon, Three Studies for Figures at the Base of a Crucifixion, 1944, oil and pastel on canvas, triptych on wood fiberboard, each 37 x 29 inches. The crucifixion was for Bacon a symbol of humanity’s sadism(lower right) source: Picasso, On the Beach (La Baignade), 1937 Aeschylus’ TheEumenides: “the kindly ones,” The Furies, the dark hidden side of the human psyche, with Orestes

  19. (left) Francis Bacon, Three Studies of figures on Beds, 1972, oil and pastel on canvas, triptych, each panel 6’6” x 4’ 10”(right) source: Eadweard Muybridge, photograph from The Human Figure in Motion, 1887 Exhibition photo of Bacon’s Two Figures Lying on a Bed with Attendants, 1968