Duchenberg's Asemblage Art

Post-Impressionism came about later in 19th century (1880-1890's) France. During that time, Edouard Vuillard, Pierre Bonnard, and Maurice Denis, members of a group of experimental artists known as the Nabis, played a significant role in the revival of decorative painting. Their experimentation with the arrangement of line and color was meant to function as a visual equivalent of nature without replicating its appearance. They also hoped to reassert the role of paint in decorating interior living spaces. Influenced by Impressionists use of color, yet pushing the appearance of nature, especially stressing high-keyed color, they developed bold new styles using innovative brushwork and emphasizing geometric shapes and figures. These techniques are known as Divisionism or Pointillism and they contrast significantly with the short, spontaneous canvases of Impressionism. Contributing to these developments were the likes of Vincent Van Gogh, Paul Gaugin, and George Seurat. These techniques later influenced many abstract painters of the early 20th

Emanuel Leutze’s painting depicts George Washington, Commander-in-Chief of the Continental Army during the American Revolution, crossing the Delaware River with his men on Christmas night, 1776 in order to surprise attack the Hessians at Trenton. Leutze’s portrait reflects some of the ideals represented by Thomas Jefferson, as well enlightenment thinkers John Locke and Jean Jacques Rousseau and perfectly demonstrates the role the American Revolution played in the shift from the medieval period into the early modern period.

Robert Rauschenberg’s “Tracer” (1963) and Marcel Duchamp’s “Network of Stoppages” (1914) embody the contemporary 20th century movement that uses collages and readymades to produce a new form of art. Both artists are using the so-called copy and paste technique to achieve three-dimensionality – the background is always a separate image from the main object of the artwork. For example, Rauschenberg is using a fragment of “Venus with a Mirror” by Titian and a mixture of human-made (heavy machinery, helicopters, geometric figures) and nature-made objects (birds, humans). The whole composition and the choice of color in “Tracer” seem to resemble sky. On the other hand, Duchamp pastes graphs and geometric lines over relatively undistinguishable

As a Surrealist pioneer, Ernst’s art displayed some of the most radical and unorthodox imagery in the early 1920s. Violence and pain were perhaps the most avant-garde elements of Ernst’s art, and this perception is on full display in one of Ernst collages displayed during Breton’s Paris Au Sans Pareil exhibition, The Preparation of Bone Glue. It depicts “a diathermy process in which an electrical current treats joint ailments” (Kavky 2012); his use of violence and pain as “both cause and cure intensifies the victimization of the woman” (Kavky 2012). The Preparation of Bone Glue is widely considered as an early example of Surrealist art, and Ernst’s early work with the mentally ill provided significant influence into the troubled minds of some patients.

Rebusspiel is painted by Wolfgang Hutter. The painting was created in the year of 1961. The painting is currently being displayed at The Tampa Museum of Art in the heart of Down Town Tampa. Rebusspiel is a German word; when translated to English, it is called the Rebus Game. According to the Merriam-Webster dictionary, rebus is a riddle or puzzle made up of letters, pictures, or symbols whose names sound like the parts or syllables of a word or phrase. Hutter used art elements to create a perplexed painting that has a vibrant surrounding while the center of focus seems to be in distress.

Calder discovered what he wanted: “to paint and work in the abstract” (Calder, p.133). He created relief paintings such as White Panel (1934) and applied himself thereafter to creating sculptures based on the plastic dynamics of asymmetry. Calder discovered the leaders of avant-garde, the Abstraction-Creation group. Under their influence, Calder began to look into Boccioni and Moholy-Nagy’s theories, using sculptures in motion.

Man Ray like many other artists did not care to have his personal life shown in his art. He wanted to be viewed and recognized for his work which included sculptures, paintings, and photography. Man Ray was mostly influenced by Stieglitz's photographs. Man Ray used a similar style to Stieglitz. He captured images that created an unvarnished look at the photos' subject. Man Ray discovered a new way to create his photos; by accident in his work room he discovered how to manipulate objects in his photos on pieces of photosensitive paper.

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

“He merged American visual culture into European avant-garde (modern art) design, integrating Cubism, Constructivism, the Bauhaus and De Stijl into his work.” (Reed, Norah)

Contemporary Artists are becoming more popular in today’s culture; however, there were some back in the early 1930s and late 1940s that started the contemporary movement such as Bruce Nauman, Stefan Sagmeister, and Christo & Jeanne-Claude. Bruce Nauman is considered to be the most influential contemporary artist. Nauman expresses his idea using diverse materials and media, which is why it’s hard to recognize his work as one particular style. His contemporary artwork reflects how old modernists have disappeared and clearly states that the graphic design community has moved on. One of his most

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.

The artwork, “Number 10,” by Mark Rothko displays two rectangles (top, yellow and the bottom, white) with a baby blue background color. Seeing the painting for the first time was surprising since I didn’t understand how it correlated with the title. It was easy to look at, but it didn’t catch my attention right away! I felt confused and frustrated while observing the piece because I didn’t know how I was going to find the meaning that lay behind the painting. This reminded me of my first-born nephew; I had such a difficult time trying to understand why he would cry so much. However, I was aware that crying was his way of communicating how he felt, just like painting this abstract piece was Rothko's style of communication.

During the 1960s and 1970s, many of his low-lying, segmented works came to redefine for a new generation of artists the very nature of sculpture itself.

The use of assemblage and the found object in Pop Art practice became an artistic trend and is exemplified by Robert Rauschenberg where he combines installations with the assemblage of large physical objects and commercial photography to form ‘Combine’ in 1963. Rauschenberg

Art overall is created and adored by numerous amount of people for many reasons, such as amplifying shared common visual language. The word art often branches into many different movements and components. Modern art or Contemporary art is one those components; this specific genre began mainly in the 1860’s to the 1970’s. During, this time period artists began throwing aside their own beliefs in a spirit of experimentation and the bringing of new ideas. The purpose of Modern art is to beautify one’s surroundings with intrigue, its often very diverse and cannot be easily defined through a list of visual characteristics, artistic themes or cultural concern. Moreover, Modern art is often hard to understand by people because, unlike Egyptian tomb paintings or Greek sculptures, it speaks to the dramatic social, political and technological changes of the last 50-60 years, and questions many of society’s values and assumptions. Also, Modern artists known for incorporating a great deal of abstraction into their works and representational forms to convey their ideas more elaborately; Rene Magritte is one of those artists.