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The Breakdown of Perspectival Space (and the rise of Self-Reflexivity in Modern Art)

The Breakdown of Perspectival Space (and the rise of Self-Reflexivity in Modern Art). Surface Depth Surface. Renaissance. Modernism. 500 -1300. 1300 -1600. 1850 -1960. Medieval. Early Renaissance. Early Renaissance. The Annunciation , Fra Carnevale (1448).

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The Breakdown of Perspectival Space (and the rise of Self-Reflexivity in Modern Art)

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  1. The Breakdown of Perspectival Space(and the rise of Self-Reflexivity in Modern Art)

  2. Surface DepthSurface Renaissance Modernism 500 -1300 1300 -1600 1850 -1960 Medieval

  3. Early Renaissance

  4. Early Renaissance The Annunciation, Fra Carnevale (1448)

  5. Early Renaissance Flagellation of Christ, Piero Della Francesca (1450)

  6. The Ideal City

  7. EarlyRenaissance Madonna of Chancellor Rolin, Jan Van Eyck (1435) People slowly become more “Naturally” depicted in that space.

  8. More “Naturally” depicted.

  9. Early Renaissance The Arnolfini Portrait, Jan Van Eyck (1434)

  10. Early Renaissance The Arnolfini Portrait, Jan Van Eyck (1434)

  11. Renaissance

  12. Renaissance Bodies eventually get fleshed out.

  13. Renaissance Vanitas/ Still-Life, Pieter Claeszoon (1630) High level of articulated detail.

  14. Renaissance Vanitas/ Still-Life, Pieter Claeszoon (1630) High level of articulated detail.

  15. Renaissance Vanitas/ Still-Life, Pieter Claeszoon (1630) High level of articulated detail.

  16. Surface DepthSurface Renaissance Modernism 500 -1300 1300 -1600 1850 -1960 Medieval

  17. Renaissance Modernism 1300 -1600 1850 -1960 Rococo

  18. Renaissance Modernism 1300 -1600 1850 -1960 Symbolism

  19. Renaissance Modernism 1300 -1600 1850 -1960 Romanticism

  20. Early Modernism

  21. Early Modernism Oath of the Horatii, Jacques-Louis David (1784) • Two Planes • Theatrically Staged

  22. Early Modernism Death of Marat, Jacques-Louis David (1784) • ForegroundNo background

  23. Early Modernism • Pile of PeopleBlobby forms Raft of the Medusa, Théodore Géricault, (1818–1819)

  24. Early Modernism Orphan Girl at the Cemetery, Delacroix (1824)

  25. Early Modernism • HyperrealismLarge EyesColor

  26. Early Modernism Massacre at Chios, Eugène Delacroix (1824)

  27. Early Modernism Early Modernism Oath of the Horatii, Delacroix (1824) • Too Real, Harsh“Attack on Art” Massacre at Chios, Eugène Delacroix (1824)

  28. Early Modernism The Fighting Téméraire tugged to her last Berth to be broken J. M. W. Turner (1838) • Surface EmphasisPre-Impressionism

  29. Early Modernism The Fighting Téméraire tugged to her last Berth to be broken J. M. W. Turner (1838) • Surface EmphasisPre-Impressionism

  30. Modernism

  31. Modernism The Luncheon on the Grass, Édouard Manet (1863)

  32. Modernism Modernism The Luncheon on the Grass, Édouard Manet (1863) • Nude & dressed men (in contemporary setting) • Combination of Genres • still life, landscape, nude, portraiture • Background figure too large • Nude is washed out

  33. Modernism Modernism The Luncheon on the Grass, Édouard Manet (1863) In 1863 Painting with a capital “P” was born. It was now a Medium.

  34. Modernism • Never prior to Manet had the breach between the taste of the public and changing types of beauty—which art continually renews—been so conclusively final. With Manet began the days of wrath, of those outbursts of scorn and derision with which, ever since, the public has greeted each successive rejuvenation of beauty. —George Bataille

  35. Modernism Olympia, Édouard Manet (1863)

  36. Modernism • Reference Venus de Urbino • Contemporary prostitute slippers • Washed out skin • Look “matter of factly” at viewer • Cold, strong, young, prostitute Olympia, Édouard Manet (1863)

  37. Modernism Olympia, Édouard Manet (1863)

  38. Modernism • The laughter that lay in wait for Olympia was something unprecedented; here was the first masterpiece before which the crowd fairly lost all control of itself. —George Bataille Olympia, Édouard Manet (1863)

  39. Modernism • Jean Ravenel, art critic, “What on earth is this yellow-bellied odalisque, this wretched model picked up God knows where and pawned off as representing Olympia?” Olympia, Édouard Manet (1863)

  40. Modernism • Paul de Saint-Victor, art critic, “The crowd gathers round Monsieur Manet's highly spiced Olympia as it would round a body at the morgue.” Olympia, Édouard Manet (1863)

  41. Modernism • Painters, and especially Édouard Manet, who is an analytic painter, do not share the masses' obsession with the subject: to them, the subject is only a pretext to paint, whereas for the masses only the subject exists. — Emile Zola, 1867 Olympia, Édouard Manet (1863)

  42. Modernism • Her real nudity (not merely that of her body) is the silence that emanates from her, like that from a sunken ship. All we have is the “sacred horror” of her presence . Olympia, Édouard Manet (1863)

  43. Modernism • Her real nudity (not merely that of her body) is the silence that emanates from her, like that from a sunken ship. All we have is the “sacred horror” of her presence—presence whose sheer simplicity is tantamount to absence. Her harsh realism—which, for the Salon public, was no more than a gorilla-like ugliness—is inseparable from the concern Manet had to reduce what he saw to the mute and utter simplicity of what was there. Olympia, Édouard Manet (1863)

  44. Modernism • Viewer is propositioning barmaid • Bored, resigned expression • Snap-shot-like composition (feet in corner) • Impossible mirror image A Bar at the Folies-Bergère, Édouard Manet (1881-2)

  45. Modernism • Manet, from the very start, had put the image of man on the same footing as that of roses or buns. • —George Bataille

  46. Arcadia(a videogame that combines genres) • Created by Gamelab at MIT • http://www.shockwave.com/gamelanding/arcadia.jsp

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