Lecture 15Outline of Last LectureI) Les Demoiselles d’AvignonA) Sketches on sketches on sketchesII) Head with Scarification, Picasso (1907)III) Self-Portrait (1907)A) Study for the Head of the Squatting Demoiselle (1907)IV) Three Women (1908)V) Music, Matisse (1910)VI) SculptureA) RodinOutline of Current LectureI) Rodin,A) Gates of Hell (1880- 1917)B) The Prodigal Son (1880- 1882)C) Walking ManD) La CathedraleE) The Mighty HandII) MatisseA) The Serpentine (1909)B) The Back (1909-1931)III) Constantin BrancusiA) The Kiss (1908)1) Compare to Rodin, The Kiss (1886)B) Portrait of George (1911)C) Prometheus (1911)D) The Newborn (1915)E) The First Cry (1917)F) The Birth of the World (1924)G) Bird in Space (1919)H) The Endless ColumnCurrent LectureIV) Rodin,A) Gates of Hell (1880- 1917)1) The project never really ends, continual reworking until his death2) Understanding of his materiala) Bronze requires casting, so the figure can be re-cast several timesb) Presents something more like time and continual motion than seriality and same-nessc) Organized like a picture, relief-door3) Compare to The Gates of Paradisea) The gridding of the door tells the story in logical sequenceb) Grid-structure and narrative sequencing are not present in the Gates of Helli) Could you actually open this door?4) Compare to the Sistine Chapela) The composition is centralized around an active figure (Jesus) who is judging allb) Rodin’s Thinker, the central figure is inactive and closed in on itself rather than presenting a centralizing gesture5) Compare to Michelangelo’s Tombs of Giuliano and Lorenzoa) Active figure and contemplative figureb) Rodin viewed these inactive figures and describing great tensionB) The Prodigal Son (1880- 1882)1) Ambiguitya) Ecstasy and despairC) Interest in the body1) Trapping of the body2) Inverting of the body, casting out3) The condition of the bodya) Cut loose from its guaranteesb) As a vocabularyD) Walking Man1) The body has only itself, no guarantees and no pre-determined purpose2) Stepping as an assertion of autonomy3) He is walking and immobilized4) He is light and massiveE) La Cathedrale1) Replication and seriality in casting  moves towards difference and mobilityF) The Mighty Hand1) The landscape of the palm2) Hands are the body; the modern condition of hellV) MatisseA) The Serpentine (1909)1) Move away from mimesisa) Elongated and twistedb) Motion is in the body itself, serpentine line; the figure is an image of immobilizationB) The Back (1909-1931)C) Becoming inaccessible to usD) Turning away from us and into the mediumE) Simplified volumetric-ness itself; towards simplicifation itselfVI) Constantin BrancusiA) Carving; more archaic than castingB) The Kiss (1908)1) Compare to Rodin, The Kiss (1886)2) Shallow carving, not fully worked in the roundC) Portrait of George (1911)1) Interested in the fragment, as was Rodina) The part is ALLD) Prometheus (1911)E) The Newborn (1915)1) The slice into the form reads as a gaping mouthF) The First Cry (1917)1) Move towards abstraction, perfection of formG) The Birth of the World (1924)1) Gleaming egg-like form2) Reflecting the world around it3) The newborn IDEA4) Solid, without internal vidisiona) An assertion of wholeness and divinityb) Rather than a copy of the world, it is tied to the worldH) Bird in Space (1919)1) At the moment that the mimetic is rejected, art becomes more imbedded in the world and in the real2) Assertion of sculpture finding it’s abstract dimension3) Abstracted from nature, the form is invaded by the world itselfa) Sculpture could almost be removed all together, and replaced by the world around itI) The Endless Column1) The base becomes the sculpture itself2) The sculpture is nothing but a pedestalART HIS 54Lecture 15Outline of Last LectureI) Les Demoiselles d’Avignon A) Sketches on sketches on sketchesII) Head with Scarification, Picasso (1907)III) Self-Portrait (1907)A) Study for the Head of the Squatting Demoiselle (1907)IV) Three Women (1908)V) Music, Matisse (1910)VI) Sculpture A) RodinOutline of Current LectureI) Rodin, A) Gates of Hell (1880- 1917) B) The Prodigal Son (1880- 1882) C) Walking ManD) La CathedraleE) The Mighty HandII) MatisseA) The Serpentine (1909)B) The Back (1909-1931)III) Constantin Brancusi A) The Kiss (1908)1) Compare to Rodin, The Kiss (1886)B) Portrait of George (1911)C) Prometheus (1911)D) The Newborn (1915) E) The First Cry (1917)F) The Birth of the World (1924)G) Bird in Space (1919)H) The Endless Column Current LectureIV) Rodin, A) Gates of Hell (1880- 1917)1) The project never really ends, continual reworking until his death2) Understanding of his materiala) Bronze requires casting, so the figure can be re-cast several timesb) Presents something more like time and continual motion than seriality and same-nessc) Organized like a picture, relief-door 3) Compare to The Gates of Paradise a) The gridding of the door tells the story in logical sequenceb) Grid-structure and narrative sequencing are not present in the Gates of Hell i) Could you actually open this door?4) Compare to the Sistine Chapel a) The composition is centralized around an active figure (Jesus) who is judging allb) Rodin’s Thinker, the central figure is inactive and closed in on itself rather than presenting a centralizing gesture 5) Compare to Michelangelo’s Tombs of Giuliano and Lorenzo a) Active figure and contemplative figureb) Rodin viewed these inactive figures and describing great tension B) The Prodigal Son (1880- 1882) 1) Ambiguitya) Ecstasy and despair C) Interest in the body1) Trapping of the body2) Inverting of the body, casting out3) The condition of the body a) Cut loose from its guarantees b) As a vocabulary D) Walking Man1) The body has only itself, no guarantees and no pre-determined purpose 2) Stepping as an assertion of autonomy 3) He is walking and immobilized4) He is light and massiveE) La Cathedrale1) Replication and seriality in casting  moves towards difference and mobility F) The Mighty Hand1) The landscape of the palm 2) Hands are the body; the modern condition of hell V) MatisseA) The Serpentine (1909)1) Move away from mimesisa) Elongated and twisted b) Motion is in the body itself, serpentine line; the figure is an image of immobilization B) The Back (1909-1931)C) Becoming inaccessible to usD) Turning away from us and into the mediumE) Simplified volumetric-ness itself; towards simplicifation itself VI) Constantin Brancusi A) Carving; more archaic than casting B) The