Modern Art Analysis: Moore, Chillida, Kandinsky & Fauvism

Analyses of Key Modern Artworks

Henry Moore: Reclining Figure (Example Analysis)

Formal Analysis

Composition

A representation of a woman reclined on a horizontal surface, exhibiting a large gap or void beneath the figure. While somewhat figurative, the woman is rendered schematically; for example, the face is disproportionate to the body. The artist emphasizes the upper part of the female anatomy.

Line and Form

A predominance of curved lines transmits calmness and rest, evident in both the solid, rounded forms and the voids. There is a fascination with the void and the symbolic implications of excavating solid volume to reveal internal forms. The void in the figure’s abdominal area creates a unique perception for the viewer.

Content and Meaning

The work focuses on the reclining human figure, a recurring subject for the artist. It can be seen as a reinterpretation of ancient fertility goddesses (often depicted with prominent bellies and breasts), but here, the belly area is represented by a void.

Function

Primarily decorative, potentially with mythological undertones.

Contributions and Innovations

Notable for its exploration of the relationship between solid mass and empty space (void).


Eduardo Chillida: Abstract Sculpture

Artwork Details

Author: Eduardo Chillida
Timeline: 1959 – 1963
Style: Abstract Art
Technique: Forging
Material: Steel
Form: Abstract Sculpture
Color: Monochrome
Current Location: Maeght Gallery, Paris

Theme

This sculpture demonstrates the equilibrium between solid and empty areas, allowing the form to develop freely in space. The interplay between elements creates empty spaces (voids) that become integral parts of the sculpture.

Formal Analysis

Composition

An abstract structure, devoid of figurative representation. Chillida creates form from the interrelation of straight and curved shapes and the empty space between them. There is an intention of ‘drawing’ in space, giving the work a graphic quality.

Movement

A certain dynamism arises from the relationship between mass and void. This interaction reveals both the internal and external aspects of the work, giving an impression of constant movement.

Symmetry

The sculpture lacks a central axis of symmetry but possesses a dynamic, moving, wavy line.

Light

The play of light is influenced by the wavy lines and the empty spaces within the structure.

Rhythm

A changing rhythm is present; some areas might feature more twisted, complex forms, while others are softer and straighter.


Wassily Kandinsky: Battle (Interpretation)

Artwork Details

Author: Wassily Kandinsky
Timeline: 1911
Style: Abstract Art
Technique: Oil
Support: Canvas
Current Location: Dusseldorf (Note: Location requires verification for specific Kandinsky works from this period)

Theme

Initially interpreted as a narrative scene, perhaps a battle between knights in a fairytale landscape (castle, rainbow). However, it’s also considered a struggle between purely pictorial elements – for instance, the contrast between yellow and blue, or the straight line versus the curved line.

Formal Analysis

Drawing

Utilizes point and line based on Kandinsky’s theories: the point as the static origin, and the line as the trace of the point set in motion. Forms tend to dissolve into fluid contours defined by contrasting colors.

Color

A symphony of vibrant, expressive colors. Colors and lines are arranged dynamically, almost like a dance, conveying excitement and beauty.

Composition

Elements can be interpreted narratively: a central blue mountain-like silhouette possibly crowned by a castle, fighting knights to the left, and a rainbow overhead. Kandinsky sometimes included symbolic elements (like the ‘Arch of St. Martin’). However, by 1913, Kandinsky emphasized that his works were not intended to be narrative but rather conflicts between abstract elements (e.g., sharp yellow angles vs. soft blue curves).

Content and Meaning

This work belongs to the period (1910-1914) when Kandinsky created his significant series of “Compositions” and “Improvisations,” marking his transition towards pure abstraction.


Fauvism: The First Avant-Garde Movement

Origins and Name

Fauvism is recognized as the first avant-garde art movement of the 20th century.

The term “Fauves” (meaning “wild beasts”) stemmed from an ironic remark by the critic Louis Vauxcelles. Upon visiting the Salon d’Automne in Paris in 1905, he used the term to describe the intense, non-naturalistic colors used by the artists.

Key Characteristics

  • Unconventional Color: Colors are employed arbitrarily and intensely, chosen to express the artist’s emotions rather than to depict reality accurately.
  • Simplified Form & Perspective: Traditional perspective is often disregarded, and the rendering of volume and objects is achieved through blocks of color rather than shading.
  • Strong Light & Flat Color Areas: The paintings often feature intense light and dominant flat patches of color.
  • Bold Outlines: Thick, dark lines are frequently used to define the contours of objects, separating the flat color areas.
  • Expressive Autonomy of Color: Color becomes independent of the object it represents; it is not merely descriptive but serves as the primary vehicle for conveying feelings and emotions.