Next-level Nōtan (濃淡) with Jean Arp: Abstraction by Chance & by Design; by Rob the Art Teacher

Are Jean Arp’s innovative torn paper collages made entirely by chance? Who was his collaborator? What does the Japanese practice of Nōtan (濃淡) have to do with the development of Modern Abstract Art in early 20th century Europe? All this, plus exciting art activities for you to do at home or in the classroom! If you enjoyed this video, be sure to like and share. If you’d like to see more content like this, please subscribe to my channel:    / @robtheartteacher   Let me know what you think, in the comments above. For more videos like this, support Rob the Art Teacher by becoming a monthly patron on Patreon, and receive exclusive patron benefits:   / robtheartteacher   You can also find me on LinkedIn:   / robgarrettcfa   PICTURE CREDITS (in presentation order): Jean Arp and Sophie Taeuber: 1. Jean Arp, “Configuration” (1927), painted wood relief 2. Portrait of Jean (Hans) Arp, ca. 1926. Photo courtesy Stiftung Arp e.V., Berlin Rolandswerth 3. Sophie Taeuber-Arp, “Self-portrait with Dada-Kopf (Dada Head)” (1920), photograph 4. Sophie Taeuber-Arp, “Arch pattern composition” (1918), gouache on paper Experiments 1916-1917: 5. Jean (Hans) Arp, “Untitled (Collage with Squares Arranged according to the Laws of Chance)” (1917), torn-and-pasted paper and coloured paper on coloured paper, 48.5 x 34.6 cm. MoMA, NY 6. Jean (Hans) Arp, “Untitled (Squares Arranged According to the Laws of Chance)” (1917), cut and pasted coloured paper on coloured paper, 33.2 x 25.9 cm. Gift of Philip Johnson © 2020 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn 7. Sophie Taeuber-Arp, “Vertical-Horizontal Composition” (1916), textile Papier déchirés 1930s: 8. Jean Arp, “Papier déchirés” (1932), 14 x 14 cm, Louvre 9. Jean Arp, “Papier déchirés” (1932), 14 x 14 cm, Louvre 10. Jean Arp, “Papier déchirés” (1932-36), 34.8 x 27.8 cm, Louvre 11. Jean Arp, “Papier déchirés” (1934), 25 x 32.5 cm, Louvre 12. Jean Arp (Hans Arp). “Selon les lois du hazard” / “According to the Laws of Chance” (1933), sugar paper on plyboard, 15.9 × 17.3 cm. Tate. Presented by Mr and Mr Robert Lewin through the Friends of the Tate Gallery 1987 Japonisme and Nōtan: 13. Hasegawa Sadanobu II, “Bustling Port of Kobe,” (published in 1871), Seattle Art Museum 14. Wilhelm (Charles William Pitcher), “Japanese Nobleman” (1885) 15. Kano Sansetsu (Japanese, 1590–1651), “Old Plum” (1646), Edo period (1615–1868). Four sliding-door panels (fusuma); ink, colour, gold, and gold leaf on paper. Metropolitan Museum, New York 16. Hokusai (Japanese ukiyo-e artist), “The Great Wave off Kanagawa” (ca. 1829-32), woodblock print 17. Christopher Dresser (British designer), glazed earthenware “Wave Bowl” (ca. 1880) 18. A photograph of Henri de Toulouse-Lautrec (French, 1864-1901) in Japanese costume 19. Edouard Manet, “Emile Zola” (1868), oil on canvas, 146.5 x 115 cm. Musée d’Orsay, Paris 20. Claude Monet, “La Japonaise” (1876), oil on canvas, 91 1/4 x 56 inches. Museum of Fine Arts, Boston) 21. James McNeill Whistler, “Nocturne: Blue and Gold – Old Battersea Bridge” (1872-5), oil on canvas, 68.3 x 51.2 cm. Tate Britain, London 22. Utagawa Hiroshige, “Bamboo Yards, Kyobashi Bridge” from “One Hundred Views of Edo” (1857), woodblock print, 36 x 23.5 cm. Brooklyn Museum 23. Jean (Hans) Arp. “Untitled (Squares Arranged According to the Laws of Chance)” (1917) 24. Utagawa Sadahide (1807–1873), “Foreign traders in Yokohama” (日本語) 9th lunar month (1861). Source "Foreigners in Treaty-port Japan" by John W. Dower MUSIC: This video uses the music “Perception” from https://www.bensound.com