Modernism
Modern Art , painting, sculpture, and other forms of 20th-century art. Although scholars disagree as to precisely when the modern period began, they mostly use the term modern art to refer to art of the 20th century in Europe and the Americas, as well as in other regions under Western influence. The modern period has been a particularly innovative one. Among the 20th century's most important contributions to the history of art are the invention of abstraction (art that does not imitate the appearance of things), the introduction of a wide range of new artistic techniques and materials, and even the redefinition of the boundaries of art itself. This article covers some of the theories used to interpret modern art, the origins of modern art in the 19th century, and its most important characteristics and modes of expression.Modern art comprises a remarkable diversity of styles, movements, and techniques. The wide range of styles encompasses the sharply realistic painting of a Midwestern farm couple by Grant Wood, entitled American Gothic (1930, Art Institute of Chicago, Illinois), and the abstract rhythms of poured paint in Black and White (1948, private collection), by Jackson Pollock.
Pablo Picasso, a friend and rival of Matisse, also invented a new style of painting, focusing mainly on line rather than color. Picasso's art changed radically around 1907, when he decided to incorporate some stylistic elements of African sculpture into his paintings. Unlike Matisse's pleasant image of a middle-class interior, Picasso's Les Demoiselles D'Avignon (1907, Museum of Modern Art, New York City) does violence to the human form by means of radical simplifications, arbitrary and harsh color combinations, and extreme distortions of human anatomy and proportions. The painting's space, moreover, does not conform to the logic of perspective, the traditional system for portraying depth in a picture, and is so fragmented that it is difficult to read clearly. The futurists, a group of Italian artists working between 1909 and 1916, shared Leger's enthusiasm for technology, but pushed it even further. As their name suggests, the futurists embraced all that glorified new technology and mechanization and decried anything that had to do with tradition. They declared a speeding automobile to be more beautiful than an ancient Greek statue. In 1917 Dutch painters Piet Mondrian and Theo van Doesburg founded an artistic group known as De Stijl (The Style). Other members included painter Bart van der Leck, sculptor Georges van Tongerloo, and architect Gerrit Rietveld . Like the suprematists and constructivists, many of the artists of De Stijl were committed to the idea of abstract art and to the view that it had a purpose beyond mere decoration. Art, they felt, could change the nature of society and create a new kind of human environment. Mondrian's Composition with Red, Yellow, and Blue (1937-1942, Tate Gallery, London) reveals De Stijl's tendency to reduce painting to its most essential elements. Horizontal and vertical black lines divide the white canvas into rectangles, some of which are painted red, yellow, or blue. The surface of the painting reveals nothing impulsive or intuitive; everything seems (but was not always) pre-planned in the mind of the artist. Intending their work to look impersonal and machinelike, De Stijl artists echoed the cubists and futurists in their hope that a new society could be built by rejecting individuality and embracing a collective will.
Some common words found in the essay are:
York City, Morisot Abandoning, De Stijl, Modern Art, Paul Gauguin, World War, Otto Dix, Gauguin Matisse, Germany Kirchner, Europe Americas, modern art, print section, section , print, print section, print section , york city, art york city, abstract art, art york, museum modern, 20th-century art, museum modern art, modern art york, modern artists,
Approximate Word count = 4730
Approximate Pages = 19 (250 words per page double spaced)
|
