Some of the art from the early 20s include Duchamp’s Mona Lisa, Franz Marc (Blue Horses), and Piet Mondrian.
Art in the western world responded to the rapidly changing world in the early 20th century with modernism. You are to mention some of these changes and elaborate on the responses of art to them. I.e. what sudden changes happened socially and politically, and what artistic movements responded to show these changes in modern life and the world at large? Basically, from chapter 15.
Modernism is best described as a general political perspective that developed from the basic changes that the European society experienced at the beginning of the twentieth century. A few of the important factors that affected the growth and nature of modernism in art were the advent of industrialization and the nature of life that this caused, rapid urbanization, and the gruesome reality of the impact of war (Lewis). A key characteristic of modernism is the fact that it challenged nearly all established thought and belief systems, most modernists challenged and did not believe in religion. modernism generally incorporates the creations and works of individuals who were of the opinion that the pre-existing forms of art, religion, social organization and architecture had become outdated and were unsuitable for the new social, economic and political environment of the new world. Modernism is notably characterized by irony and an examination of self in relation to social and literary norms, frequently resulting in experimentation and the development of new techniques such as recapitulation and reprise. By the time the 19th century came to a close, human civilization was going through a period of dramatic change. new technological inventions such as the combustion engine, radio, the incandescent light bulb, fertilizers and the auto mobile affected society in a number of ways; the advancements in the field of communication and transportation made the lives of a typical individual much faster. Compared to earlier periods in history where a person’s progress was limited by their physical ability, these advancements gave people the power to be more productive. Society was energized by all these innovations and discoveries. The early twentieth century society was also influenced by the discoveries of several prominent philosophical and physiological theoreticians such as Albert Einstein Alfred Whitehead, and Sigmund Freud. Whitehead revised the concepts of motion and space as the foundation for man’s understanding of his environment. He perceived reality as living geometry and argued that every object is essentially relevant to another. Through his work and the publications of other scientists such as Albert Einstein, subjectivity became a major focus for society.
Freud Sigmund developed a revolutionary theory of the nature of the unconscious self that showed the significance of unconscious motivational factors in human behavior and the possibility that psychological processes do occur at a subconscious level. His work exposed a dark side of human behavior hidden by the cultures of society in the 19th century that modern artists sought to expose. Sigmund was not the only researcher in the field of psychology to study the unconscious self. Carl Jung, one of his students, went on to develop a theory which dealt with understanding the nature of the irrational self and the universal similarities between cultures. The researcher’s theory of collective unconsciousness was based on a location of the mind that he believed every one shares.
-choose three twentieth-century art movements as your examples (A few sentences)-identify one work of art from each movement-state what that movement was for/against, concerned with, responding to, etc.
Abstract expressionism is a modern art movement that originated in New York from 1940 to 1950. The term was meant as a unifying description for the works of painters with varying styles. Many of the artists whose style is connected to abstract expressionism reached maturity in the 1930s. These individuals were greatly influenced by the leftist politics if the time and came to develop their style based in personal experience. Not many retain their radical political sentiments, but a significant portion has taken up the role of outspoken avant gardes who protest from the sidelines. One of the notable works produced by this movement is the “lavender mist” created by Jackson Pollock (Erika). The painting was made in the year 1950 and is one of thirty two paintings that was sold at the time
The Bauhaus was the most prominent modernist art institute of the 20th century (Magdalena). Its style of education and perception of the relationship between art, technology, and society had a fundamental effect on the United States and Europe, even long after its closure. The institute was influenced by trends in the 20th and 19th centuries such as the arts and crafts movement, which fought to combine applied arts to the fine arts and to reignite creativity in manufacturing. The school was created as a direct result of the anxiety concerning the absence of artistic design in mass manufactured goods. The gap between manufacturing was growing quickly and the school sought to bring them back together. A prominent work of art from this movement is the Bauhaus building in Germany.
Conceptual art is a philosophy that deals preferably with ideas or concepts than the visual of formal components of art. The movement is more a lose combination of a number of ideas from other movements than a closely knit group. Conceptualism has taken numerous forms such as ephemera and performances, staged from mid 1960 to around 1975. Most conceptual artwork is self-searching; modernists who are part of this movement typically create art that is based on art using the least materials possible. A notable work produced from this movement is “one and three chairs” created by Joseph Kusoth in 1965.
Doss, Erika. “Benton, Pollock, and the Politics of Modernism: From Regionalism to Abstract Expressionism.”University of Chicago Press. (1995).
Droste, Magdalena “Bauhaus, 1919-1933”.Taschen (2002). .
Pericles Lewis, “Modernism, Nationalism, and the Novel.”Cambridge University Press, (2000). pp 38–39.