Expressionism, Constructivism, And Expressionism

1278 WordsJan 5, 20176 Pages
Czechoslovakia, a city that is connected to Paris, Berlin, and Moscow by rail had artists and photographers that quickly absorbed the influences of Cubism, Constructivism, and Surrealism. Photographers and painters in Prague readily involved themselves with the pictorial and philosophical problems caused by these modern movements. Jaromír Funke was the most accomplished photographer to emerge in Prague in the 1920s and 1930s. Influenced by Cubism and constructivism, he devised numerous ways in which light could serve as a faceting agent in photography. This untitled photograph of circa 1927 is one of the series of still life compositions in which square and rectangular pieces of paper and glass, and the majestic objects such as bottles…show more content…
To take a photograph is to consider multiple options within thousands of smaller options, shutter-speed, ISO, Rule of thirds and so on, this means that the work that you have just made is your own structure that has never been done before and so this leads to what people consider to narrate in their own way. Chemicals, darkrooms and film cameras have quickly been replaced over the last 20 years with the digital age taking the world by storm. The history of photography is still very inspiring to millions of people and still how professional and even amateur photographers work. David Bate wrote about the ideas and origins behind photography and how it began way before it was discovered as the “main ingredients of photography are light, chemistry and the camera obscura”. Merriam Webster describes art as something that is created with imagination and skill, and that is beautiful or that expresses important ideas or feelings. Joyce Carol Oats said “My belief is that art should not be comforting, it should provoke, disturb, arouse our emotions, expand our sympathies in directions we might not anticipate”. So this means that every individual may walk away from art with a completely different message, but ‘good’ art, in some way should engage with its audience. So what about ‘bad’ art? Marcel Duchamp once
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