Influence Of The Modern City

In the first two decades of the twentieth century, the United States experienced a large increase in political, economic, and social reforms. During this time, there had been an increase in urbanization, and industrial factories within the larger cities throughout the United States, particularly in the northeastern cities. With the addition of the industries and factories too populated also came a growing number of immigrants, and seekers of wealth and employment. As a result, the population increase would result in major issues which would overshadow the economic gains that came from industrialization. In addition, the rise of industrialization also brought about major issues within the populations of the city. After seeing

The transition between the 19th and 20th century has brought further development of modernistic ideas, concepts and techniques in art. Inspired by Cezanne’s idea, saying that all nature objects can be illustrated with just three geometrical figures: cube, sphere and cone, Pablo Picasso created his first paintings, which became the icons of modern art and cubism movement in

Sydney, centrally located on the eastern coast, is Australia’s largest and most influential city. Its multicultural nature, advanced infrastructure, state of the art technologies, scale of foreign investment and architectural ingenuity not only make for a highly desired international tourist destination but are all compelling evidence to suggest that Sydney is in fact an established city of the developed world. As in any developed city, there are a myriad of urban dynamics of change at work that have, and will continue to evolve the morphology of the Australian metropolis.

Decades after the Civil War, the United States rose as a modern monster. Old ventures extended and numerous new ones, including petroleum refining, steel fabricating, cotton mills and electrical power. Railways extended altogether, bringing even remote parts of the nation into a national market economy. Although not paid well, people were given jobs due to the expansion of the Revolution. Mechanical development changed American culture. It delivered another class of well off industrialists and a prosperous white collar class. It also created tremendously extended manual common laborers. The work constrain that made industrialization conceivable was comprised of a huge number of recently arrived foreigners and considerably bigger quantities

In the early twentieth century Post-Impressionism was the avant-garde art movement in the world, with its central city Paris, France. Artists from different religious backgrounds, cultures, and societal hierarchies migrated to Paris to take their art in new directions. France was a city of tolerance during both Pre and Post WWI; therefore, it was a beacon for those who wanted to convey their emotions and ideas visually. Paul Cezanne, Pablo Picasso, Georges Braque, Marcel Duchamp, Henri Matisse, Marc Chagall, Amedeo Modigliani, Chaim Soutine, and Robert Delaunay came to Paris and sought to create art with a personal aesthetic and to capture the essence of the modern era.

People immigrated and traveled to cities for the increase of money and job from what they were making from farming. The factory work had appeared and seemed to be less strenuous than the farming work, and they looked forward to a better income and money and most satisfying lifestyle.

My paintings give material form to the human tendencies to compartimentalize, and desegregate, both nature and our built environments. In each two-dimensional work, I start with an impression ---a feeling, a memory, a childhood friend, a family member, or a location---and build the forms using patches of color, showing my own habit of separating parts of the world around me into smaller, consumable parts. For example, in L.A. Bus Routes, I utilized my frustration with the pervading image of Los Angeles’s car-riding culture by making a largely unspoken bus-riding culture take center stage. I drew lines with colored pencil representing the L.A.’s city blocks defined by bus routes surrounding my East Hollywood home. Fluidly, colors bled into others where watercolored shapes met, representing the permeable borders of neighborhoods in L.A. My work questions the fabric of social dissonances using a patchwork of watercolor, gouache and pencil marks that suggest a human need to compartmentalize aspects of our surroundings, our selves, and

Marshall Berman’s take on modernity is presented in his book All That Is Solid Melts into Air whereby he focuses on its issues and the cultural attitudes and philosophies towards the modern condition. In doing so he shares his experiences of modernity post WWII in New York in the height of an economic boom and then more specifically of his childhood neighbourhood, the Bronx. In addition to expanded austerity, industrial and architectural development, the end of WWII proved to be a key period in world history and by extension the history of art. A talented group of artists emerged in result that had been influenced by an influx of established European artist who had fled to New York to escape fascist regimes in their homelands. More importantly these artists produced art that was at the heart of maelstrom Berman describes in regards to his experience of modernity. I aim to highlight the correlation between Berman’s experience of modernity and the emergence of a new American modernism. Modernity throughout this period was broken into two different compartments, hermetically sealed off from one another: "modernisation" in economics and politics, "modernism" in art, culture and sensibility. It’s through the lens of this dualism in which we recognise that both Berman and these artists try to make sense of the world around them by making their individual expressions that would re-conceptualise what it is to be modern in the twentieth century.

Matisse’s Bonheur de Vivre, Picasso’s Les Demoiselles d’Avignon, and Paul Cézanne’s The Large Bathers (Harris & Zucker, n.d.) were some of the most notable paintings at the beginning of the 20th century. At this time, art had essentially evolved from the impressionist movement, whose ideas were mainly the building blocks of the modernist movement. This paper looks at these specific works with respect to how Picasso’s and Matisse’s pieces can be regarded as having been inspired by and moving away from Cézanne’s piece at the same time.

European cities were redesigned because of the increasing urban population placing strains on the resources of the city and the new demands both socially and economically. The redesigning of some cities also occurred because of urban insurrections that had happened in previous years and was building again. The cities were changed so that the center of the city was arranged into districts for businesses, government buildings, large stores, theater, and other forms of commerce. Housing was a key issue because of the factory workers needing a place to stay and live and the cities were running out of houses. Health was a major issue because the outbreaks of different disease like Cholera did not just stay in lower classes, but it attacked all classes.

Industry invaded cities in the late 19th century. Previous to this the cities were commerical and commonly located near water. All of the manufactering happened outside of their area, more near natural resources and power sources. Once the industries grew, the cities changed. The city was also change due to population. People started moving between cities, and within them which cause the population to become more diverse. The classes started to become forced to mingle, and immigrants were the fastest population to have growth where work was offered. With new cities comes new technology, the buildings became taller with more hi-tech utilities, and the cities value grew. As the cities began to stretch out more transportation was needed. Trollies,

New Urbanism, a burgeoning genre of architecture and city planning, is a movement that has come about only in the past decade. This movement is a response to the proliferation of conventional suburban development (CSD), the most popular form of suburban expansion that has taken place since World War II. Wrote Robert Steuteville, "Lacking a town center or pedestrian scale, CSD spreads out to consume large areas of countryside even as population grows relatively slowly. Automobile use per capita has soared, because a motor vehicle is required for nearly all human transportation"1. New Urbanism, therefore, represents the converse of this planning ideology. It stresses traditional planning, including multi-purpose zoning,

Part two of Death and Life explains several conditions for city diversity based on the observations of different American cities and discusses in depth the four factors that Jacobs believe are critical for the development of a city. The basis for generating diversity lies in these conditions, and cannot be secludedly achieved by planning and designing. This part lays out the foundation and is the basis for the rest of the book. It shows urban planning and many possible remedies for creating equal diversity, and studies why these are not applied and the effects of it not being so.

Before nineteen century, most artworks depicted religious of mythological or religious scenes, and the purpose of the artwork was telling a story and instructing people. And artists were always working for wealthy people or church. However, with the rapid development of science and society, the Industrial Revolution have changed the manufacturing, transportation, and technology, which also affect the way people live, travel and work. And with the great expand of city and prosperous of urban center,  people flocked to cities to get new jobs and city life, which speeded up the urbanization in a unprecedented way and made many modern cities like Paris, and the modernism has straight impact on its people, in its public space, on its popular entertainments, and most importantly, on artists. At that time, artists started to making arts of new ideas or things they interested in, and some of them even experimented with the expressive use of color, new material and new techniques and mediums, which led to the invention of “Neo-Impressionism”, a new genre of paintings. And in this essay, I’m going to talk about the representation of “Neo-Impressionism”: Seurat's’ Sunday Afternoon on the Island of the Grande Latte.

A tension has always existed in architectural theories between art, social, and rational notions. The inception of the Bauhaus based mainly on the notion of unifying all the aspects of art under the wing of architecture. This art-driven perspective derived architectural practice to the creation of the international style. Modernism was founded on the unity, the whole, and the progress of humanity, as in Marxism. This was done regardless of the sensibility of social and environmental needs on the local scale. It lost any continuation with the existing social and constructed values. Socially and contextually correspondent architecture were the main driving forces behind the revolute architectural theories that substituted modernism. Art always persists along architectural movements, either as the main driving force or as a guaranteed consequent that is achieved in the background, as is the case for the rational perspective. In the foreground or the background, it comes with different flavors that is affected with or affects the principles of these theories. This existential property of art can be deducted by reviewing the aforementioned architectural theories. The different relations between the art, social, and rational motives would be comprehended better after discovering more urban dimensions by the end of the coming chapter.