Modern Art 1900-40

1588 Words Mar 14th, 2011 7 Pages
Comparison Paper
Modern European Art 1900-50

By the end of World War I in 1918, artist had a remarkable change in their styles of art. Two very pronounced artists, Fernand Leger and Max Beckman, served in the war and impacted their art profusely. World War I was an era of industrialization in culture and in the economy, and as the world changed, so did European Art. Leger fascination with the past and his vital experience in the war had a profound impact on his work. While the war was undergoing trench warfare, Leger was one who almost lost his life, due to a mustard gas attack, which changed his imagery in art from cubist, to what critics called “tubist”. His emphasis on cylindrical, ambivalent forms, machine like imagery, and
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He took a different route than Leger when it came to expressing his artistic skill. He was an expressionist who distorted the body and space. In Max Beckmann’s, Reclining Nude 1929, Beckman decided to take it a different direction. He shows the woman in a different aspect. It seems to me as if she is laying down on a reclining chair or mattress showing off her feminine body to her audience. She seems to letting herself open to the public and he highlights this by his lighting gestures in the painting. Beckman’s main focus is the woman laying down, relaxing; perhaps she is waiting on company to come around and lay beside her as if she is saying “here I am out in the open”. The iconography at the time related to what other artist were doing and as a well marketed artist Beckman did the same. Although Beckmann does many things different then Leger, their interpretations of color, and distorted space had the same idea, but different views. In the painting, there seems to be a sign of light coming from the left side of the image that really put emphasis on her body. It highlights her legs, up to her breast, and sides of her arms. Beckman’s art seemed to be pasty, or chalky, and put a lot of emphasis on his brush strokes. It is clear that he wants you to know where and why he puts the paint where it is. This is obvious in the center of the composition on
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