Modernist Styles, Including Cubism, Orphism, and Futurism Challenged the Practices of Traditional Representational Art.

Cubism is a new and so far highly influential art style created by two incredibly talented artists Pablo Picasso and Georges Braque. They came up with the style initially three years ago (1907) and have been developing the idea ever since. Cubism’s style represents the flat, two-dimensional surface of an image, disregarding traditional methods such as view, chiaroscuro, modelling and foreshortening.

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

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

The essay will make use of the works of photographic artists who engage in one of the two schools of photography, Pictorialism and Modernism. The artists that will be used for this essay are Paul Strand who has been selected for the Modernist development together with a Russian artistic photographer Alexander Rodchenko and As White remained rooted to Pictorialism, his stance on his methodology and set up in the 1920s and 1930s led to occurrence of the stirring up of quite a number of understudies to handle his visualization style which was fresh and innovative (White, Clarence H., Jr. and Peter C. Bunnell 1965). In the process of talking about the two schools of photography, Pictorialism and Modernism rather than focus on the clash and disagreements that occurred from Pictorialism and Modernism it is more suitable to examine the merits in both the method and styles used in the two schools of

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso and Georges Braque in

In mature form, its spatial structure resembled that of synthetic cubism. Generalized as a cultural aesthetic, it called for the evolution and refinement of type objects to a perfect standard.”

Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso and George Braque. It was easier for them to invent something new that no one has not seen before and both had a common interest. It was one of the first movements led by Pablo Picasso during 1907. The movement began in 1907. Cubism was very popular during the early twentieth centuries. There were two most important people to Cubism art movement Pablo Picasso and George Braque.

This depth or distance that the beholder of the eye misses as he/she analyzes the action of the 2-dimensional portrait is what’s called the painter’s space. In reality, one of the greatest abilities one’s eyes have is being able to determine depth and distance; small objects are at a far distance and bigger

When Cubism reached its glorious grasp around 1907–1914, the World was in a wild place. With the Ottoman Empire losing power; European influences were becoming avaricious for more, eventually leading to the start of World War I. On the other side of the world we had America rising as a global supremacy, creating its way to a worldly control. Because of these chaotic matters, society was shifting towards a new direction. The Art World with its artists and writers also responded to this conversion as well. The destruction and cruelty of War altered the lives of several European artists, brought an end to several art movements, and gave light to other movements and brought them to importance. Obviously the artists effected by the war had their work influenced by it but the early decades of the twentieth century gave birth to groundbreaking movements and styles, out of which Cubism (1908-12) was the most rational of all the Avant- Grade movements. It excluded the idea of linear perspective in favor of grander prominence on the two dimensional picture plane, scandalizing the arts academics of Europe along the visitors of Parisian Salon des Independants and the New York Armory Show (1913) in the process

I will be focusing on two of the readings; the Andre Salmon essay an Anecdotal History of Cubism written during Picasso’s time in 1912, and the David Lomas article In Another Frame: Les Demoiselles D’Avignon and Physical Anthropology. The Salmon essay, as the title suggests, focuses on the Cubist movement as it was understood during his time, making sure to delineate Picassos early work as Picassisme. Salmon recognises the novel aspect of Cubism as a way in which to depict an object holistically through geometric forms and “painting beings and things such as they are and not as our eye recognizes them…”. He describes the disjointed history of the movement and its artists, quoting Metzinger saying “Cubism is a means, not and end.” Salmon continues

An Old Master’s painting provides for the viewer the possibility of being part of the space created as an illusion of depth by the painters, and this in itself characterizes how these painters found their own different way of challenging painting compared to what it previously used to be, by breaking the limits of painting defined by the medium. And on the contrary, Modernist paintings focusing on the flatness of the pictorial plane give the viewer the possibility to travel through the painting “only with the eye” (experienced by Manet and Impressionist painters). But, Greenberg insists that being self-critical doesn't suggest that leading painting into the extreme abstraction is the answer to Modernist painting (he gives the example of Kandinsky and Mondrian).

Modernism has found new expressions in art which in turn have changed how people critic and understand art, in this essay I am going to focus more on abstract expressionism. Debates in this movement have gone as far as influencing many artists and the two well-known critics who have made this movement more remarkable and have changed the art world completely are Clement Greenberg and Ronald Rosenberg. On the writings of these two gentlemen about art I will try to draw out the differences in the idea of what abstract expressionism is and what it is supposed to be, compare and outline the similarities and the differences between the two critics.

The beginning of 20th century was a time of drastic change. New developments were made in the arenas of the classical sciences, social science, psychology and philosophy - each challenging traditional thought. Industrialization and the introduction of many new, challenging concepts in the fields of politics as well as the development of new technologies gave artist more freedom to innovate and break the rules of traditional art. By using new materials, techniques and the new approach artists were pushing boundaries of what has previously been accepted art practice in order to invent radically new styles.

“Modern painting, breaking through old conversation, has released countless suggestions which are still waiting to be used by the practical world.”(Gropius) The birth of modernism and modern art goes back to the Industrial Revolution, a period that lasted from the 18th to the 19th century, in which rapid changes in manufacturing, transportation, and technology profoundly affected the social, economic, and cultural conditions of life in Western Europe, North America, and eventually the world. Before the 19th century, artists created art pieces for wealthy people and institution places like the church where they can create art works about storytelling of religious or mythological scenes . These arts were there to instruct the viewers.However, this changed when during the 19th century many artists began to create works that were about people, places, or ideas that interested them, and of which they had direct experience. With the popularization of the idea of a subconscious mind, many artists began exploring dreams, symbolism, and personal iconography as avenues for the depiction of their subjective experiences.Challenging the notion that art must realistically depict the world, some artists experimented with the expressive use of color, non-traditional materials, and new techniques and mediums.