Paris Was Becoming The World 's Hub For Art Innovators

Klein´s art emerged from serious circumstances. France in the late 1940s was still nation traumatized by World War II. The cultural center of gravity had moved across the Atlantic to New York. The artists who remained in Paris, or at least the good ones, were producing post-apocalyptic work, and out of the same rubble came the much younger Klein.

Between the end of the First World War and Hitler's seizure of power a cultural explosion occurred in Paris that altered our notions of art and reality and shaped our way of viewing the world ever since. In the 1920's, Paris became the undisputed international capital of pleasure and was regarded as the cultural and artistic center of Europe with a reputation for staging one of its most glamorous eras, as well as some of the most spectacular revues in the world. Imagine for a moment, that it really is 1920's Paris. You are leisurely strolling through the gas lit promenades. World War I is over and the exuberance of jazz musicians, symbolist painters, and American expatriates

Art is able to evoke different feelings and emotions to each person that sets their eyes on it. The act of ‘looking’ is simple, but a lot comes from it. Where the eyes are first drawn to, the duration that the eyes are focused on a specific detail, and the thoughts that flood one’s brain when viewing art is all significant. These actions say more than the piece itself, it reveals emotions of both the artist and the audience. Art can be expressed through infinite forms, but the underlying importance is not with the art itself. It represents a place in time, displaying what was noteworthy to an individual in their own life. It serves as a lasting creation representative of human imagination with the ability to bring out a multitude of emotions from whoever views it. When art is created it represents the creativity of the human mind compacted into a physical object. Art has little usage aside from pure observation, yet it has prevailed throughout time, showing its importance to humanity. Art provides a lens into humanity, showcasing the human ability over time. When studied through history, art is a view into the development of humans and their interests. Through something as basic as commonly using symmetry to transitioning to asymmetry, the European’s perspective following the Renaissance is revealed. The making of art is solely up to one individual and their creativity. It is the pinnacle of

Parisians were convinced that everyday life could be transformed in the sensational. She first explains the “boulevard culture” as flanerie, which is aimless idle behavior (Schwartz 14). Routinely, this sort of behavior was publicized by the newspapers and depicted as a typical Parisian activity (Schwartz 15). This is demonstrated by the fashionable visits made by the public to the Paris Morgue. This suggests that the city’s municipal authorities had also practiced flanerie, since the morbid work of identifying bodies and performing autopsies was transformed into a form of theater for the public’s entertainment, The popularity of public visits to the Paris Morgue during the nineteenth century was part of the spectacular "real life" that chroniclers, visitors and inhabitants alike had come to associate with Parisian culture. (Schwartz 47). What further promoted flanerie were Paris’s wax museums and panoramas. For instance, the strategic set ups of characters and props at the Musée Grévin wax museum made visitors feel as if the sets were personalized for them, thus encouraging them to participate in this spectacle (Schwartz 118). Therefore, the visitors became flaneurs since they were attempting to experience, capture, and reproduce already familiar versions of reality through wax models. In addition, early cinema and panorama technology further encouraged flanerie because the public was infatuated with spectacular realities. Ultimately, flanerie was perceived as an integral part of Parisian culture and proof that the city was modernizing. The thus reader correlates this behavior of collective consumption and leisure specifically with

In the quiet city of Sebring, the simple buildings contain an explosion of ideas and potential. Despite what others might think, this place has provided a lot of encouragement for artistic abilities such as, a muse, a canvas, and especially opportunities. Due to the citizens’ interest for art, the community finds a way to be on common ground. For this reason, people anticipate new artwork created by the young generation of ambitious artists.

Public art encapsulates a large part of Chicago’s history, and engages many different people in varying ways. Recently, I was in the city observing art and came across a woman who was seeing the same pieces I was. She proceeded to tell me she had just gotten off a plane, that morning, from New York, keep in mind it was around noon when I saw her, and wanted to show her daughter the great pieces of public art in Chicago. She passionately relayed the rich historical context of a few works of art: her main point being that Chicago is a hub for a booming culture of art. She noted that great artists from Europe, such as Picasso, Chagall, and Dubuffet, wanted to be a part of the modern art trends happening in Chicago in the twentieth century. She went as far to say that “these [pieces of artwork] are unique in the world,” meaning they are so well known and respected that their popularity extends beyond the city of Chicago. It is curious to think about what makes a successful work of public art, and why artists and observers alike are so intrigued with the art in Chicago. In my opinion, two works of Chicago’s public art, Monument with Standing Beast and Cloud Gate, serve as effective works of public art due to their complexity and appropriate placement in space, however Cloud Gate is more effective because of its personal appeal to the audience.

When Peggy came to New York in 1941, she brought with her, not only her family but, all of her 170 artworks by 67 artists. For a short time period, Peggy derangedly displayed her art collection at the Hale House, her residential space in Midtown East of Manhattan, up until 1942, when Art of This Century opened its doors to the public in the month of October of that same year. The art forum space, that was neither a museum nor a gallery but a fusion of the two was not just renowned for complementing the aesthetics of Peggy’s art collection, nor for resembling her dramatic charisma, but also for hosting shows with artworks made by then non-famous who now are famous American artists. At the Art of This Century, history of the modern art world

The art capital of the world began in Paris, France where artists were given free reign and creative development to indulge their psyches without fear of odious disparagement that would damage their careers. Paris as a city, as well as an art center, experienced prolific transformations and developments in the nineteenth century that allowed these innovative ideas to prosper. These alterations can be expounded in depth via the economic, technological, and sociological aspects of each. Through the persona and exploration of the well-known writer, artist, and critic, Charles Baudelaire, these innovations can be expatiated and exemplified.

Claude was one of the art innovators in this sense. It was unaccepted that “peasant life,” industrial subjects like smoke stacks, and working life could be seen as aesthetically

Throughout Art History, it is apparent that techniques are established and flaunted to create some vivid image of a story, or a message. Up to the post war of World War II, art has delivered a scene which can be interpreted through context clues such as; current philosophies, current events, and folk-lore. Then, mainstream art had undergone a significant change in theme post World War II. New York City, United States of America, became the art capital of the world. Why? It is arguably due to Abstract Expressionist art and Pop Art known as Modernism. Modernism completely new to the world, and both of which abandoning some common core themes to art. Two famous artists whom facilitated and practiced such dramatic alterations in art culture are Paul Jackson Pollock, or just known as Jackson Pollock, and Andy Warhol.

Gertrude Stein once said, “You can either buy clothes or buy pictures (cite Stein),” and it is their affinity for doing the latter that has made Gertrude, Leo, and Michael Stein revolutionaries in the world of visual art. American in origin, but long-time residents of Paris, the Stein siblings possessed a drive to change the way the world sees what art is. They were tastemakers and trendsetters, not afraid to express an appreciation for the avant-garde artists that the world had previously turned away. By selecting pieces based on the art itself, regardless of the artist’s educational success, they broke the longstanding tradition of only welcoming successful Academy artists. The Steins did not solely collect pieces that piqued their interest;

When I arrived at the museum, I was astonished at its external appearance before I even went in. The three-story building stood tall and mighty, and it seemed to have been made based off Ancient Roman architectural techniques. As I entered the museum and found my way to the galleries of European Art, I noticed that the museum was calm and bright, which I thought made the art stand out more and conveyed a sense of liveliness. The first picture that stood out at me as I strolled through the galleries was Vineyards at Auvers by Dutch artist Vincent Van Gogh. After Van Gogh had spent two years in France, he had moved to the village of Auvers, slightly north of Paris in around May 1890. While he was there, he produced seventy paintings, one of which was

Matisse was born Henri-Emile-Benoit Matisse in Le Cateau-Cambresis, France on December 31, 1869 to his mother and father Anna Heloise Gerard and Emile Hippolyte Matisse. He was the first son of the couple. Matisse's father was a grain merchant and his mother made hats and painted China. He grew up in nearby Bohain-en-Vermandois until the age of ten, when his father sent him to St. Quentin for high school. In ways that area hadn't changed much since Roman times. The young Matisse was an awkward youth who seemed ill-adapted to the rigors of the North; he hated the gelid winters. He was a pensive child and by his own account he was dreamy, frail and

The city of Paris itself does not physically connect with people, but similar to yoga, the art in the depths of the city connects with its people. The art built and scattered throughout the city virtually causes people to think and understand the meaning behind the piece. Again, it is a distraction. It helps people look more in depth and think about life and their inner emotions. There’s a state of being so completely engaged into something to the point of being so meditative that the rest of the world is completely invisible (Scott, 2016). Art creates that connection for people. The connection to easily relate to the piece or see something in the structure that happens to be applicable is visible through art. For some people, it helps them realize their purpose on Earth and sometimes opens up their self-esteem. Paris is a way for people to escape reality. For example, Laertes leaves Denmark and his family to “study” in Paris. The reason most people leave for someone is simple: to see something new or get a fresh start. Although Laertes’ intention might be to study, he could easily be distracted by the beauty and opportunities Paris has to offer that he establishes a connection with the

This paper is an explanatory paper by a cultured gentleman on Avant-Garde art and the challenges facing Avant-Garde. More specifically, it comes off as a rant against the bourgeois and proletariat for failing to appreciate Avant-Garde art and instead preferring to art he calls the rear-guard art or Kitsch. This work was printed by the Parisian review during fall, 1939.