The First Modern Art Movement Of The Twentieth Century

Defining their artistic vision is difficult because they were acting out at the very idea of defining artistic ideas. David Anfam, author of Abstract Expressionism, explains that the movement was groundbreaking and resulted in a drastic change in the attitude toward both the past and future of art. The movement ensued with astonishing speed and meticulousness, and Anfam further describes the movement as “at once striking yet inwardly complex” (7-8). The movement found its way into the New York art scene after World War II, and it continued for approximately fifteen years. The painters of the movement were survivors of the Great Depression, World War II, Holocaust, and age of nuclear weapons. This sparked a sense of anxiety and urgency in their painting, a feeling Americans identified with.

Before the war, art commonly featured the Victorian era. The paintings look very realistic before the war. After the war, the Dada movement swung in. Introducing styles of art like cubism, surrealism, and abstract art. A common theme between surrealism and cubism is that both types of art are about distorted reality. This is an effect that World War 1 had on art and people. World War 1 made people question many things (a reason why they called themselves “The Lost Generation”) about their life and what was real. Their reality became distorted, which transferred to their art. This is a major difference between before the war and after. Because before the war, ballets and new innovations were being created. During the war, people were dying or getting amputations. As the war continued lives were ended for no particular cause. Another death was another statistic. This really messed people up, twisting their sense of reality and sanity. Because art is a form of expression, artwork had a drastic change due to the events of World War

During the 1930’s when Fascism was at it height, populist art fought against the domination of fascism by diverting the fashionable ideals of fascism with the ideas of populism. The US was producing popular art in its populous country to share the rest of the world as an attempt to ward off the Fascists. They decided to distract everybody from Fascism by art, film, dance, etc. that appealed to the similar but different enough ideals of populism and democracy.

About 1909 the implications of Cézanne's highly organized yet revolutionary spatial structures were expanded by Picasso and Braque, who invented an abstract art of still lives converted into shifting volumes and planes. Cubism, developed by the artists of the school of Paris, went through several stages and had an enormous influence on European and American painting and sculpture. In sculpture its notable exponents included Picasso, Duchamp-Villon, Lipchitz, González, and Archipenko, who began to realize the possibilities of convex and concave volumes. Cubism was absorbed in Italy by the exponents of futurism and in Germany by the Blaue Reiter group; both these movements were cut short by the advent of World War I. Fauvism and cubism were introduced by members of the Eight to a generally shocked American audience in

World War I was a war that shocked the world and brought about new emotions that created a large wave of “-isms” as well as the “lost generation” of writers. Modern art was catalyzed by World War I and without a thorough study of the various forms of art that resulted from it, modern art and the tremendous effect that World War I had on the people of the world cannot be fully understood. This historical investigation will cover a few aspects of the art that resulted from World War I so that a general idea of the emotions shared by the people of the world can be known. A few paintings that represent specific movements will be studied to understand the artistic movement. A number of museum exhibitions will be studied along with government websites, databases, and museum websites, especially from the Museum of Modern Art.

The “decline of radicalism in America” (Rosenberg, pg 591) means that artists chose to liberate themselves when they decided to paint for the sake of painting instead of conveying a message or statement through their art. When artists were radicals then they might create a piece of art depicting a war scene in order to protest a war or depict a city and modern technology, of the time, to make a statement about the modern world. Radical artist like this created this kind of art in hope of bringing change to the world or at least shedding light on a topic that the artist may be passionate about. American Action painting was different because these artists decided to make art that liberated them so they could create world and paint their feelings

The time between World Wars was a tense and significant point in the history of humanity, especially for the European continent. France had suffered immensely during the First World War, and the psyche of the nation was deeply shaken. The result was, for some, a desire for a return to the comparatively peaceful state felt prior to the War. The “Call to Order” as it became known embodied this effort. Many artistic movements were abandoned, temporarily or permanently. Such was the fate of the Futurist movement, which somewhat naively glorified all of the things that had made World War I so incredibly destructive to the continent, technology, and violence. A resurgence of classical styled art followed. Just as the populous sought

During the early 20th century an artistic and social movement originated in Italy and was known as futurism. It was an innovation in technology. A similar movement was also occurring in Russia France England and etc. The persons who practiced such phenomenon were known as futurists. Futurists practiced in every art aspect that there was. Such as music, poetry painting theater etc. In each different part of Europe where futurism was evolving there were unique artists arising. Such Luigi Russolo Vladimir Mayakovsky Filippo Tommaso Marinetti Richard Wagner and Claude Debussy amongst others.

Dada, known for it’s chaotic nature, indirect protesting and iconoclasm also evolved into a political movement. Rejection of artistic mastery, defying authority, overprinting, and purposeful mistakes, where all a part of what Tristain Tzara and his contemporaries were trying to succeed. Cubism, Vorticism, Orphism, Purism, and Futurism also came about because of World War I. Heavily influenced by Cubism and it’s shattered glass appearance Futurism was the most politically mind of these five movements. Somewhat akin to Dada in it’s chaotic nature Futurist’s, however, were staunchly pro war and were looking for ways to bring Italy into the present times. Purism, on the other hand, took the collage look of synthetic Cubism and modern abstract style and made

Arts come in different aspects such as music, painting, sculpting, photography, and movies. However, there is one unique piece of art at The National Gallery of Art in Washington DC that will attract viewers for representing the history of one greatest city of America. This artwork is called New York 1911 which created by a Columbus artist, George Bellows in 1911 after he moved to New York. This artwork was done in a medium of oil and canvas with the dimension of 106.7 x 152.4 cm (42 x 60 in.) The brushwork of this artwork is visible, bold, and thick. Bellows painted a realistic scene of chaotic and busy state of the New York City from the 20th century. His utilization of space on the canvas was thought out well that he was able to draw everything

The structured period before the war was demolished, and replaced with a rule free base for the arts. Realism was changed to show emotions, and individuality in a very unique way. This is first time you see artist not following any rules or uniform in their pieces. This form of expression moved people from knowledge that they were not happy with the government and economy practicing trial behaviour for change. This whole movement wanted to break away from the structure you see before the war, and it did successfully do that, not only in changing the arts, but also in the way people thought.

There’s no doubt we’re living through another art movement, like the pop art movement in the 20th century. Use of digital devices makes graphic design open to explore by the rest of the world, but nevertheless the outstanding designers will always stand out and shine. Such is the Sydney based design entrepreneur Vince Frost.

Each artist of the Dada era had a new way of expressing Freud?s ideas. They also felt that art was a powerful means of self-revelation, and that the images came from ones subconscious mind had a truth of its own. As Marcel Duchamp mocked the Mona Lisa by drawing a Padilla 3 mustache on her, stated that the painting was a lewd message set by the conventional way of thinking. Since the Dada artist did not believe in western culture this made sense, because people only want believe what is told to them, instead of what is true. The Dada movement marked a meeting of people to have ?noise concerts? where they recited poems in a free association verse. In these poetry readings the artist perceived how they felt about the world. As World War I began the Dadaist perceived it as a world gone mad. Not only did they express their work in unconventional ways; they used the subconscious as a way of making their views true. Although the Dada era was short lived it influenced and questioned the traditional concepts of the western world. These techniques set an agenda for a new trial by error art form of this same era. The spirit of Freud in the Dadaist era never really died, it is shown today as ?Pop art? or sometimes known as neo-Dada art forms. Also this revolution of thinking and art paved the way for the Surrealist movement. The Surrealist movement of the 1920?s through 1930?s captivated the world with its bizarre way of thinking. Just as the Dadaist used

Futurism was an art movement originated in Italy in the early 20th century. It was largely an Italian phenomenon, though there were parallel movements in Russia, England and elsewhere.

In his work The Turning Road, L’Estaque, his use of strong bright color makes the entire scene glow with energy and vitality. The fauvism period started in 1899 and ended in 1908. Derain was a member of the Fauves (French for “wild beasts”). The fauves delighted in the new and brighter colored pigments made available by advances in industrial manufacturing. They used color in their purest and strongest states as an act of defiance against the Academy, a state-sponsored school of art that set rigid rules for acceptable standards for art and artists at the turn of the century. One of Fauvism's major contributions to modern art was its radical goal of separating color from its descriptive, representational purpose and allowing it to exist on the canvas as an independent element. Color could project a mood and establish a structure within the work of art without having to be true to the natural