The Protest Of Dadaism

Franz Marc was a German artist and printmaker, and also one of the key statistics of the German Expressionist movement. Franz Marc was born in February 8, 1880 in Munich and past away in March 4, 1916, eventually Marc was only 36 years old. Wilhelm, the father, was an expert landscape painter; his mother, Sophie, was a strict Calvinist. Marc began to study at the Academy of Fine Arts, Munich in 1900. In 1903 and 1907, he spent time in France, intensely in Paris, visiting the city’s museums and copying many paintings, a conventional way for artists to study and improve technique.

German Expressionism is a kind of art that is supposed to make you feel something. When you look at a painting such as “The Scream” by Edvard Munch (1863-1944), you ask yourself what kind of emotions does this painting give you. A group of early 20th century German artists used the term “expressionism” to desribe the way they produced art. The title later turned into “German Expressionism”. This art movement was prominent during 1905-1925. In German it is known as “Die Brucke” and “Der Blaue Reiter”. Unlike Impressionism, its goals were not to reproduce the impression by the surrounding world, but to express the artists feelings on the surrounding world. Expressionism comes from the route word “expression” which

Kandinsky transformed colour into a completely abstract art absolutely divorced from subject matter. The fauvists and expressionists shared an appreciation of the pure and simplified shapes of various examples of primitive art, an enthusiasm that was generated by Gauguin and extended to Picasso, Brancusi, Modigliani, Derain, and others.

Edvard Munch is regarded as the pioneer of the Expressionist movement in modern painting. At an early stage Munch was recognised in Germany and central Europe as one of the creators of a new and different movement of art, that helped artists to express their feelings about all the social change that was happening around them.

The origins of the practice of assemblage can be traced back to its early twentieth century roots based on ideas presented by Dadaists. The Dada movement was a literary and artistic movement during the First World War and further developed as a non-art movement. The main idea of Dada was to not follow a uniform rule of what an artwork entails in order to be valued. This movement was significant in the development and history of art as it challenged society with new ideas therefore provoking change in our perspective of what can be classified as aesthetically pleasing and all the possibilities of what art

Impactful across the globe, both Dada and Surrealism were artistic movements created in the early 20th century that were significant in redefining modern art today. The Dada movement came about in 1916 through the performance of Hugo Ball’s sound poem “Karawane” at the Cabaret Voltaire that he opened with his partner, nightclub singer Emmy Hennings, in Zurich, Switzerland. The poem made absolutely no sense, purposely, and it didn’t have to. Ball would also dress in wild costumes for his performances as seen below:

When one looks back on the frenetic 1960s, conservative sentiments aren’t usually the first thing to come to mind. Yet, while the New Left and the radical counterculture were reshaping cultural ideals, it was the New Right who emerged from the 1960s as a viable political force. The New Left can be categorized as a broad, largely youthful, movement with the goal to challenge various social norms and to institute a “participatory democracy”. Moreover, the New Left was “New” in a sense that they differed from the labor-centered liberal elites at the time; insisting on creating larger, more radical changes to society. On the other hand, the New Right was a largely grassroots movement aimed to restore traditionalist values from the “Eastern Establishment.” The New Right was “New” in a sense that it revitalized conservative hope at a time when those hopes looked mighty bleak. When analyzing the wildly different outcomes of the two movements, it becomes apparent that the New Right’s political-oriented manner to achieve their goals proved to be the decisive factor in maintaining long-term stability; something the confrontational New Left did not have the resources to achieve from the outset.

Art has evolved and regenerated itself many times during our human existence. These differences are defined through changes in styles under various theories. During the nineteenth and early twentieth century, a style known as Expressionism became popular. During this movement the artists were trying to use their artwork as a tool of expression toward life. It was mainly dominant in the nonrepresentational arts, such as abstract visual arts and music. It also was probably one of the most difficult movements to understand because the whole point of the piece lay within the artist. Not only was it a movement, it defined the act of art as a whole. From the beginning of time, each work of art, excluding replicas, show a way of expressing

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.

The art movement that occurred before World War II and that began as a way of protest was the Dada movement. Dadaism was born in Zurich, Switzerland – more specifically in the heart of the night club the Cabaret Voltaire in 1916, founded by leading Dada artist Hugo Ball. Dadaism was an anti-war movement that provided criticism of both capitalist and European culture, creating what was essentially nonsensical art to respond as a way of pitying society and its newfound obsession with war. An early example of artwork from the Dada movement was by one of the defining artists of the movement – Rectangles Arranged According to the Laws of Chance, a paper collage made in 1916 by Jean (Hans) Arp. Dada artists like Arp thought that pure chance itself was an unseen force, and played on the idea on the nonsense that could happen because of this chance. The nonsense and absurdity that chance could create was then comparable to the Dada artist’s views on war. The lack of control that came with the technique differed from tradition of the artist making all the decisions, yet again proving its obscurity. This specific collage of

Mark Rothko- Abstract Expressionist paintings can be divided into two groups. That of the action painters and that of the colour-field painters. As melancholic and misanthropic as Pollok, killing himself in 1970. Understood that to paint a flat form painting destroyed illusion and revealed truth. He was very aware of the spiritual dimensions attainable in abstract art, some of his works being described as deeply religious. (Hugh Honour & Fleming, 1991)

Dada was an artistic and literary movement, this arose as a reaction to World War one. Many citizens believed that Dada was actually the cause of World War one, this movement likes to take the form of ‘anti-art’. Therefore, how you can claim everything is art but in reality, nothing is art. For example, take the painting ‘Fountain’ by a Dadaist painter Marcel Duchamp it is a readymade painting of an unused urinal. Which is basically implying that he rejected art and thought that we should focus on the artist 's idea more rather than it being crafted. Therefore, using a urinal and labelling it as ‘art’, get’s Duchamp’s point across that a work of art should be the artists idea instead of it being crafted. When looking at Dadaism by Tristan Tzara, there were some interesting quotes. For example, “Like everything in life, Dada is useless. Dada is without pretension, as life should be.” (Tzara, 1918). This quote intrigues me, as Tzara is stating that all art is useless and that Dada is pretension and that is how life should be. This can be used as an example of how Dadaism was inspired by

     Munch had a series of paintings that were exhibited in a major art show in Berlin. The series was entitled The Frieze of Life, all six of these paintings caused such shock that the show was forced to shut down. Munch had so much feelings, passions, anguish, stress, sorrow, and pain in his paintings that people just didn't understand what was going on. He thought that people were just afraid of the truth. Munch had let his feelings out, not through rage or anger, but through art, some people that attended the show saw more than just art they saw one mans feelings. Munch's painting began having a big part in German Expressionism.

Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation

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