Arts Writing and Culture Apush Quizlet Growth of Leisure Time

The Rise of Modernism

Modernism was a philosophical movement of the late 19th and early 20th centuries that was based on an underlying belief in the progress of order.

Learning Objectives

Summarize the ideas that constitute Modernism

Fundamental Takeaways

Key Points

• Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed past the horror of World War I.
• Modernism was essentially based on a utopian vision of human life and society and a belief in progress, or moving forward.
• Modernist ideals pervaded art, architecture, literature, religious faith, philosophy, social arrangement, activities of daily life, and even the sciences.
• In painting, modernism is divers by Surrealism, late Cubism, Bauhaus, De Stijl, Dada, German Expressionism, and Matisse every bit well equally the abstractions of artists similar Piet Mondrian and Wassily Kandinsky, which characterized the European fine art scene.
• The end of modernism and beginning of postmodernism is a hotly contested consequence, though many consider information technology to have ended roughly around 1940.

Modernism is a philosophical motion that, forth with cultural trends and changes, arose from enormous transformations in Western society during the late 19th and early 20th centuries. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed by the horror of Earth State of war I.
Modernism was essentially based on a utopian vision of human life and society and a belief in progress, or moving forward. It assumed that certain ultimate universal principles or truths such as those formulated by religion or science could be used to sympathize or explain reality.

Modernist ideals were far-reaching, pervading art, architecture, literature, religious faith, philosophy, social organization, activities of daily life, and even the sciences. The poet Ezra Pound's 1934 injunction to "Make it new!" was the touchstone of the motion's approach towards what it saw as the at present obsolete civilisation of the by. In this spirit, its innovations, like the stream-of-consciousness novel, atonal (or pantonal) and twelve-tone music, divisionist painting and abstract art, all had precursors in the 19th century.

In painting, during the 1920s and the 1930s and the Great Depression, modernism is defined by Surrealism, tardily Cubism, Bauhaus, De Stijl, Dada, German Expressionism, and Modernist and masterful color painters like Henri Matisse besides as the abstractions of artists similar Piet Mondrian and Wassily Kandinsky, which characterized the European fine art scene. In Deutschland, Max Beckmann, Otto Dix, George Grosz, and others politicized their paintings, foreshadowing the coming of Earth State of war II, while in America, modernism is seen in the course of American Scene painting and the social realism and regionalism movements that contained both political and social commentary dominated the art world.

Modernism is defined in Latin America by painters Joaquín Torres García from Uruguay and Rufino Tamayo from Mexico, while the muralist motility with Diego Rivera, David Siqueiros, José Clemente Orozco, Pedro Nel Gómez, and Santiago Martinez Delgado, and Symbolist paintings by Frida Kahlo, began a renaissance of the arts for the region, characterized by a freer apply of color and an emphasis on political messages. The end of modernism and showtime of postmodernism is a hotly contested issue, though many consider information technology to have ended roughly around 1940.

Les Desmoiselles D'Avignon by Picasso, 1907: Picasso is a ubiquitous example of a modernist painter.

Post-Impressionism

Post-Impression refers to a genre that rejected the naturalism of Impressionism in favor of using color and grade in more than expressive manners.

Learning Objectives

Compare and contrast Post-Impressionist techniques with those of Impressionism

Key Takeaways

Key Points

• Post-Impressionists extended the use of vivid colors, thick application of paint, distinctive brush strokes, and real-life subject affair, and were more inclined to emphasize geometric forms, distort forms for expressive effect, and to use unnatural or arbitrary colors in their compositions.
• Although they were frequently exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, and younger painters in the early 20th century worked in geographically disparate regions and in diverse stylistic categories, such as Fauvism and Cubism.
• The term " Post- Impressionism " was coined by the British artist and art critic Roger Fry in 1910, to describe the development of French art since Manet.

Key Terms

• Postal service-Impressionism: (Art) a genre of painting that rejected the naturalism of impressionism, using colour and form in more expressive manners.
• Post-Impressionist: French art or artists belonging to a genre after Manet, which extended the way of Impressionism while rejecting its limitations; they connected using vivid colors, thick application of paint, distinctive brush strokes, and real-life subject affair, but they were more inclined to emphasize geometric forms, to distort form for expressive consequence, and to use unnatural or arbitrary colour.
• post-and-lintel: A simple structure method using a header or architrave as the horizontal member over a edifice void (lintel) supported at its ends by 2 vertical columns or pillars (posts).

Move from Naturalism

Post-Impression refers to a genre of painting that rejected the naturalism of Impressionism, in favor of using color and course in more than expressive manners. The term "Postal service-Impressionism" was coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet. Post-Impressionists extended Impressionism while rejecting its limitations. For example, they continued using bright colors, thick awarding of paint, distinctive brush strokes, and existent-life field of study matter, just they were also more inclined to emphasize geometric forms, distort forms for expressive effect, and to use unnatural or arbitrary colors in their compositions.

Pregnant Artists of Post-Impressionism

Mail-Impressionism adult from Impressionism. From the 1880s onward, several artists, including Vincent Van Gogh, Paul Gauguin, Georges Seurat, and Henri de Toulouse-Lautrec, envisioned dissimilar precepts for the use of color, design, form, and line, deriving these new directions from the Impressionist example. These artists were slightly younger than the Impressionists, and their work contemporaneously became known as Post-Impressionism. Some of the original Impressionist artists too ventured into this new territory. Camille Pissarro briefly painted in a pointillist manner, and even Monet abased strict en plein air painting. Paul Cézanne, who participated in the get-go and tertiary Impressionist exhibitions, adult a highly individual vision emphasizing pictorial structure; he is most often called a post-Impressionist. Although these cases illustrate the difficulty of assigning labels, the work of the original Impressionist painters may, by definition, be categorized as Impressionism.

Wheat Field with Crows by Van Gogh, 1890: Vincent Van Gogh used swirling brush strokes in many of his Postal service-Impressionist works.

A Diverse Search for Direction

The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of construction in Impressionist paintings, although they did not concord on the way forward. Georges Seurat and his followers, for example, concerned themselves with Pointillism, the systematic use of tiny dots of color. Paul Cézanne set out to restore a sense of order and structure to painting by reducing objects to their bones shapes while retaining the vivid fresh colors of Impressionism. Vincent van Gogh used vibrant colors and swirling brush strokes to convey his feelings and his state of mind. Hence, although they were ofttimes exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, and younger painters in the early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism.

A Lord's day Afternoon on the Isle of La Grande Jatte past Georges-Pierre Seurat, 1884–86: Georges Seurat's works are Pointillist, using systematic dots of color to create form and structure.

Cézanne

Cézanne was a French, Mail-Impressionist painter whose work highlights the transition from the 19th century to the early 20th century.

Learning Objectives

Talk over the development and influence of Cézanne's way of painting during the Post-Impressionist movement

Cardinal Takeaways

Key Points

• Cézanne's early piece of work is often concerned with the figure in the landscape, often depicting groups of large, heavy figures. In Cézanne'southward mature work there is a solidified, almost architectural style of painting. To this end, he structurally ordered his perceptions into simple forms and color planes.
• This exploration rendered slightly different, yet simultaneous, visual perceptions of the same phenomena to provide the viewer with a different aesthetic feel.
• Cezanne 's "Dark Period" from 1861–1870 contains works that are characterized past dark colors and the heavy employ of black.
• The lightness of his Impressionist works dissimilarity sharply with the dramatic resignation found in his concluding period of productivity from 1898–1905. This resignation informs several still life paintings that describe skulls equally their subject field.

Fundamental Terms

• Cezanne: Paul Cézanne (1839–1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century formulation of artistic endeavour to a new and radically unlike world of art in the 20th century.
• Impressionism: A 19th-century art movement that originated with a grouping of Paris-based artists. Impressionist painting characteristics include relatively modest, thin, yet visible brush strokes, open composition, emphasis on authentic delineation of low-cal in its changing qualities (oft accentuating the effects of the passage of time), common, ordinary subject affair, inclusion of motility as a crucial element of human perception and experience, and unusual visual angles.
• Post-Impressionism: (Art) a genre of painting that rejected the naturalism of impressionism, using color and grade in more expressive manners.

Introduction

Paul Cézanne (1839–1906) was a French artist and Mail- Impressionism painter whose work began the transition from the 19th century formulation of artistic endeavor to a new and radically dissimilar world of fine art. Cézanne's oft repetitive brushstrokes are highly characteristic and clearly recognizable. He used planes of color and small brushstrokes to class complex fields and convey intense report of his subjects.

Early on Work

Cézanne'southward early work is often concerned with the figure in the landscape, often depicting groups of big, heavy figures. After, he became more interested in working from direct observation, gradually developing a light, airy painting way. All the same, in Cézanne'due south mature work, there is development of a solidified, well-nigh architectural style of painting. To this end, he structurally ordered whatever he perceived into simple forms and color planes.

Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials, wanting to "treat nature past the cylinder, the sphere, the cone." For instance, a tree trunk may exist conceived of every bit a cylinder and an apple or orange equally a sphere. Additionally, his desire to capture the truth of perception led him to explore binocular graphic vision. This exploration rendered slightly different, all the same simultaneous, visual perceptions of the same phenomena, providing the viewer with a dissimilar artful experience of depth.

Night Period

Cezanne's "Dark Period" in 1861–1870 was comprised of works that are characterized by dark colors and the heavy use of black. They differ sharply from his earlier watercolors and sketches at the École Spéciale de dessin at Aix-en-Provence in 1859. In 1866–67, inspired past the example of Courbet, Cézanne painted a series of paintings with a palette pocketknife. He later called these works, mostly portraits, une couillarde (a coarse word for ostentatious virility). All in all, works of the Nighttime Period include several erotic or tearing subjects.

The Blackness Marble Clock, 1869–1871: The Black Marble Clock, with its heavy apply of blackness and dark colors, exemplifies the blazon of piece of work Cézanne created during his "Dark Period" in his early career.

Later on the start of the Franco-Prussian War in July 1870, Cézanne's canvases grew much brighter and more reflective of Impressionism. Cézanne moved betwixt Paris and Provence, exhibiting in the kickoff (1874) and third Impressionist shows (1877). In 1875, he attracted the attention of collector Victor Chocquet, whose commissions provided some fiscal relief. On the whole, all the same, Cézanne's exhibited paintings attracted hilarity, outrage, and sarcasm.

Jas de Bouffan, 1876.: Under Pissarro'southward influence, Cezanne's works became much brighter and Impressionist in style.

The lightness of his Impressionist works contrast sharply with his dramatic resignation in his final period of productivity from 1898–1905. This resignation informs several still life paintings that depict skulls equally their subject.

Pyramid of Skulls, c. 1901: The dramatic resignation to death informs several still life paintings Cézanne fabricated between 1898 and 1905.

Cézanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Gris, and others to experiment with ever more complex multiple views of the same field of study. Cézanne thus sparked one of the most revolutionary areas of artistic inquiry of the 20th century, one which was to affect the evolution of modern art. A prize for special accomplishment in the arts was created in his memory. The "Cézanne medal" is granted by the French city of Aix en Provence.

Vorticism

Vorticism, an adjunct of Cubism, was a brief modernist motion in British fine art and poetry of the early 20th century.

Learning Objectives

Describe the short-lived Vorticism movement in Uk

Primal Takeaways

Primal Points

• The motility of Vorticism rejected the typical landscapes and nudes popular at the time in favor of a geometric way tending towards abstraction.
• The move was appear in 1914 in its offset issue of BLAST, Vorticism's official literary magazine, which alleged the move's manifesto.
• Vorticism diverged from Cubism and Futurism. It tried to capture movement in an prototype. In Vorticist paintings, modern life is shown as an array of assuming lines and harsh colors drawing the viewer 'south eye to the center of the canvas.

Cardinal Terms

• Industrial Revolution: The major technological, socioeconomic, and cultural change in the tardily 18th and early on 19th century when the economy shifted from one based on transmission labor to one dominated by machine industry.
• Vorticism: An offshoot of Cubism; a brusque-lived modernist movement in British art and poesy of the early on 20th century, based in London but international in make-up and ambition.

Vorticism was a brief modernist movement in British art and poetry during the early 20th century. Information technology was based in London but was international in brand-up and appetite. Every bit a movement, Vorticism rejected the typical landscapes and nudes of the time in favor of a geometric style tending towards brainchild.

The Vorticism group began with the Rebel Fine art Heart established by Wyndham Lewis every bit a break with other traditional schools, and had its intellectual and creative roots in the Bloomsbury Group, Cubism, and Futurism. Lewis saw Vorticism every bit an independent alternative to Cubism, Futurism, and Expressionism. Though the style grew out of Cubism, it is more than closely related to Futurism in its embrace of dynamism, the machine age, and all things modern. However, Vorticism diverged from both Cubism and Futurism in the way information technology tried to capture motion in an prototype. In Vorticist paintings, modern life is shown every bit an array of bold lines and harsh colors cartoon the viewer's eye to the center of the sail.

The Lake: Lawrence Atkinson, 1 of the signatories of BLAST, painted The Lake (pen and watercolor on newspaper) circa 1915–20 inspired by Vorticism.

The Vorticists published two issues of the literary magazine BLAST, edited by Lewis, in June 1914 and July 1915. It contained work past Ezra Pound, T. S. Eliot, and by the Vorticists themselves. Its typographical adventurousness was cited past El Lissitzky equally one of the major forerunners of the revolution in graphic design in the 1920s and 1930s.

BLAST Cover: The cover of the 1915 Blast demonstrates the Vorticist Movement'due south use of geometric style and sharp angles in print and pattern.

Paintings and sculpture shown at the Rebel Fine art Centre in 1914, before the formation of the Vorticist Group, were considered "experimental piece of work" past Lewis, Wadsworth, Shakespear and others, who used angular simplification and abstraction in their paintings. This work was contemporary with and comparable to brainchild by continental European artists such as Kandinski, František Kupka, and the Russian Rayist Grouping. The Vorticists held only one official exhibition in 1915 at the Doré Gallery in London. After this, the movement broke up, largely due to the onset of Earth State of war I and public apathy towards their work.

Symbolism

Symbolism was a late 19thcentury art motility of French, Russian, and Belgian origin.

Learning Objectives

Discuss Symbolism's use of artwork as a search for absolute truths

Key Takeaways

Primal Points

• Symbolism was largely a reaction confronting naturalism and realism, anti-idealistic styles that were attempts to represent reality in its gritty particularity, and to drag the humble and the ordinary over the ideal. Symbolism, on the other hand, favored spirituality, the imagination, and dreams.
• Symbolists believed that art should represent absolute truths that could only be described indirectly. Thus, they wrote and painted in a very metaphorical and suggestive manner, endowing item images or objects with symbolic meaning.
• Symbolist artists stressed the power of personal subjectivity, emotions and feelings rather than any reliance on realism to suggest larger truths.
• Symbolism expressed scenes from nature, human activities, and all other real world phenomena that are not depicted for their own sake, but rather every bit perceptible surfaces created to represent their esoteric affinities with primordial ideals.

Key Terms

• symbolism: Symbolism was a tardily 19th century fine art movement of French, Russian and Belgian origin in poesy and other arts. Symbolism is the practice of representing things by symbols, or of investing things with a symbolic meaning or character. A symbol is an object, activity, or idea that represents something other than itself, oft of a more abstract nature. Symbolism creates quality aspects that make literature like poetry and novels more than meaningful.

A Move Toward Meaning

Symbolism was a late 19th century art movement of French, Russian, and Belgian origin that manifested in poetry and other arts. The term "symbolism" is derived from the word "symbol" which comes from the Latin symbolum, a symbol of faith, and symbolus, a sign of recognition. Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles that were attempts to represent reality in its gritty particularity, and to drag the humble and the ordinary over the platonic. Symbolism, on the other mitt, favored spirituality, the imagination, dreams, emotions, and the personal subjectivity of the artist as a tool to illustrate larger truths. Thematically, Symbolist artists tended to focus on themes surrounding the occult, decadence, melancholy, and expiry.

The Suicide of Dorothy Hale by Frida Kahlo, 1939: While this painting was a commission, it nonetheless demonstrates Kahlo's signature use of symbolism to limited her subjective truth.

A Search for Hidden Truth

Symbolists believed that art should represent absolute truths that could but exist described indirectly. Thus, they wrote and painted in a very metaphorical and suggestive way, endowing particular images or objects with symbolic meaning. Jean Moréas published The Symbolist Manifesto ("Le Symbolisme") in Le Figaro on 18 September 1886 (see 1886 in poetry). Moréas announced that symbolism was hostile to "apparently meanings, declamations, fake sentimentality, and matter-of-fact description," and that its goal was to "clothe the Ideal in a perceptible form " whose "goal was not in itself, just whose sole purpose was to express the Ideal." In other words, symbolism expressed scenes from nature, human activities, and all other real world phenomena not for their own sake, but every bit perceptible surfaces created to represent their esoteric affinities with primordial ideals.

La mort du fossoyeur: La mort du fossoyeur ("The death of the gravedigger") by Carlos Schwabe is a visual compendium of symbolist motifs. Expiry and angels, pristine snow, and the dramatic poses of the characters all express symbolist longings for transfiguration "anywhere, out of the world."

The symbolist way has frequently been confused with decadence and, past the late 1880s, the terms "symbolism" and "decadence" were understood to be almost synonymous. Though the aesthetics of the styles can exist considered like in some ways, the two remain distinct. The symbolists emphasized dreams, ideals, and fantastical subject matter, while the Decadents cultivated précieux, ornamented, or hermetic styles, and morbid subject matters. The symbolist painters were an of import influence on expressionism and surrealism in painting, ii movements that descend straight from symbolism proper.

The harlequins, paupers, and clowns of Pablo Picasso 's "Blue Menstruation" show the influence of symbolism, and particularly of Puvis de Chavannes. In Belgium, symbolism became and then popular that information technology came to be thought of as a national manner: the static strangeness of painters like René Magritte tin exist considered equally a directly continuation of symbolism. The work of some symbolist visual artists, such as January Toorop, straight affected the curvilinear forms of art nouveau.

The Caress: Belgian symbolist Fernand Khnopff'due south The Caress

Art Nouveau

Fine art Nouveau was an international style of fine art and architecture that was most pop from 1890–1910.

Learning Objectives

Describe the origins and characteristics of Art Noveau

Fundamental Takeaways

Primal Points

• Art Nouveau was an international style of fine art and architecture that was nigh pop from 1890–1910. The name "Art Nouveau" is French for "new fine art." The origins of Art Nouveau are establish in the resistance of the artist William Morris to the chaotic compositions and the revival tendencies of the 19th century.
• A reaction to academic art of the 19th century, Art Nouveau was inspired by natural forms and structures, exemplified by curved lines, asymmetry, natural motifs, and intricate embellishment.
• Art Nouveau is considered a "total style," pregnant that information technology pervaded many forms of art and design such as compages, interior design, the decorative arts, and the visual arts. According to the philosophy of the mode, art should strive to be a way of life.

Key Terms

• Art Nouveau: Art Nouveau is an international philosophy and mode of art, architecture, and practical art—especially the decorative arts—that was most pop during 1890–1910.
• japonisme: The influence of Japanese art and civilization on European art.
• syncopated: A multifariousness of music rhythms that come up unexpected.

Background

Fine art Nouveau is an international style of art and compages that was about popular from 1890–1910 Advert. The name Art Nouveau is French for "new fine art." A reaction to bookish art of the 19th century, it was inspired by natural forms and structures, not only in flowers and plants, but likewise in curved lines. Information technology is also considered a philosophy of furniture design. Art Nouveau furniture is structured according to the whole building and made role of ordinary life. Art Nouveau was most popular in Europe, just its influence was global. It is a very varied style with frequent localized tendencies.

Art Nouveau: Barcelona: The Casa Batlló, already built in 1877, was remodelled in the Barcelona manifestation of Fine art Nouveau, modernisme, by Antoni Gaudí and Josep Maria Jujol during 1904–1906.

Earlier the term Art Nouveau became mutual in France, le fashion moderne ("the modern way") was the more than frequent designation. Maison de l'Art Nouveau was the name of the gallery initiated during 1895 by the German language art dealer Samuel Bing in Paris that featured exclusively mod fine art. The fame of his gallery was increased at the 1900 Exposition Universelle, where he presented coordinated installations of modern furniture, tapestries and objets d'fine art. These decorative displays became and then strongly associated with the style, that the name of his gallery subsequently provided a unremarkably used term for the entire style. As well, Jugend (Youth) was the illustrated weekly magazine of art and lifestyle of Munich, founded in 1896 by Georg Hirth. Jugend was instrumental in promoting the Art Nouveau fashion in Deutschland. As a event, Jungenstil, or Youth Style, became the German word for the fashion.

Origins of Art Nouveau

The origins of Art Nouveau are institute in the resistance of the artist William Morris to the cluttered compositions and revivalist tendencies of the 19th century. His theories helped initiate the Fine art Nouveau motion. Near the same time, the flat perspective and strong colors of Japanese wood block prints, peculiarly those of Katsushika Hokusai, had a strong upshot on the formulation of Art Nouveau. The Japonisme that was pop in Europe during the 1880s and 1890s was specially influential on many artists with its organic forms and references to the natural globe.

Although Art Nouveau acquired distinctly localized tendencies equally its geographic spread increased, some general characteristics are indicative of the form. A description published in Pan mag of Hermann Obrist'due south wall hanging Cyclamen (1894), described it as "sudden violent curves generated by the crack of a whip," which became well known during the early spread of Fine art Nouveau. Subsequently, the term "whiplash" is frequently applied to the characteristic curves employed by Art Nouveau artists. Such decorative "whiplash" motifs, formed by dynamic, undulating, and flowing lines in a syncopated rhythm, are establish throughout the compages, painting, sculpture, and other forms of Fine art Nouveau design.

Art Nouveau as a Total Style

Art Nouveau is at present considered a "total style," meaning that it can be seen in architecture, interior pattern, decorative arts (including jewelry piece of furniture, textiles, household silvery, and other utensils and lighting), and the visual arts. According to the philosophy of the style, fine art should strive to exist a way of life, and thereby comprehend all parts. For many Europeans, it was possible to live in an Art Nouveau-inspired firm with Art Nouveau furniture, silverware, crockery, jewelry, cigarette cases, etc. Artists thus desired to combine the fine arts and practical arts, even for commonsensical objects.

Desk and Chair past Hector Guimard, 1909–12: The curving, serpentine woodwork seen on this desk is characteristic of Fine art Nouveau, which frequently drew stylistic influence from the natural world.

Art Nouveau in compages and interior design eschewed the eclectic revival styles of the 19th century. Art Nouveau designers selected and "modernized" some of the more abstract elements of Rococo manner, such every bit flame and shell textures. They also advocated the use of very stylized organic forms every bit a source of inspiration, expanding their natural repertoire to utilize seaweed, grasses, and insects.

The doorway at place Etienne Pernet, 24 (Paris 15e), 1905 by Alfred Wagon, architect.: The asymmetrical and curvilinear influence of the natural world is once more seen in the ironwork of this doorway at Place Etienne Pernet in Paris.

In Art Nouveau painting, two-dimensional pieces were drawn and printed in popular forms such as advertisements, posters, labels, and magazines. Japanese forest-block prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, as well inspired Fine art Nouveau painting. Some line and curve patterns became graphic clichés that were later constitute in works of artists from many parts of the world.

The Peacock Skirt by Aubrey Beardsley, 1893: Aubrey Beardsley is an artist known for his posters and ofttimes associated with Art Nouveau due to his use of elaborate decorative pattern and sweeping curvilinear line.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-rise-of-modernism/

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