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This act was the repudiation of all of the stylistic refinements that were the basis of 19th-century artistic endeavor. On the one hand, primitivism represented the simplification of form, which was to become one of the hallmarks of modernism. This abstraction of form suggested that some essential structure, previously hidden by realistic technique, would come to light. Art had, according to the modernists, become too concerned with irrelevant sophistications and conventions that detracted from the main purpose of art: the discovery of truth.
On the other hand, primitivism was the expression of all that civilized man had to repress in order to enter into contract with society. According to Sigmund Freud's Civilization and Its Discontents , in order for man to partake in civilized society, he had had to lay aside many uncivilized urges within the self, such as the natural appetite for adultery, incest, murder, homosexuality, etc.
It is this repression of natural desires that, Freud argues, is the source of modern neurosis. Symbolically, the embrace of primitivism is a negation of the very principles of the Judeo-Christian tradition and an affirmation of authentic expression of that hidden self that only finds expression at night when we dream.
The modernist interest in primitivism also expressed itself in its correlative, the exploration of perversity. This obsession with the forbidden and the lurid was tantamount to the re-discovery of passion, a way of life which so many creative people at the time believed to have been repressed or had lain dormant. Frederich Nietzsche blames this dormancy on the 19th-century's preoccupation with form.
In his seminal work The Birth of Tragedy, Nietzsche had traced the origins and development of drama back in Ancient Greece to the balance that existed between two gods who existed in opposition to one another, Apollo and Dionysius. Apollo represented the essence of light, rationality, civility, culture, and restraint. In contrast, Dionysius suggested wine, the primitive urge, all that was uncivilized. Although these two gods existed in opposition to one another, they were both, nevertheless, revered equally, thus striking a balance between form the Apollonian and creative impulse Dionysius.
The modernists concurred with Nietzsche that art had degenerated because it was too concerned with the rules of form and not enough with the creative energies that lie underneath the surface. It is that exploration of what is underneath the surface that the modernists were so keen about, and what better way to do so than to scrutinize man's real aspirations, feelings, and actions.
What was revealed was a new honesty in this portrayal: disintegration, madness, suicide, sexual depravity, impotence, morbidity, deception. Many would assail this portrayal as morally degenerate; the modernists, on the other hand, would defend themselves by calling it liberating.
Modernism: Characteristics Arising out of the rebellious mood at the beginning of the twentieth century, modernism was a radical approach that yearned to revitalize the way modern civilization viewed life, art, politics, and science. This rebellious attitude that flourished between and had, as its basis, the rejection of European culture for having become too corrupt, complacent and lethargic, ailing because it was bound by the artificialities of a society that was too preoccupied with image and too scared of change.
This dissatisfaction with the moral bankruptcy of everything European led modern thinkers and artists to explore other alternatives, especially primitive cultures. For the Establishment, the result would be cataclysmic; the new emerging culture would undermine tradition and authority in the hopes of transforming contemporary society.
The modernists believed that for an individual to feel whole and a contributor to the re-vitalization of the social process, he or she needed to be free of all the encumbering baggage of hundreds of years of hypocrisy. The rejection of moral and religious principles was compounded by the repudiation of all systems of beliefs, whether in the arts, politics, sciences or philosophy.
No more conventional cookie-cutter forms to be superimposed on human expression. What were some of the artistic beliefs that the modernists adopted?
Ironically, the modernist portrayal of human nature takes place within the context of the city rather than in nature, where it had occurred during the entire 19th-century. At the beginning of the 19th-century, the romantics had idealized nature as evidence of the transcendent existence of God; towards the end of the century, it became a symbol of chaotic, random existence.
Why would the modernists shift their interest from nature and unto the city? The first reason is an obvious one. This is the time when so many left the countryside to make their fortunes in the city, the new capital of culture and technology, the new artificial paradise. But more importantly, the city is the place where man is dehumanized by so many degenerate forces. Thus, the city becomes the locus where modern man is microscopically focused on and dissected.
In the final analysis, the city becomes a "cruel devourer", a cemetery for lost souls. The Forces That Shaped Modernism. The year ushered a new era that changed the way that reality was perceived and portrayed.
Vorticism was a brief modernist movement in British art and poetry during the early 20th century. It was based in London but was international in make-up and ambition. As a movement, Vorticism rejected the typical landscapes and nudes of the time in favor of a geometric style tending towards abstraction.
The Vorticism group began with the Rebel Art Centre established by Wyndham Lewis as a break with other traditional schools, and had its intellectual and artistic roots in the Bloomsbury Group, Cubism, and Futurism.
Lewis saw Vorticism as an independent alternative to Cubism, Futurism, and Expressionism. Though the style grew out of Cubism, it is more 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 it tried to capture movement in an image. It contained work by Ezra Pound, T. Eliot, and by the Vorticists themselves. Its typographical adventurousness was cited by El Lissitzky as one of the major forerunners of the revolution in graphic design in the s and s.
After this, the movement broke up, largely due to the onset of World War I and public apathy towards their work. Symbolism was a late 19th century art movement of French, Russian, and Belgian origin that manifested in poetry and other arts.
Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles that were attempts to represent reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal.
Symbolism, on the other hand, 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 death. 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 particular images or objects with symbolic meaning.
Though the aesthetics of the styles can be considered similar in some ways, the two remain distinct. The symbolist painters were an important influence on expressionism and surrealism in painting, two movements that descend directly from symbolism proper.
The work of some symbolist visual artists, such as Jan Toorop, directly affected the curvilinear forms of art nouveau. Art Nouveau was an international style of art and architecture that was most popular from — Art Nouveau is an international style of art and architecture that was most popular from — AD. It is also considered a philosophy of furniture design.
Art Nouveau furniture is structured according to the whole building and made part of ordinary life. Art Nouveau was most popular in Europe, but its influence was global. It is a very varied style with frequent localized tendencies.
These decorative displays became so strongly associated with the style, that the name of his gallery subsequently provided a commonly used term for the entire style. Likewise, Jugend Youth was the illustrated weekly magazine of art and lifestyle of Munich, founded in by Georg Hirth. Jugend was instrumental in promoting the Art Nouveau style in Germany.
As a result, Jungenstil , or Youth Style, became the German word for the style. The origins of Art Nouveau are found in the resistance of the artist William Morris to the cluttered compositions and revivalist tendencies of the 19th century.
His theories helped initiate the Art Nouveau movement. About the same time, the flat perspective and strong colors of Japanese wood block prints, especially those of Katsushika Hokusai, had a strong effect on the formulation of Art Nouveau. The Japonisme that was popular in Europe during the s and s was particularly influential on many artists with its organic forms and references to the natural world. Although Art Nouveau acquired distinctly localized tendencies as its geographic spread increased, some general characteristics are indicative of the form.
According to the philosophy of the style, art should strive to be a way of life, and thereby encompass all parts. For many Europeans, it was possible to live in an Art Nouveau-inspired house with Art Nouveau furniture, silverware, crockery, jewelry, cigarette cases, etc. Artists thus desired to combine the fine arts and applied arts, even for utilitarian objects. Desk and Chair by Hector Guimard, —12 : The curving, serpentine woodwork seen on this desk is characteristic of Art Nouveau, which often drew stylistic influence from the natural world.
Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the 19th century. They also advocated the use of very stylized organic forms as a source of inspiration, expanding their natural repertoire to use seaweed, grasses, and insects.
In Art Nouveau painting, two-dimensional pieces were drawn and printed in popular forms such as advertisements, posters, labels, and magazines.
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