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| The act of rendering modern in style; the act or process of causing to conform to modern of thinking or acting. |
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| The quality of being current or of the present; "a shopping mall would instill a spirit of modernity into this village" |
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a general term applied retrospectively to the wide range of experimental and avant‐garde trends in the literature (and other arts) of the early 20th century, including Symbolism, Futurism, Expressionism, Imagism, Vorticism, Dada, and Surrealism, along with the innovations of unaffiliated writers. Modernist literature is characterized chiefly by a rejection of 19th‐century traditions and oftheir consensus between author and reader: the conventions of realism, for instance, were abandoned by Franz Kafka and other novelists, and by expressionist drama, while several poets rejected traditional metres in favour of free verse. Modernist writers tended to see themselves as an avant‐garde disengaged from bourgeois values, and disturbed their readers by adopting complex and difficult new forms and styles. In fiction, the accepted continuity of chronological development was upset by Joseph Conrad, Marcel Proust, and William Faulkner, while James Joyce and Virginia Woolf attempted new ways of tracing the flow of characters' thoughts in their stream‐of‐consciousness styles. In poetry, Ezra Pound and T. S. Eliot replaced the logical exposition ofthoughts with collages of fragmentary images and complex allusions. Luigi Pirandello and Bertolt Brecht opened up the theatre tonew forms of abstraction in place of realist and naturalist representation. Modernist writing is predominantly cosmopolitan, andoften expresses a sense of urban cultural dislocation, along with anawareness of new anthropological and psychological theories. Its favoured techniques of juxtaposition and multiple point of view challenge the reader to reestablish a coherence of meaning from fragmentary forms. In English, its major landmarks are Joyce's Ulysses and Eliot's The Waste Land (both 1922). In Hispanic literature the term has a special sense: modernismo denotes the new style of poetry in Spanish from 1888 to c.1910, strongly influenced by the French Symbolists and Parnassians and introduced by the Nicaraguan poet Rubén Darío and the Mexican poet Manuel Gutiérrez Nájera.
In the field of art the broad movement in Western art, architecture and design which self-consciously rejected the past as a model for the art of the present. Hence the term modernist or modern art. Modernism gathered pace from about 1850. Modernism proposes new forms of art on the grounds that these are more appropriate to the present time. It is thus characterised by constant innovation. But modern art has often been driven too by various social and political agendas. These were often utopian, and modernism was in general associated with ideal visions of human life and society and a belief in progress. The terms modernism and modern art are generally used to describe the succession of art movements that critics and historians have identified since the Realism of Courbet, culminating in abstract art and its developments up to the 1960s. By that time modernism had become a dominant idea of art, and a particularly narrow theory of modernist painting had been formulated by the highly influential American critic Clement Greenberg. A reaction then took place which was quickly identified as Postmodernism. |
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| Rejection of modernist movement looking back to ways of production that reflected non-industrialized artisanal work (Arts and Crafts - Morris) Brought about by the migration of rural people into the city and by the growing sense of alienation both from labour and from nature. Even Picasso moved in this direction as seen in his neoclassical works. |
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Colonialism occurs when a country (nation) takes control of other lands, regions, or territories outside of its borders (boundaries of the country) by turning those other lands, regions, or territories into a colony. Usually, it is a more powerful, richer country that takes control of a smaller, less powerful region or territory. Sometimes the word "imperialism" is also used to refer to colonialism.
In the 1700s and 1800s, many of the richer, more powerful European] countries (such as Britain, France, Spain, and the Netherlands) established colonies in the continents of Africa, South America, and the Caribbean.
Some countries use colonialism to get more land for their people to live in. When countries are using colonialism to get more land for their people to live in, the country will help settlers move to the new region or territory. The local people living in the land or territories were usually moved away by using force and violence from armies. To protect these settlers from the local residents who were pushed aside, colonial nations often set up a military fort or colonial police system.
Other countries use colonialism to get more land so that they can use the land for farming or to extract (take out) resources such as trees (wood), coal, or metals. or creating a local government or military fort
Other countries use colonialism so that they can get workers from the poorer country to work in factories or farms (either in the richer country, or in the poorer country). In the past, powerful countries that were colonizing poorer countries or regions often forced the people from the poorer countries to work as slaves. |
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| Beaux Arts academies held than non-Western and tribal peoples had had no art or only inferior art, just as "scientific racism" held that non-Europeans were inferior. In rebellion against this dogmatic approach, artists began to try to depict realities that might exist in a world beyond the limitations of the three dimensional world of conventional representation mediated by classical sculpture. They looked to Japanese and Chinese art, which was learned and sophisticated and did not employ Renaissance one-point perspective. Non-euclidean perspective (Cubism) and tribal art fascinated Western European artists who saw them as portraying the reality of the spirit world. They also looked to the art of untrained painters and to children's art, which they believed depicted interior emotional realities that had been ignored in conventional, cook-book-style academic painting. Tribal and other non-European art also appealed to those who were unhappy with the repressive aspects of European culture, as pastoral art had done for millennia.[6] Imitations of tribal or archaic art also fall into the category of nineteenth-century "historicism", as these imitations strive to reproduce this art in an authentic manner. Actual examples of tribal, archaic, and folk art were prized by both creative artists and collectors. |
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Orientalism refers to the imitation or depiction of aspects of Eastern cultures in the West by writers, designers and artists. An "Orientalist" may be a person engaged in these activities, but it is also the traditional term for any scholar of Oriental studies.[1] Orientalism was more widely used in art history referring mostly to the works of French artists in the 19th century, whose subject matter, color and style used elements from their travel to the Mediterranean countries of North Africa and the Near East (or western Asia).
In the nineteenth century, when more artists traveled to the Middle East, they began representing more numerous scenes of Oriental culture. In many of these works, they portrayed the Orient as exotic for its differences, colorful and sensual. Such works typically concentrated on Near-Eastern Islamic cultures, as those were the ones visited by artists as France became more engaged in North Africa. French artists such as Eugène Delacroix, Jean-Léon Gérôme and Jean Auguste Dominique Ingres painted many works depicting Islamic culture, often including lounging odalisques. They stressed both lassitude and visual spectacle. The later Russian artist Alexander Roubtzoff was also fascinated by what he saw on travels to Tunisia. |
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| Exoticism, by definition, is "the charm of the unfamiliar." Scholar Alden Jones defines exoticism in art and literature as the representation of one culture for consumption by another. An archetypical example is the artist and writer Paul Gauguin and his representations of Tahitian people and landscapes for a French audience. |
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| antithesis of white, straight European male (in 19c. context) |
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Post-Impressionism is the term 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: they continued using vivid colours, thick application of paint, distinctive brushstrokes and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour.
The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums".[1] He achieved this by reducing objects to their basic shapes while retaining the bright fresh colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid 1880s and the early 1890s. Discontented with what he referred to as romantic Impressionism, he investigated Pointillism which he called scientific Impressionism before returning to a purer Impressionism in the last decade of his life.[2] Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement. Younger painters during the 1890s and early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism. |
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A reaction to academic art of the 19th century, it is characterized by organic, especially floral and other plant-inspired motifs, as well as highly-stylized, flowing curvilinear forms.[4] Art Nouveau is an approach to design according to which artists should work on everything from architecture to furniture, making art part of everyday life.
an international movement[2] and style of art, architecture and applied art—especially the decorative arts—that peaked in popularity at the turn of the 20th century (1890–1905).[3] The name 'Art nouveau' is French for 'new art', it is also known as Jugendstil, German for 'youth style', named after the magazine Jugend, which promoted it, and in Italy, Stile Liberty from the department store in London, Liberty & Co., which popularized the style. |
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The Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, and others. Although Otto Wagner is widely recognised as a fundamental member of the Vienna Secession he was not a founding member. The Secession artists objected to the prevailing conservatism of the Vienna Künstlerhaus with its traditional orientation toward Historicism.The Berlin and Munich Secession movements preceded the Vienna Secession, which held its first exhibition in 1898.
Unlike other movements, there is no one style that unites the work of all artists who were part of the Vienna Secession. The Secession building could be considered the icon of the movement. Above its entrance was carved the phrase "to every age its art and to art its freedom". Secession artists were concerned, above all else, with exploring the possibilities of art outside the confines of academic tradition. They hoped to create a new style that owed nothing to historical influence. In this way they were very much in keeping with the iconoclastic spirit of turn-of-the-century Vienna (the time and place that also saw the publication of Freud's first writings). |
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Henri Matisse: Harmony in Red Fauvism is a movement in French painting that revolutionized the concept of color in modern art. Fauves earned their name ("les fauves"-wild beasts) by shocking exhibit visitors on their first public appearance, in 1905.
At the end of the nineteenth century, neo Impressionist painters were already using pure colors, but they applied those colors to their canvases in small strokes. The fauves rejected the impressionist palette of soft, shimmering tones in favor of radical new style, full of violent color and bold distortions.
These painters never formed a movement in the strict sense of the word, but for years they would nurse a shared ambition, before each went his separate and more personal way.
Main Representatives
* Henri Matisse
* Paul Gauguin
* Andre Derain
* Raoul Dufy
* Maurice de Vlaminck
* Kees van Dongen
* Albert Marquet
* Charles Camoin
* Georges Braque
* Othon Friesz
* Henry-Charles Manguin
* Jean Puy |
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Die Brücke aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge (hence the name) between the past and the present.[3] They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as well as contemporary international avant-garde movements.[3]
Die Brücke manifesto 1906
A group of German Expressionist artists based in Dresden and Berlin between 1905 and 1913, mostly painters, they depicted landscapes, nudes, and carnival performers in strong colors and broad forms. They also revived the German woodcut tradition, but as a form of personal expression. Die Brücke is German for "The Bridge," and was not intended to be a style, but as a bridge toward a better future. They lived and worked as a community, in emulation of the guilds of the Middle Ages. Die Brücke was founded by four architecture students: Fritz Bleyl (1880-1966), Ernst Kirchner (1880-1938), Erich Heckel (1883-1970), and Karl Schmidt-Rottluff (1884-1976); other members included Emil Nolde (1867-1956) and Kies van Dongen.
As part of the affirmation of their national heritage, they revived older media, particularly woodcut prints.[3] The group developed a common style based on vivid color, emotional tension, violent imagery, and an influence from primitivism. After first concentrating exclusively on urban subject matter, the group ventured into southern Germany on expeditions arranged by Mueller and produced more nudes and arcadian images. They invented the printmaking technique of linocut, although they at first described them as traditional woodcuts, which they also made.[6]
The group members initially "isolated" themselves in a working-class neighborhood of Dresden, aiming thereby to reject their own bourgeois backgrounds. Erich Heckel was able to obtain an empty butcher's shop on the Berlinerstrasse in Friedrichstadt for their use as a studio.[7] Bleyl described the studio as:
that of a real bohemian, full of paintings lying all over the place, drawings, books and artist’s materials — much more like an artist’s romantic lodgings than the home of a well-organised architecture student.[3]
Painting of the group members by Ernst Ludwig Kirchner 1926/7
Kirchner's became a venue which overthrew social conventions to allow casual love-making and frequent nudity.[3] Group life-drawing sessions took place using models from the social circle, rather than professionals, and choosing quarter-hour poses to encourage spontaneity.[3] Bleyl described one such model, Isabella, a fifteen-year-old girl from the neighbourhood, as "a very lively, beautifully built, joyous individual, without any deformation caused by the silly fashion of the corset and completely suitable to our artistic demands, especially in the blossoming condition of her girlish buds."[8]
The group composed a manifesto (mostly Kirchner's work), which was carved on wood and asserted a new generation, "who want freedom in our work and in our lives, independence from older, established forces. |
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Expressionism was a cultural movement originating in Germany at the start of the 20th-century as a reaction to positivism and other artistic movements such as naturalism and impressionism.[1] It sought to express the meaning of "being alive"[2] and emotional experience rather than physical reality.[2][3] It is the tendency of an artist to distort reality for an emotional effect; it is a subjective art form. Expressionism is exhibited in many art forms, including painting, literature, theatre, film, architecture and music. The term often implies emotional angst. In a general sense, painters such as Matthias Grünewald and El Greco can be called expressionist, though in practice, the term is applied mainly to 20th century works.
Specifically, and with a capital letter, the term is associated with modern German art, particularly the Brücke and Blaue Reiter groups, but in this narrow sense is best referred to as German Expressionism. Expressionism as a general term refers to art in which the image of reality is more or less heavily distorted in form and colour in order to make it expressive of the artists inner feelings or ideas about it. In expressionist art colour in particular can be highly intense and non-naturalistic, brushwork is typically free and paint application tends to be generous and highly textured. Expressionist art tends to be emotional and sometimes mystical. It can be seen as an extension of Romanticism. In its modern form it may be said to start with Van Gogh and then form a major stream of modern art embracing, among many others, Munch, Fauvism and Matisse, Rouault, the Brücke and Blaue Reiter groups, Schiele, Kokoschka, Klee, Beckmann, most of Picasso, Moore, Sutherland, Bacon, Giacometti, Dubuffet, Baselitz, Kiefer, and the New Expressionism of the 1980s. It went abstract with Abstract Expressionism. |
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| The early, "pre-Cubist" period (to 1906) is characterized by emphasizing the process of construction, of creating a pictorial rhythm, and converting the represented forms into the essential geometric shapes: the cube, the sphere, the cylinder, and the cone. Between 1909 and 1911, the analysis of human forms and still lifes (hence the name -- Analytical Cubism) led to the creation of a new stylistic system which allowed the artists to transpose the three-dimensional subjects into the flat images on the surface of the canvas. An object, seen from various points of view, could be reconstructed using particular separate "views" which overlapped and intersected. The result of such a reconstruction was a summation of separate temporal moments on the canvas. |
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| A new phase in the development of the style, called Synthetic Cubism, began around 1912. In the center of the painters' attention was now the construction, not the analysis of the represented object -- in other words, creation instead of recreation. Color regained its decorative function and was no longer restricted to the naturalistic description of the form. Compositions were still static and centered, but they lost their depth and became almost abstract, although the subject was still visible in synthetic, simplified forms. The construction requirements brought about the introduction of new textures and new materials (cf. paper collages). Cubism lasted till 1920s and had a profound effect on the art of the avant-garde. |
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| Der Blaue Reiter (Blue Rider) |
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| German Expressionist group. In English, The Blue Rider. Originated in 1909 in the city of Munich, where the Neue Kunstler Vereiningung, or New Artist Association (N.K.V.) was founded by a number of avant-garde artists. The most important of these were the Russian born Wassily Kandinsky and the German, Franz Marc. In 1911 Kandinsky and Marc broke with the rest of the N.K.V. and in December that year held in Munich the first exhibition of Der Blaue Reiter. This was an informal association rather than a coherent group like Brücke. Other artists closely involved were Paul Klee and August Macke. In 1912 Marc and Kandinsky published a collection of essays on art with a woodcut cover by Kandinsky. This was the Almanach Der Blaue Reiter. Why the name was chosen is not entirely clear. Franz Marc adored horses and his many paintings of them and other animals is symptomatic of the turning back to nature (an aspect of Primitivism) of many early modern artists. Kandinsky apparently had always been fascinated by riders on horseback (horses are symbols of power, freedom and pleasure). A Kandinsky painting in 1903 is actually called The Blue Rider. Blue is a colour which has often seemed of special importance to artists and for Kandinsky and Marc, whose favourite colour it was, it seems to have had a mystical significance. Der Blaue Reiter was brought to an end by the First World War in which both Macke and Marc were killed. |
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