However, these artist’s works were far from flat as they challenged the traditionalist’s creation of three dimensions through representation by instead evoking both depth and mood through non-representation. These artists were continuously experimenting with the effects of non-representational paint application. By rejecting the traditional, which was created through observation, and rather finding inspiration by embracing the emotional, the primal, and the inherent subconscious of man, these important artists redefined what art and expression were and are, and opened massively influential doors enabling the evolution of art to proceed in new, bold, and boundless ways. Two of these revolutionary artists were Jackson Pollock (1912-1956) and Mark Rothko (1903-1970). These painters were considered by observers to be a part of the New York School of artists who, in the mid-twentieth century, were severely challenging the foundations of the art world.
This all resulted in a society that for the first time was challenging the norm views about Christianity and revelation, science and the universe and even reality itself. While these pressures where part of a universal response to their contemporary times, T.S Eliot and Virginia Woolf embody their own unique ideas and inspirations in the different ways, through their individual, and seemingly unstructured, elite forms of art. Both of them push the boundaries of experience through formalist techniques, rather than merely representing an external reality as the only means of presenting their ideas. The writing style of modernism is very disrupted, and there is a significant lack of plot and in depth characterisation, which is prevalent in both Woolf’s “Mark on the Wall” which focuses mainly on an unidentified characters ever shifting thoughts, and Eliot’s “The Love Song of J. Alfred Prufrock”, which uses structure and language rather than a strong plot to convey the authors thoughts. Instead of the traditional unity and coherence of plot and the cause-and-effect development of the story from there, modernist writers focused on the imperfect, ever changing thoughts of the narrator, whose depressing outlook on life generally led to them taking on
Uniformitarianism vs. Catastrophism Uniformitarianism and catastrophism are the two theories that are said to shape the Earth’s surface. Before James Hutton wrote his book about uniformitarianism, called Theory of the Earth, in 1788, nobody even considered that something other than catastrophism shaped the Earth’s surface. This was because they could see catastrophic change but they could not see gradual change. After Hutton published his book, people started to debate that the Earth was a lot older than they previously thought. Charles Lyell, a British geologist, reintroduced the idea of uniformitarianism when he published a series of books called Principles of Geology.
Impressionism and Post-Impressionism An Analysis and Critique of Impressionism and Post-Impressionism Rachael Polston Western Governors University January, 2011 Impressionism and Post-Impressionism An Analysis and Critique of Impressionism and Post-Impressionism Impressionism and Post-Impressionism were two artistic movements that began late in the 19th century and ended during the beginning of the 20th century. The Impressionism era brought about new subject matter and techniques that were criticized for many years. However, it eventually became as authoritative as the traditions it replaced, bringing with it many great masterpieces that inspired future generations many years later. Post-Impressionists pushed the acceptability even further, with new techniques and radical uses of color. Rebellion and independence defined these movements, creating artist that were bound together by their unique style of creating art.
True or False 6) Originally viewed as controversial by the city of Los Angeles, Simon Rodia’s Watts Towers is now a . a. Playground b. Power Plant c. Museum d. National Historic Landmark 7) For the design of the Virginia State Capitol Building, Thomas Jefferson used the symbolic power of to communicate strength of the Republic and its institutions. a. modern art b. ancient Rome c. prehistoric cave paintings d. ancient Egyptian architecture 8) In relation to who makes art, medieval artist were more like . a. inspired individuals b. a lone individual creating his or her own work to
Contrast & Compare: Impressionism and Post-Impressionism Troy Theisen Western Governor’s University Abstract The purpose of this research is to bring to light some of the differences and likenesses of Impressionism and Post Impressionism as it pertains to visual art in the 19th century. This has been accomplished through reading texts and by viewing and considering the art myself. Interestingly, these types of art were initially abhorred for various reasons by the most prominent of art critics, and then developed into some of the most reveled masterpieces ever created. Keywords: Impressionism, Post-Impressionism, masterpiece To begin the creation of a written assessment wrought with overused specifics where the history of art is concerned would be experientially farcical. Rather, we must first examine the roots of said specifics.
Examination of the birth of post-modernism would be incomplete without the discussion of two artists, each uniquely instrumental in tearing down the dogma of formalism set by Clement Greenberg: Robert Rauschenberg and Jasper Johns. These two artists challenged the bedrock of Greenbergian formalism of the 50’s (Abstract Expressionism) and pioneered new art practice which is now recognized as post-modernism. The work of Rauschenberg and Johns was brave and pivotal in shifting the belief about what art was and what art could be. This paper will formally analyze two works, “Bed” by Rauschenberg’s ” with Jasper’s “Target with 4 faces” for the purpose of identifying commonalities and differences. The two works were purposefully chosen for two reasons: external response and the artist’s initial motivation.
Not all art labeled as contemporary art is postmodern, and the broader term encompasses both artists who continue to work in modernist and late modernist traditions, as well as artists who reject postmodernism for other reasons. Arthur Danto argues that "contemporary" is the broader term, and that postmodern objects represent a "subsector" of the contemporary movement. Some postmodern artists have made a more distinctive break from the ideas of modern art and there is no consensus as to what is "late-modern" and what is "post-modern." Ideas rejected by the modern aesthetic have been re-established. In painting, postmodernism reintroduced representation.
Reyle’s great range of art extends from painting and sculpture to even installations. He considers Duchamp’s concept of ready-mades and employs them into his art work. They might be everyday objects or ideas that already exist, but once they are modified and applied to his projects they become his own. His well known stripe paintings (see figure 1) as well as his paint-by-numbers series (see figure 2), and his resplendent installations with found industrial objects and neon lights are the most distinguished from his compositions. You might have noticed already how Reyle’s art work has colors and textures that for an instance “[do not] fit, or work against other elements of the piece, or [do not] work at all in the conventional sense of tasteful composition;” (ref 3) hereby creating his art work special and unique.
However, postmodernism is distinguishable from its predecessor in several key aspects (although there is still much debate about the criteria for how this distinction can be made). One aspect, for example, is the tone. Modernists regard the fragmentation of character deplorable and thus as something that should be solved; contrarily, postmodernists view such fragmentation as something that’s beyond solving and often employ a playful tone at depicting it. This will be further discussed later in the essay. Postmodernist perspective can be applied to a vast variety of cultural fields, as broad as to include literature, art, architecture, sociology, music, cinema, and much more.