RIWT Task One By Katie Ziegler Impressionism and Post-Impressionism Impressionism developed in the mid to late 19th century in France, and lasted until the early 20th century (Pioch, 2006). Impressionists such as Claude Monet, Edouard Manet, Mary Cassatt, and Pierre Auguste Renoir wanted to focus more on painting the “fleeting effects of nature” through quickly painted works ("Movements > impressionism," ). Instead of being inspired by historical times, Impressionists painted contemporary landscapes and scenes of modern life ("Impressionism & post-impressionism,"). They “rejected the system of state-controlled academics and salons in favor of independent exhibitions” ("Impressionism & post-impressionism,").
A2: Post Impressionism The Post Impressionism Era began between 1880 and 1910. Many people believe it started as a result of an exhibition by Roger Fry called “Manet and the Post Impressionists” that occurred between November 1910 and January 1911. Artists from this period include Vincent Van Gogh, Andre Derain and Paul Cezanne. (Post Impressionism, 2015) (Vincent Van Gogh, 2015). The Post Impressionism Era artists used techniques derived from the Impressionism Era, but also showed passion in their art.
Cubism Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. [1] The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux ) during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay,Henri Le Fauconnier, Fernand Léger and Juan Gris. [2] A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne.
It was initiated by a group of artists (Claude Manet, Camille Pissarro, Auguste Renoir, Mary Cassatt, Edgar Degas, Paul Cezanne, Alfred Sisley and Edouard Manet) who were tired of following the traditional style of art and so decided to rid themselves of these ‘outdated’ shackles and began to paint unconventional subjects and outdoor landscapes. Through the industrial revolution, artificial tinctures which allowed the creation of newer and brighter colours. The artists’ paintings were their impressions and dealt with contemporary life unlike that of traditionalists which stuck to ancient mythology and romanticism. Impressionists saw their art not as moralistic but rather an attempt to capture light and fleeting effects through a new technique of small dabs of similar and brilliant colour created a mimic of sunlight, running water or moving vegetation, shadows were given life and colour. This new look on light and colour and how it affected the image of
In the history of art, on the other hand, the student of modernism can expect to run a gamut from the French painting of the 1860s to the American art of a century later and may even be directed as far back as the later 18th century (Modernism, 2003). When I was reading the information about Romanticism in the text Gardner’s art through the ages, I became fascinated by a painting I saw, “The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On).” This oil on canvas painting was
This then provides the same emotion that the artist felt in the environment in which the painting was created, almost like a transfer of pure emotion from artist to viewers by means of the canvas and the color. Cubism is similar to this in the sense that Cubists believe that it is important to manipulate formal elements when depicting a subject matter in order to provide an accurate presentation of the feelings that a subject evokes, rather than directly reproducing it on a canvas. The Cubists, however, regard the Impressionists negatively. In Gelizes and Metzinger’s article, art created by Impressionist painters are described as being “feeble and worthless”. Impressionists, like the Cubists found importance in depicting nature, but their difference was that Impressionists limited themselves, while the Cubists found that limitation was the only error in art.
The movement leveled fine art and commercial art together, keeping with its view that design was meant for application. The Bauhaus design philosophy was based on the belief that "form follows function" (Ryan and Conover 52). Meaning that a piece's form was meant to supplement or compliment the function, which determined what the form would be. Most Bauhaus designs were low on ornamentation and rather simple and practical, focusing on the fulfillment of its purpose over anything else. According to Amy Arnston, the artists and workers involved in Bauhaus "did not attempt to produce works of art, but rather good and useful designs in which form was tied to again" (29).
Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth. Art Nouveau was a response to the radical changes caused by the rapid urban growth and technological advances that followed the Industrial Revolution. art Art Nouveau was more than a mere style. It was a way of thinking about modern society and new production methods. It was an attempt to redefine the meaning and nature of the work of art.
Impressionism is the use of pure, broken color to achieve brilliance and radiance that depicts evanescent visual impressions painted from nature. Impressionism, considered the first fully original art movement to materialize during the nineteenth century (Burns, 1969). The name Impressionism came about when in 1874, Claude Monet exhibited the painting entitled "Impression—Sunrise" (Fleming, 1974). Originally, the term "impressionism" was a form of disrespect; however, as the movement gained in popularity, this term was retained and it has a "certain appropriateness," as it implies a work that is "incomplete" or "in progress" and, therefore, an "act of instant vision," which is one of the effects that impressionist artists endeavored to achieve (Fleming, 1974, p. 339). Impressionist artists were determined to paint only what they saw and strived to portray the "immediate impressions" of their senses, leaving it up to the viewer to supply additional details (Burns, 1969, p. 811).
As the antitheses of the bourgeois and the civilised modern, ‘primitive’ art was of interest to these artists because it seemed to be the solution to the over-civilised modern era, signifying the simplicity and purity lost in the enlightenment of humankind. Avant-garde artists were also attracted to ‘primitive’ art because they saw the opportunity to emulate the exotic vigour of the ‘savage’, and in doing so subvert Western art conventions and charge their artworks with social and political energy. The commonality of ‘primitive’ art representations was also a contributing factor to the appeal of ‘primitive’ art to modernist artists. They were fascinated by the timelessness of certain shapes and symbols, finding in them salvation from the decorative and naturalised art of convention. This study will focus on three seminal artworks created over the course of modernism that demonstrate the aforementioned issues- Paul Gauguin’s Woman With A Fan (1902), Pablo Picasso’s Le Demoiselles d’Avignon (1907), and Henry Moore’s Woman and Child (1932).