Evie Give a broad critical appraisal of School of Paris painting with the years 1910-1945, establishing contexts and referring to appropriate painters and works. Wassily Kandinsky (1866-1944) and Franz Marc (1880-1916) predicted a colossal change in the arts; a great upheaval that would radically challenge traditional artistic presentation. This prodigious creativity and innovation symbolised the years leading up to World War I. European cities were evolving, and the artistic avant-garde had adapted and responded to twentieth century modernity. Cubism achieved recognition in Paris, sparking new directions in the Netherlands, and Russia. The Great Upheaval illuminates how artists hurtled toward a new discovery, abstraction and the ultimate “great upheaval” of a catastrophic war.
Trends furthered into the Romanticism this effected the Industrial Revolution. At the same time social, political, and economic forced were at work that would become the basis to argue for the radically different kind of art and thinking. The changes that took place at the beginning of the 20th-century are emphasized by the fact that many modern disciplines, including sciences such as physics, mathematics neuroscience and economics, and art such as ballet and architecture. Many new genres where developed through the time progressed, stuff like Pop, Rock, Alternative, Punk, Country, R&B, and Rap/Hip Hop. Pop music, which was originated in its modern form in the 1950s, deriving from rock and roll.
Nineteenth Century Russia The nineteenth century in Russia was a period of great change. Russia had begun to feel pressure to modernize as its western European neighbors had already done so. Autocrats, or czars with absolute power, made many sweeping changes throughout the empire, and western influence spread new ideals throughout. Such influence created a rise in industry and a growth in the arts. During the 1800s autocrats made many sweeping changes, such as the emancipation of the serfs in 1861.
Brassai photographer / sculptor Introduction He trained as an artist in Budapest and Berlin, dabbling in drawing, painting and writing. In World War II, Brassai fought against France and the Allies. Afterwards, in the chaos of the post war world's revolutions and redrawing of borders, he joined a number of other Hungarian writers and artists in Germany. He worked as a journalist and studied drawing and painting. He arrived in Paris in 1924 and belongs to first wave of Hungarian emigrants that went over to Western Europe and America in search of wider personal horizons more than escaping from political or economical difficulties.
A big influence in Luhrmann’s direction of the film was his studies of the art of painter Henri de Toulouse-Lautrec. This French painter, printmaker, and draftsman created several works focusing on the performances at the Moulin Rouge in Paris. These paintings often portrayed the club’s Can-Can dancers, male clientele, and various courtesans and performers. Baz Luhrmann studied these paintings and posters and used them as inspiration for the atmosphere and interior design of the Moulin Rouge in his film. This can especially be seen in Toulouse- Lautrec’s pieces At the Moulin Rouge: The Dance (1890), La Goulue Arriving at the Moulin Rouge with Two Women (1892), and At the Moulin Rouge: Two Women Waltzing (1892).
It was also related closely to Dada, an earlier movement (largely French) that poked fun at the highbrow and serious nature of the art world and also used everyday objects and mundane subjects”. (http://www.getpopart.com/pop-art.html). Three artist that stand out from that post war, Pop Art era is James Rosenquist, Richard Hamilton, and of course the late & great Andy Warhol. “James Rosenquist was born in Grand Forks on November 29, 1933. As of 1948 he studies at the arts school of the Minneapolis Art Institute” (http://www.kettererkunst.com/bio/JamesRosenquist-1933.shtml).
Discuss the world players, the power configurations and describe the manner in which they divided the world among themselves. What was the impact of the development as we moved into the second decade of the twentieth century? Imperialism was revived by the major European powers of the time; Great Britain, France, Germany, and Russia. It brought about advancement and power to nations which it affected the most. These waves of progress allowed opportunity for major growth.
It was dreamt up as an “anti”-movement, rather than a movement. Tristan Tzara stated “The beginnings of Dada were not the beginnings of art, but of disgust.” (Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection) They felt that, having lost all confidence in their cultures, they needed
The Influence of the World Wars on Fashion The emergence of the modern world brought dramatic changes in clothing. Different societies have different notions of grace and beauty. They observe certain rules regarding the way men, women and children should dress and present themselves. As times change and societies transform, these notions change as well. Since World War I and World War II, clothing-both for men and women-underwent dramatic changes.
Modernism refers to a cultural movement, broadly in the years 1880 to 1930, marked by a sudden reforming of traditional art, literature, music, architecture and ideologies. Modernist literature was characterised by experimentation, especially in the manipulation of structure as well as internal reality and reflection, spurred by the rapid industrialisation of 20th century society. T.S Eliot’s The Love Song of J. Alfred Prufrock, commonly known as ‘Prufrock’, illustrates these Modernist ideas through the themes of inadequacy and pessimism. The theme of inadequacy in Prufrock permeates through the Modernist concern of lack of communication, capturing the unheroic nature of the 20th century. The protagonist continually experiences malaise of his general appearance and impotence, revealing his insecure nature through the monologue, questioning to himself, “Do I dare?” and “How should I presume?”.