And I cannot insist enough that Modernism has never meant,and does not mean now, anything like a break with the past. Itmay mean a devolution, an unraveling, of tradition, but it alsomeans its further evolution. Modernist art continues the pastwithout gap or break, and wherever it may end up it will nevercease being intelligible in terms of the past. The making of pictureshas been controlled, since it first began, by all the norms Ihave mentioned. The Paleolithic painter or engraver could disregardthe norm of the frame and treat the surface in a literally sculpturalway only because he made images rather than pictures, and workedon a support -- a rock wall, a bone, a horn, or a stone -- whoselimits and surface were arbitrarily given by nature. But the makingof pictures means, among other things, the deliberate creatingor choosing of a flat surface, and the deliberate circumscribingand limiting of it. This deliberateness is precisely what Modernistpainting harps on: the fact, that is, that the limiting conditionsof art are altogether human conditions.
But I want to repeat that Modernist art does not offer theoreticaldemonstrations. It can be said, rather, that it happens to converttheoretical possibilities into empirical ones, in doing whichit tests many theories about art for their relevance to the actualpractice and actual experience of art. In this respect alone canModernism be considered subversive. Certain factors we used tothink essential to the making and experiencing of art are shownnot to be so by the fact that Modernist painting has been ableto dispense with them and yet continue to offer the experienceof art in all its essentials. The further fact that this demonstrationhas left most of our old value judgments intact only makes itthe more conclusive. Modernism may have had something to do withthe revival of the reputations of Uccello, Piero della Francesca,El Greco, Georges de la Tour, and even Vermeer; and Modernismcertainly confirmed, if it did not start, the revival of Giotto'sreputation; but it has not lowered thereby the standing of Leonardo,Raphael, Titian, Rubens, Rembrandt, or Watteau. What Modernismhas shown is that, though the past did appreciate these mastersjustly, it often gave wrong or irrelevant reasons for doing so.
Bibliography
Armstrong, Carol and de Zegher, Catherine. Women Artists as the Millennium. Cambridge, MA:: MIT Press, 2005.
Baker, Houston A., Jr.,. Modernism and the Harlem Renaissance. Chicago: University of Chicago Press,, 2005.
Nicholls, Peter,. Modernisms: A Literary Guide . Hampshire and London:: MacMilian, 2005.
Pollock, Griselda, and Florence, Penny,. Looking Back to the Future: Essays by Griselda Pollock from the 1990s. New York:: G&B New Arts Press,, 2004.
Schwartz, Sanford. The Matrix of Modernism: Pound, Eliot, and Early Twentieth Century Thought. Princeton, NJ: Princeton University, 2008.
spray, William & Philip Kitcher, eds. History and Philosophy of Modern Mathematics, Minnesota Studies in the Philosophy of Science. Minneapolis: University of Minnesota Press,, 2007.
The roots of modernism emerged in the middle of the nineteenth century, in France with Charles Baudelaire in literature, Eduard Manet in painting and Gustave Flaubert in prose fiction. In the 1980s, a strand of thinking began to assert that it was necessary to do away with the old norms entirely. In the 15yrs of the twentieth century, some writers, thinkers, artists, made the break with traditional means of organising literature, painting and music. Modernism in general, includes the activities and creations of those who felt the traditional forms of art, architecture. The modernist literature was characterised by a rejection of the 19th century traditions and of their consensus between author and reader (baldick 159). Modernist tried to break away from the conventions of the Victorian era. They wished to distinguish themselves from the history of art and literature. Ezra Pound with his famous dictum 'make it new' captured the essence of modernism. Therefore, in order to create something new, they had to create new forms of writing.J.M.W Turner being one of the greatest landscape painters of the 19th century believed that his works should express significant historical literary or other narrative themes unlike the French impressionists who had unconventional formulas.
Modernism Art - Research Paper by Katywolfe - Anti Essays
The historical factors that influenced modernism include: world war, industrial revolution, new technology, changes in politics. And the two broad movements which is: socially progressive- celebrates man's ability to change the world and the Artistic introspection-a means of tackling the new world.
Beyond Modernism: Essays on Art from the 70's and …
Reacting against the universalizing tendencies of high modernism (from abstract expressionism to the international style), and its dedication to seriousness, abstraction, and elegance, the new artists delighted in extending the range of art, in juxtaposing the exalted and the abject, the sacred and the profane, in being vernacular and relevant, and in rudely transgressing bourgeois norms.
“African Influences topics for antigone essays in Modern Art
Many see the features of postmodernism that are associated with the self-reflexive critique of society, culture, politics, and economics as already part of modernism, and thus an extension of "modernism." But whatever the phase of "modernity" we accept now includes abandoning the hope or belief in the necessary progressive movement of history toward a goal, an end, a fulfillment.