Modernism

Unit 4: Later Europe and America

HISTORICAL BACKGROUND

Artistic expression flourished in the early 20th century, in spite of cataclymic events such as WWI, WWII, and the Great Depression. Some movements drew their inspiration from these events, while others sought to escape the visceral world.

KEY ART MOVEMENTS or "ISMS"

Early- & Mid-20th Century Art

Tools of artist's expression were under question in the early 20th century:
- Color was used to describe a setting or the artist's impression, while also evoking a feeling and challenge the viewer.
- Perspective was discarded or violently tilted for dramatic impact.
- Compositions were forefully altered in a new and dynamic way.
Abstraction (the introduction to "pure" form) became the feature and focal point of modern art.
Photomontage and collage (art forms formerly regulated to children's art) became new ways for artist's to explore beyond oil on canvas.
Experimentation in art led artists to draw inspiration from African cultures, which were previously ignored or labeled as "primitive."
Artistic manifestos were inspired by freedom of expression that drew artists to rethink traditional representations.
The Armory Show - named after the building in New York where it was held, was mounted in 1913 to introduce Americans to the current trends in European art. Many contemporary artists were showcased in America for the first time (ex: Duchamp and Picasso).
Sculpture - artists began using such materials as plastic and new formats such as collage. Artists also dangled metal shapes from a ceiling and dubbed them "mobiles." In Dada, artists found an object and turned it into a work of art known as a "ready-made" which became works of art simply because the artist said they were.

1905: Fauvism

- One of the first artistic movements of the 20th century.
- Comes from the term "Les Fauves" translating to "wild beasts".
- Produced bright cheery landscapes and figure paintings, characterized by pure vivid color and bold distinctive brushwork as a reaction to the dark and disturbing nature of Symbolism.
- Emphasized expressive potential of color, employing it arbitrarily and not based on the subject's natural appearance.
- Highlights the idea of Primitivism - particularly African and South Pacific artworks.

1905-1930s:

German Expressionism - Die Brucke (1905) and Der Blaue Reiter (1911)

- High contrasts of darks and lights to convey nightmarish sets.
- Uses chiaroscuro lighting. Vivid palettes and simplified, distorted forms.
- Highlights the idea of Primitivism - particularly African and South Pacific artworks.

1907-1930s: Cubism

- Established in early 20th c. in France. Extension of ideas inspired by Cezanne. Promoted heavily by Georges Braque and Pablo Picasso.
- Analytical Cubism: Early phase of Cubism (1908-1912). Characterized by fragmentary appearance of multiple viewpoints and overlapping planes. Structured dissection of a subject, viewpoint by viewpoint. Simplified palette of colors.
- Synthetic Cubism: Later phase of Cubism (1912-1914). Simpler shapes and brighter colors. Added textures and patterns and experimentation with collage. Flattens out the image and illusion to 3D space.

1914-1920s: Constructivism

- Constructivism was an artistic and architectural theory that originated in Russia at the beginning of 1913 by Vladimir Tatlin, who was inspired by Picasso's use of collage.
- Constructivist art focused on industrial production.
- Constructivists used stripped down, geometric forms and modest materials. Their visual language existed of forms that they could draw with practical instruments like compasses and rulers.
- Materials like wood, glass and metal were analysed and judged on the basis of how suitable they were for use in mass-produced objects and images.

1916-1925: Dada

- Reaction to WWI and rejection of capitalist society and its logic, reason, and aesthetics.
- Expresses nonsense, irrationality, and anti-bourgeois. Expressed discontent towards violence, war, and nationalism.
- Developed the term "readymade" = works of art made from manufactured/mass-produced objects.

1917-1930s: De Stijl

- Developed in the Netherlands in the early twentieth century by Piet Mondrian and Theo van Doesberg.
- Emphasizes pure abstraction and universality by a reduction to the essentials of form and color: visual compositions were only vertical and horizontal and used only black, white, and primary colors.

1919-1933: Bauhaus

A German artistic movement and art school that combined fine arts and crafts. Its goal was to merge all artistic mediums into one unified approach, that of combining an individual's artistry with mass production and function.
Bauhaus design is often abstract, angular, and geometric, with little ornamentation.

1924-1930: Surrealism

Surrealism is an artistic and cultural movement that originated in Europe in the 1920s and 1930s as a reaction to World War I and modern civilization.
Surrealist artists sought to explore the unconscious mind and dreams through their work, creating images that defied logic and were often illogical or dreamlike.
The movement is characterized by three main themes: dreams, the unconscious, and the irrational. Surrealist artists found magic and beauty in the unexpected, the uncanny, the disregarded, and the unconventional.

1940s-1950s: Abstract Expressionism

Abstract Expressionism emerged primarily in New York City, making NYC the new hub of the art world. It was a reaction to a changing post WWII world.
Characterized by a focus on spontaneous, emotive expression and the use of abstract forms (ex: drip paintings, color field artworks, and spontaneous aggressive brushwork).
Artists rejected traditional representational art in favor of exploring the physical act of painting and creating art.

1950s-1960s: Color Field Painting

Color Field painting developed as an offshoot of Abstract Expressionism, focusing more on the emotional and visual impact of color itself rather than on the expressive brushwork or dynamic forms of its predecessor. Influences include earlier abstract movements and the desire to create a sense of pure, unmediated visual experience.
The movement is defined by large areas of solid color and a focus on the interaction between colors and the overall effect of color on the viewer. Artists used color in a way that sought to evoke a sense of depth and space, often through the application of color in broad, unmodulated fields. The compositions tend to be simple and non-representational, emphasizing the flatness of the canvas and the vibrancy of color.

1955-1960s: Existentialism

Existentialist art developed alongside existential philosophy, which gained prominence through thinkers like Jean-Paul Sartre, Simone de Beauvoir, and Albert Camus. The movement emerged as a response to the upheavals of World War II and the perceived crisis of meaning in the modern world. It reflects the existentialist focus on individual experience, freedom, and the absurdity of existence.
Absurdity and Alienation: Existentialist art often portrays feelings of alienation and the absurdity of human existence. It explores the disconnect between individuals and a seemingly indifferent or chaotic world.
Freedom and Responsibility: Art in this movement frequently addresses the existentialist belief in radical freedom and the weight of personal responsibility. It examines the choices individuals make and their consequences.
Search for Meaning: Existentialist art reflects the quest for meaning in a world perceived as lacking inherent purpose, often emphasizing personal and subjective interpretations of existence.

1955-1960s: Pop Art

Originated as a reaction against the dominant abstract expressionism of the time. It drew inspiration from popular and commercial culture, including advertising, comic strips, consumer goods, and celebrities. Artists sought to blur the boundaries between high art and low culture, challenging traditional notions of art and its status.
Employed bright, bold colors and imagery drawn from consumer culture and media. It embraced techniques such as silkscreen printing and collage to reflect the mass-production and commercialization of contemporary life. The movement celebrated the ordinary and the mundane, elevating everyday objects and celebrities to the level of fine art.

1960s-1970s: Conceptual Art

Conceptual Art arose as a reaction against the commercialization and formalism of the art world, as well as against the traditional emphasis on craftsmanship and visual aesthetics. It was influenced by earlier movements like Dada and Surrealism, which also questioned established art norms and explored ideas over traditional artistic execution.
The movement prioritizes intellectual engagement and conceptual exploration over traditional artistic skills. Artists often use text, diagrams, and other non-traditional media to convey their ideas.

1960s-1970s: Performance Art

Emerging from the avant-garde movements of the 20th century, including Dada, Futurism, and Surrealism, Performance Art grew out of a desire to break free from conventional artistic media and explore new ways of engaging with audiences. It was also influenced by experimental theater, dance, and music.
Performance Art is characterized by live, often ephemeral presentations that prioritize action and experience over static objects. The performances often involve the artist’s body, personal actions, and direct interaction with the audience. This art form is notable for its focus on process, time, and the momentary, often challenging traditional notions of art and artist-audience relationships.

1960s-1990s: Environmental/Site Art

Environmental Art emerged as a response to the increasing awareness of environmental issues and the desire to address the impact of human activity on nature. It was influenced by earlier movements like Land Art and Earthworks, as well as by growing concerns about environmental conservation and ecological balance.
Environmental Art often aims to engage with and reflect on the natural world, using natural materials, processes, and locations as integral elements of the artwork. The movement emphasizes the interaction between art and its environment, often seeking to create a dialogue about environmental issues, sustainability, and the human-nature relationship.

1970s-Present: Feminist Art

The Feminist Art Movement emerged as part of the broader women’s liberation movement, which sought to address issues of gender inequality and promote women's rights. It was driven by a desire to challenge the male-dominated art world and to create spaces where women artists could express their experiences and perspectives.
Overall, the Feminist Art Movement is recognized for its role in transforming the art world by challenging gender norms, promoting women’s voices, and rethinking the role of art in reflecting and shaping social attitudes towards gender.

Early- & Mid-20th Century Architecture

Marked by a complete embrace of technological advances such as ferroconcrete. This allowed for new designs to be employed on skeleton frameworks and glass walls. The cantilever helped push building elements beyond the solid structure of the skeletal framework.
Architects generally avoided historical associations such as few columns and fewer flying buttresses.
Architects prefer clean and sleek lines that stress the building's underlying structure and emphasize the impact of machine and technology.

1910s-1930s: Art Deco

Originated in France in mid to late 1910s, then became major style in Western Europe and the United States in 1930s.
Art Deco objects often showcase simple, clean shapes, usually with a “streamlined” look; ornament that is geometric or stylized from representational forms such as florals, animals, and sunrays; and use of man-made substances, including plastics, vita-glass, and reinforced concrete, often combined with such natural materials as jade, silver, ivory, and chrome.

1920s-1930s: Organic Architecture

Organic Architecture emerged as a reaction against the rigid, formalistic styles of the 19th century and early 20th century, such as Beaux-Arts and Neoclassical architecture. It was influenced by the Arts and Crafts Movement, which valued handcrafted, nature-inspired designs, and by the broader philosophical ideas of unity with nature and organic forms.
Integration with Nature: Organic Architecture seeks to create buildings that blend seamlessly with their natural surroundings, using materials and forms that complement the environment.
Functional Design: The design is tailored to the needs of its occupants and the specific site, often resulting in unconventional, site-specific forms and layouts.
Use of Natural Materials: Emphasizes the use of materials that are local, natural, and sustainable, aiming to create a natural aesthetic and reduce environmental impact.
Fluid Forms: Often incorporates curved, flowing lines and organic shapes that mimic natural forms and structures.

1920s-1930s: The International Style

The International Style developed as a reaction against the ornate and historical styles of the 19th century, such as Beaux-Arts and Neo-Classicism. It emerged from the broader Modernist movement, which sought to embrace the possibilities of new technologies and materials while rejecting historical styles and ornamentation.
Functionality: Prioritizes the functional requirements of a building, emphasizing practical aspects over decorative elements.
Simplicity: Focuses on clean, unadorned lines and geometric forms. The design often avoids unnecessary ornamentation and complexity.
Use of Modern Materials: Incorporates materials like steel, glass, and reinforced concrete, which enable new architectural possibilities and expressions.
Open Floor Plans: Promotes flexible and open interior layouts that enhance spatial fluidity and adaptability.
Flat Roofs and Rectilinear Forms: Features flat roofs, horizontal windows, and straight lines, reflecting a minimalist aesthetic and efficient use of space.

1975-Present: Post-Modernism

Postmodernism began to take shape in the 1960s and 1970s as a response to the perceived limitations and ideologies of Modernism, which had emphasized progress, purity, and the notion of a universal truth. Postmodernism arose in a context of social, political, and cultural change, including the rise of consumer culture, media saturation, and skepticism towards grand narratives and ideologies.
Pluralism: Embraces a wide range of styles, techniques, and media, rejecting the idea that any single approach or aesthetic should dominate.
Pastiche and Parody: Often employs pastiche (a mix of different styles) and parody to comment on or critique previous artistic movements and cultural phenomena.
Deconstruction: Challenges established meanings and narratives, often questioning the idea of objective truth and emphasizing the role of interpretation and context.
Appropriation: Incorporates or recontextualizes elements from various sources, including popular culture, art history, and media, to create new meanings.
Overall, Postmodernist art is recognized for its emphasis on diversity, irony, and critical engagement with cultural and artistic conventions, reflecting the complexities and uncertainties of the contemporary world.

Unit Vocabulary

ABSTRACT - art or ideas that depart from realistic representation, focusing instead on shapes, colors, and forms to convey meanings or evoke emotions.

ACTION PAINTING - an abstract art style that emphasizes the physical act of painting and the artist’s expressive gesture. It focuses on spontaneity and emotional expression.

ASSEMBLAGE - an art form that involves creating three-dimensional artworks by combining found objects and materials. It is characterized by its use of non-traditional items and its focus on conceptual and aesthetic exploration, blending elements of sculpture and mixed media.

BIOMORPHISM - an artistic and design approach that uses organic, natural forms as inspiration, characterized by smooth, flowing shapes that resemble living organisms.

COLLAGE - artistic technique and composition method where various materials, such as paper, fabric, photographs, and other found objects, are assembled and glued onto a surface to create a new, unified artwork. The term comes from the French word coller, meaning "to glue."

DOCUMENTARY PHOTOGRAPHY - a genre dedicated to capturing real-life moments and events to tell compelling stories, inform the public, and offer insights into various aspects of society. It emphasizes authenticity and objectivity, using visual storytelling to highlight important issues and preserve historical and cultural contexts.

HARLEM RENAISSANCE - transformative artistic movement that emerged during the Harlem Renaissance, a cultural and intellectual revival that took place in the Harlem neighborhood of New York City in the 1920s and 1930s. This period was characterized by a flourishing of African American art, literature, music, and intellectual thought.

EARTHWORK - large-scale art that involves altering the natural landscape using earth and other materials. It integrates with the environment and can be temporary or permanent, reflecting both artistic and environmental concerns.

FERROCONCRETE - a construction material that combines concrete with reinforcing elements, usually steel bars or mesh, to enhance its strength and durability.

FROTTAGE - an art technique that involves rubbing a material over a textured surface to capture its pattern and texture. It is used to create unique textures in art, often associated with abstract and surrealist works

READYMADE - works of art made from manufactured/mass-produced objects.

SILKSCREEN - technique that involves pushing ink through a stencil or mesh screen onto various surfaces to create images.