Art Movement After World War I - amazonia.fiocruz.br

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Developed in reaction to World War I , the Dada movement consisted of artists who rejected the logic , reason , and aestheticism of modern capitalist society , instead expressing nonsense , irrationality , and anti-bourgeois protest in their works. Dadaist artists expressed their discontent toward violence, war, and nationalism, and maintained political affinities with radical left-wing and far-left politics. There is no consensus on the origin of the movement's name; a common story is that the German artist Richard Huelsenbeck slid a paper knife letter-opener at random into a dictionary, where it landed on "dada", a colloquial French term for a hobby horse. Still others speculate that the word might have been chosen to evoke a similar meaning or no meaning at all in any language, reflecting the movement's internationalism. The roots of Dada lie in pre-war avant-garde. The term anti-art , a precursor to Dada, was coined by Marcel Duchamp around to characterize works that challenge accepted definitions of art. The work of French poets, Italian Futurists and the German Expressionists would influence Dada's rejection of the tight correlation between words and meaning. Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond with the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the war. Art Movement After World War I

Art Movement After World War I Video

American Art Shaped by World War I

Cubism is an earlyth-century avant-garde art movement that revolutionized European painting and sculptureand inspired related movements in musicliterature and architecture. Cubism has been considered the most influential art movement of the 20th century. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, [9] while Constructivism was influenced by Picasso's technique of constructing sculpture Art Movement After World War I separate elements.

Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubisma phrase coined by Juan Gris a posteriori, [11] was both radical and influential as a short but highly Word art movement between and in France.

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A second phase, Synthetic Cubismremained vital until aroundwhen the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", from to when the movement was initially developed in the studios of Picasso and Braque; the second phase being called Art Movement After World War I Cubism", from to during which time Juan Gris emerged as an important source after ; and finally Cooper referred to "Late Cubism" from to as the last phase of Cubism as a radical avant-garde movement.

Cubism burgeoned between and Pablo Picasso's painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work. Inin his review of Georges Braque click to see more exhibition at Kahnweiler 's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".

Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the Salon d'Automne] a painting made of little cubes". The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective.

The assertion that the Cubist depiction of space, mass, time, and volume supports rather than contradicts the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as[18] but it was subject to criticism in the s and s, especially by Clement Greenberg. Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them.

Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e. John Berger identifies the essence of Cubism with the mechanical diagram.

A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations. There was a distinct difference between Kahnweiler's Cubists and the Salon Cubists. Kahnweiler sold only to a small circle of Deutsche. His support gave his artists the freedom to experiment in relative privacy. They were inevitably more aware of public response and the need to communicate. They met regularly at Henri le Fauconnier's studio near the boulevard du Montparnasse. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Guggenheim Museum, New York. This article was published a year after Gelett Burgess ' The Wr Men of Paris[26] and two years prior to the Armory Showwhich introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism.

Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school.

In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition. In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable.]