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Industrialism and modernism
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Chapter 10 Summary: Chapter 10 is concerned with both modernism and industrial beauty. These concepts arose from the art and discipline of photography early in the 1880s and prevailed towards the early 1920s. This period is defined by a dramatic shift of subject matter away from historical and classical subject matter in favor of modern events and experimental representations of subject matter. Particularly, photographs of this time were evaluated with a criteria that can now be described as aesthetic formalism. This means that from is given emphasis over content. This means that the photographer intentionally contrives meaning which is interpretable by the viewer. The emphasis is more on the viewer to critically appreciate modern works but
Tolmachev, I. (2010, March 15). A history of Photography Part 1: The Beginning. Retrieved Febraury 2014, from tuts+ Photography: http://photography.tutsplus.com/articles/a-history-of-photography-part-1-the-beginning--photo-1908
What, if any impact did photography play in the role of arts ‘evolution’, in particular, what impact did photography have in the works of the impressionist painters. Two obviously conflicting opinions arise through texts by ‘Aaron Scharf’ and ‘Kirk Vanerdoe’. Scharf argues that the impact of ‘snapshot photography’ and the invention and wide distribution of portable camera’s had a significant influence on the works of the painter ‘Degas’. Vanerdoe takes the opportunity to question what makes an influence significant, and tends to see the creation of Impressionism stem from earlier art movements. Then comes the question, what, if any arguments are valid, what arguments are opinions and what can be sieved down to fact.
The purpose of this Essay is to discuss an example of design from the late 1800s, I will relate it to the social, economic, technical and cultural context of that time. . I intend on delivering details of the artist and his life experiences as well as his style and possible interests. I will also evaluate the subject with my own opinion, likes and dislikes, with comparisons of work and artists from within that period up to the present date
Some of Sontag’s comments relate to Barthes and Benjamin. Modernism was a term that they used to alter and hide the social and nature uses of photography. Sontag relates to Barthes by how photography is always most often a representation of something. That of which has to do with ethics. Along with how photography is growing and becoming more industrial with technology.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
The culture of the Romantic Period marks an era shrouded in astonishing and rapid change, socially and economically. In Europe, between the years 1825 and 1900, enormous technological developments occurred. With the Industrial Revolution full force, the inventions of railroads and steamboats satisfied an insatiable desire for speedy travel and transportation of goods. Photography was changing the way in which history was...
Varnedoe, Kirk. A Fine Disregard: What Makes Modern Art Modern. New York: H.N. Abrams, 1990. 152. Print.
The Art Nouveau style and movement, at its height between 1890 and 1910, enabled a sense of freedom for both its artists and the public as a whole. It offered strikingly original ideologies and transformed both the artistic and the mundane world alike with common characteristics like curvilinear shapes and a sense of the return to the natural and to nature as well as being at the crux of a fundamental change in how artworks were mass produced. The Art Nouveau style seemed to walk between the two worlds: it was simultaneously fantastical and grounded in reality and there was no artist in the period that was better equipped to “know and see the dance of the seven veils,” (Zatlin) than Aubrey Beardsley. It is impossible to fully discuss the value
Davies, Denny, Horfrichter, Jacobs, Roberts, Simon “Summary, Photography, Chapter 26 Progress and its discontents: Post-Impressionism, Symbolism, and Art-Nouveau 1880 - 1905” (2007): Page 943 “Janson’s History of Art – The Modern World”
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art.
Whilst the relationship which the photograph bears to its subject may be entirely different to the relationship which the painting bears to its subject, this does not necessarily entail that one must reject the photograph as an equally worthy object of aesthetic appreciation. As a final remark, in addition to photography’s capacity to arouse an interest in the subject photographed in a manner that transcends face-to-face viewing, the fact that the photograph boasts the ability to suspend its subject in time is also indicative of its transcendence of face-to-face viewing. If one takes an aesthetic interest in Vivian Maier’s photographs of children playing in a street in the 1950’s, for instance, this would evidently not be equivalent to viewing the same subjects directly in the present moment. As such, the photograph’s ‘distance’ from its subject, both physical and temporal, is perhaps further reason to distinguish it from face-to-face seeing, and may be indicative of its worth as a visual art form. Thus, contra Scruton, paintings and photographs are equally worthy of aesthetic appreciation as visual art forms, and photographic transparency is not synonymous with photographic
This book is a note written by Roland Barthes to record the dialectical way he thought about the eidos(form, essence, type, species) of Photographs. Roland Barthes was a French literary theorist, philosopher, linguist in his lifetime, but surprisingly he was not a photographer. As Barthes had a belief that art works consists with signs and structures, he had investigated semiotics and structuralism. However, through Camera Lucida, he realized the limitation of structuralism and the impression to analyze Photography with only semiotics and structuralism. Barthes concludes with talking about unclassifiable aspects of Photography. I could sense the direction Barthes wanted to go through the first chapter ‘Specialty of the Photograph’. He tried to define something by phenomenology
In post-war Britain, the role of women was beginning to change from the social normality. In this era, it was suddenly expected of women to do the jobs their husband was unable to do, as they were out in war. Their roles in society shifted from housewife and domestic caregiver, to female factory worker. This proved somewhat positive as women discovered their strength and intelligence that had before been hidden under their oppression. It is in this era, fashion photography aimed to explore the independence and business side of a woman, while maintaining her femininity. To discuss the representation of women in a post-war society, I will specifically look at the works of Norman Parkinson, notably the image titled The Art of Travel.
"History of photography and photojournalism.." History of photography and photojournalism.. N.p., n.d. Web. 21 Nov. 2013. .
Many believed that Modernist works were not “art” because they did not always look like real life. But what is “real life”? A new outlook on reality was taken by Modernists. What is true for one person at one time is not true for another person at a different time. Experimentation with perspective and truth was not confined to the canvas; it influenced literary circles as well.