More handpicked essays just for you.
How was the industrial revolution beneficial for the arts
The social changes that characterised the american society in the "roaring twenties
The social changes that characterised the american society in the "roaring twenties
Don’t take our word for it - see why 10 million students trust us with their essay needs.
QUESTION ONE
As individualism continued to develop in society and culture, it also continued in the art that we have covered since the midterm exam. A later industrial revolution led to the era often called the “roaring 20s,” a period of extremes between wealth and poverty, growth and depression, new opportunities and stagnation. The development of capitalism and a creeping of commercial values in society led to an artistic hostility toward--and alienation from--a materialistic society. How artists demonstrated this individualism in their work and activities was a response to the perspectives of the ideas that grew out of technological advances that caused the world to change and develop in new ways. Artists represented their experience and
…show more content…
Founded in Paris in 1924 by a small group of writers and artists who were interested in exploring the unconscious as a means to unlock their imaginations, surrealism was influenced by Sigmund Freud, whose work explored how the conscious mind repressed imagination. Influenced also by Karl Marx, they hoped that the psyche had the power to reveal contradictions in the world and spark an evolution. Spanish painter Salvador Dali’s The Persistence of Memory is an example of Surrealism. It introduced the image of the soft melting pocket watch and illustrated Dali’s theory of “softness” and “hardness,” which was part of his thinking at the time. It seemed to present an unconscious symbol of the space and time, or of the passing of time as one experiences it in …show more content…
The paintings included brushstrokes and color that depicted space as fragments and fractures. Combining realism with collage and Cubism, it included lines of force to show objects seeming to move through space. The City Rises, by Umberto Boccioni, illustrates the construction of a modern city, with the chaos and movement in the piece indicating a war scene. Fauvism was an early 20th Century art movement co-founded by Henri Matisse and André Derain. Labeled "les fauves" (wild beasts) by an art critic, the artists favored vibrant colors and bold, winding strokes across the canvas. Matisse’s oil painting of his wife, Woman with a Hat, is an example of the development of the Fauvism movement. Its loose brushwork, its unfinished quality, and its bright, unexpected colors were a change from Matisse’s earlier
At the turn of the 20th and further into the 21st century, art began to drop the baggage carried from the masters of the Renaissance and began a trajectory of change. Artists began challenging the schools and galleries of art around the world in an effort to break away from the chains that were wrapped around them in an effort to control the basis of art. Strange patters, shapes, colors and spaces emerged as each one challenged every norm known to the artistic circle. Critics and viewers alike were suddenly required to think less about the topics of paintings and more about their formal aspects. As decades passed, the singularity of art began to intensify and different forms of art demanded the same recognition as others before. Liberation
Modris Eksteins presented a tour-de-force interpretation of the political, social and cultural climate of the early twentieth century. His sources were not merely the more traditional sources of the historian: political, military and economic accounts; rather, he drew from the rich, heady brew of art, music, dance, literature and philosophy as well. Eksteins examined ways in which life influenced, imitated, and even became art. Eksteins argues that life and art, as well as death, became so intermeshed as to be indistinguishable from one another.
The twentieth century has witnessed many transformations in the ways we produce and respond to works of art. It has seen the rise of altogether new media, approaches, and a wealth of new interpretative frameworks. The emergence of manufactured goods, modernism, and a ubiquitous mass culture contribute to the upheaval, in the 1960’s and 70’s, of established art practices and approaches. Pop Art emerges as an important response to, extension of, or parody of what Clement Greenberg called “Ersatz culture” and “kitsch”, which, to paraphrase Greenberg, represent the omnipresent abominations of commercial and replicated art (Greenberg 9). This essay will observe and discuss the interaction of Canadian pop culture, art, and identity in Joyce Wieland’s “O Canada (Animation)”, and will underline how works of Pop Art serve to elevate kitsch into “a new state of aesthetic dignity” (Eco 228).
It corresponded to the emulation, which emerged among the lower classes of the postindustrial era, to pretend to have a good taste of art like the upper class. After the Industrial Revolution, the underprivileged, who had previously produced things to fulfill their own daily needs, turned into the working class of the urbans, producing things whose value in daily usage they would never see . This shift from crafting to manufacturing, from formulating to fabricating, and from creative to repetitive triggered a new need among these people. Although they did not have the time or education to enjoy and appreciate fine arts when they were in the countryside, the lower classes felt a new inclination towards art in the factory towns where they had the opportunity to observe that taste in art provided social status. Their desire to own works of art was precluded by their incomes which were no match for the high prices of the art market. With the aid of the mass production technologies and the manufacturing-commercial culture that followed, it became possible to produce multiple copies of artistic works and reduce the prices. This situation not only expanded the scope of art market but also provided the lower class with what they desired –or at least what they thought they desired: affordable art
The Roaring Twenties was a time of economic wealth with an extreme emphasis on culture. Following the victory of World War l American and European culture drastically changed. Young people broke free of the pain and depression of the past by living luxurious lifestyles. This generation was coined the name “The Lost Generation”, because they idolized freedom, so much so that many compromised their values. Writers such as T.S Eliot, Ernest Hemingway, F.Scott Fitzgerald, and James Joyce were mainstream artists in the twenties. Their works displayed, in great depths, the themes of ageism and the idealism of youth. Ageism is prejudice based off an individual's age. The Lost Generation was a time period that evolved around the power struggle of
The artistic stylization used by early 20th century artists endeavors a distinctive approach in the depiction of the Great Depression in both methodology and aesthetic portrayal. Philip Evergood’s Dance Marathon (c. 1931) and Reginald Marsh’s Chatham Square (c. 1931), which both are exhibited at the Blanton Museum of Art, are artistic representations of the American culture during the “Dirty Thirties”. Although both paintings were created during the same time period and ultimately share the thematic downheartedness of the decade, Evergood and Marsh cultivate their own independent approach in constructing their individual artworks. Marsh focuses his piece on the basis of composition, detail, saturations and highlights to construe a melancholic
The 1920’s was a time of great change for both the country we live in as well as the goals and ambitions that were sought after by the average person. During this time, priorities shifted from family and religion to success and spontaneous living. The American dream, itself, changed into a self-centered and ongoing personal goal that was the leading priority in most people’s lives. This new age of carelessness and naivety encompasses much of what this earlier period is remembered for. In addition, this revolution transformed many of the great writers and authors of the time as well as their various works.
After the 1940 surrender of Paris, which many Americans viewed as the fall of culture due to Paris’ status as the international mecca for the arts, it was evident that the world required a new and superior cultural hub. Throughout the 1940s American artists, with the influence of European Modern and Surrealist painters, were able to elevate New York City to the center of the art world by implementing a “new, strong, and original” artistic style that simultaneously fought fascist ideology: Abstract Expressionism (Guilbault 65). After the war, galleries throughout Europe exhibited American Abstract art, Rothko’s in particular, to prove that American art, once thought tasteless, possessed artistic depth and merit (“Mark Rothko”). Therefore, Abstract Expression had a major role in making New York City the worldwide cultural metropolis that it is today. In terms of shifts in worldview, Abstract Expressionism placed a great importance on intense emotion and spirituality in a society where religiousness was, and continues to be, replaced by other, often self-centered or materialistic, pursuits. The movement allowed and encouraged the public to explore their darkest fears and woes, which, in the wake of the Second World War and, later on, during the Cold War was likely therapeutic. Above all else, it made society recognize that art should no longer be viewed with suspicion; instead, it should be accepted as an integral element of culture
One of the most unique figures in the continuum of the art world, Marcel Duchamp changed the way we look at and produce art today. Marcel Duchamp was by far, one of the most controversial figures in art. Two of the most well known and talked about pieces by him are The Fountain and The Bride Stripped Bare by her Bachelors, Even . Duchamp created many other pieces that caught the attention of critics, other artists, and the population in a negative way; however, these two pieces alone, brought about the greatest amount of controversy.
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
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The Victorian era was a beautiful time. It was full of highly sophisticated people, not including the artists. The artists of the Victorian era were more to the common people that stood out. Most of the artists back then weren’t as big as they are now. They differed in so many ways trying to be individuals. In this, the works would all be outlining subjects but they differed a great deal. Artists in the Victorian era were expressing themselves with extravagant portraits of daily life in ways of romanticism, realism, impressionism, and post-impressionism.
Leading up to the turn of our present century, changes in culture and society of America triggered modernization throughout much of our commerce, social, artistic and educational lives. The past century or so has brought new obstacles and opportunities for the nation of America. This changing is reflected through some of the works by writers such as, Robert Frost, William Williams, Ezra Pound, and T.S. Eliot. Examining people’s mindset in modernization one common feeling of people is “nervousness” which is due to the nation’s reluctance to change. T.S. Eliot is quoted with the statement "the immense panorama of futility and anarchy which is contemporary history."1 Modernism generally, varies greatly between previous times in the 19th century which breaks stride with the traditional lifestyle of the middle-class working public.
In the 1950's, society's prudish view on art was drastically altered. If not for this era, art (literature, music, and fashion) would not be as exceptional as it is today. Prior to the beat generation, the conformists of America censored everything; freedom of expression was unheard of. The Beat Generation, blooming in the 1950's, inspired a group of people whose unparalleled creativity shaped the worlds definition of art today. It sparked an interest in people and encouraged uniqueness and the idea of being open to new experiences. The Beat Generation stimulated the minds of Americans, inspiring people to think beyond the nation's conformity. This cultural phenomena pushed people to their limits and outside their comfort zones to create literary and musical masterpieces that would later change the world by expanding the boundaries of free speech.
In conclusion, the art of the 19th century was composed of a sequence of competing artistic movements that sought to establish its superiority, ideologies and style within the artistic community of Europe. These movements, being Romanticism, Realism, Impressionism and Post-Impressionism, ultimately spread far beyond the confines of Europe and made modern art an international entity which can still be felt in today’s artistic world.