Modernism an introduction.
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The document provides an introduction to modernism, discussing how various late 19th and early 20th century developments influenced art and society. It notes how the Industrial Revolution, Darwinism, Marxism, and social/political changes altered ideas about art. The rise of modernism saw artists reject past traditions and express new interpretations of the world. Photography became an appealing medium as it associated with technology and modern life. Artists explored dreams, symbolism, and personal experiences to depict subjective realities.
Modernism an introduction.
- 1. Modern’ism An Introduction Jeevan Lal P N University of Kerala MVA Art History and Aesthetics RRV Centre of Excellence for Visual arts, Mavelikara, Kerala.
- 2. In the late 19th and early 20th centuries, the world was changing: Origins to Daimler-Motoren-Gesellschaft's 1901 Mercedes and to Karl Benz's 1886 Benz Patent-Motorwagen, which is widely regarded as the first gasoline powered automobile. Before 1918 no women were allowed to vote in parliamentary elections. On Sept. 27, 1905, Albert Einstein's paper “Does the Inertia of a Body Depend Upon Its Energy Content?”
- 3. “Make it new!” Ezra Pound. Art, literature and music all reflected this quote.
- 4. Society could not move forward in its present form. Progress of history and civilization was questioned. A series of movements………….. Prominent thinkers and precursors: Nietzsche(1844–1900) Marx (1818–83) Freud (1856–1939) Darwin (1809–82) Frazer (1854 -1941) Bergson (1859-1941 The era of diverse movements The Industrial Revolution, Darwinism, Marxism and sociopolitical changes altered ideas about the nature and subject matter of art in the later 19thcentury.
- 5. World War 1 During “The Great War”... More than 16 million people from both sides died More than 20 million people from both sides were injured Left Americans returning home from the war disillusioned with the “American Dream” Monday, January
- 6. T.S. Eliot wrote many of his poems, including “The Wasteland” and “The Love Song of J. Alfred Prufrock,” to express his disillusionment of the post-war world. “This is the way the world ends / not with a bang but with a whimper” - T.S. Eliot’s “The Hollow Men”
- 7. Art! In pre modern period. • Church (Religious) Patronage. • Royal (King) patronage.
- 8. The rise of Modern’ • At the end of the 19th century artists challenged the traditions of the past. • Artists were motivated to express their interpretation of the world and themselves in new ways, rejecting the approaches of their predecessors.
- 9. Modern Patronages • Art • Science • Morality • Society • Individual
- 10. autonomy ɔːˈtɒnəmi/ noun the right or condition of self-government. a self-governing country or region. plural noun: autonomies freedom from external control or influence; independence.
- 11. New methods of Art • Art for art sake • Consumer culture • Fascism
- 12. Art for art’s sake Albert Moore, "Midsummer," 1887, Oil on canvas, Russell-Cotes
- 13. Consumer Culture Posters and ads of 20’s Consumer Cuture.
- 14. Fascism Umberto Boccioni, A Futurist Evening in Milan (1911 Marinetti ‘s Futurist Manifesto- 1909 “Fascism was a key example of the development of the modern world, not a freak occurrence.” Adorno.
- 15. In the course of the 19th century a system of political parties was gradually established. The 19th century in Europe was marked by confrontation between the liberal - democratic forces and the conservative supporters of the medieval social order. However differences remained while the country was going through its first practical experience with this new form of government.
- 16. Artists living in the rapidly modernising world of late 19th-century Europe wished not only to depict modern everyday life, but also to reveal the emotional and psychological effects of living in a world in rapid flux.
- 17. GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5‟ 3” x 8‟ 6”.
- 18. JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2‟ 9” x 3‟ 8”.
- 19. HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, approx. 1‟ x 1‟ 5 1/2”.
- 20. HONORÉ DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2‟ 1 3/4” x 2‟ 11 1/2”.
- 21. 7Figure 29-2 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10‟ x 22‟. Louvre, Paris.
- 22. THOMAS EAKINS, The Gross Clinic, 1875. Oil on canvas, 8‟ x 6‟ 6”. Jefferson Medical College of Thomas Jefferson University, Philadelphia.
- 23. Where Do We Come From? What Are We? Where Are We Going?, 1897. Oil on canvas, 4‟ 6 13/ 16” x 12‟ 3”. Museum of Fine Arts, Boston (Tompkins Collection
- 24. With the publication of psychologist Sigmund Freud’s The Interpretation of Dreams (1899) and the popularization of the idea of a subconscious mind, many artists began exploring dreams, symbolism, and personal iconography as avenues for the depiction of their subjective experiences.
- 25. Max Earnst, Natural history, 1923
- 26. Salvador Dali – Birth of Liquid desires 1932.
- 27. The Industrial Revolution, a period that lasted from the 18th to the 19th century, in which rapid changes in manufacturing, transportation, and technology profoundly affected the social, economic, and cultural conditions of life. By the early 1920s, technology becomes a vehicle of progress and change, and instills hope in many after the devastations of World War I.
- 28. Louis Lozowick, Tanks, 1929, Lithograph
- 29. Hugo Gellert, Cover of new Masses, 1926
- 30. Theodar Scheel, Camera Eye, From new Masses. 1930.
- 31. The invention of the camera. Social and cultural change—on a massive, unprecedented scale.Like everyone else, artists were radically affected by industrialization, political revolution, trench warfare, airplanes, talking motion pictures, radios, automobiles, and much more—and they wanted to create art that was as radical and “new” as modern life itself. Willium Hendry Talbolt, The open Door, 1843, Salted paper print from a calotype negative.
- 32. Alfred Stieglitz, The Terminal, photogravure, 1892
- 33. For avant-garde artists, photography becomes incredibly appealing for its associations with technology, the everyday, and science—precisely the reasons it was denigrated a half-century earlier. The camera’s technology of mechanical reproduction made it the fastest, most modern, and arguably, the most relevant form of visual representation in the post-WWI era. Photography, then, seemed to offer more than a new method of image-making—it offered the chance to change paradigms of vision and representation.
- 34. HONORÉ DAUMIER, Nadar Raising Photography to the Height of Art, 1862. Lithograph, 10 3/4” x 8 3/4”. Museum of Fine Arts, Boston.
- 35. Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919-1920, collage, mixed media,90 x 144cm (Neue Nationalgalerie, Berlin)
- 36. Edword Muybridge, gallopping, human and animal locomotion. 1887
- 37. Umbo (Otto Umbehr), The Roving Reporter, photomontage, 1926
- 38. Open discussion What is/was Modern?