After 1945 There Was a Shift in Major Art Production From Group of Answer Choices

The Early 20th Century

The early on 20th century was marked past rapid industrial, economic, social, and cultural change, which influenced the worldview of many and set the stage for new artistic movements.

Learning Objectives

Place how industrial, economical, social, and cultural alter gear up the stage for the fine art movements of the early 20th century

Key Takeaways

Key Points

• The commencement two decades of the 20th century were marked by enormous industrial, economical, social, and cultural developments.
• International merchandise brought with it increasing growth and prosperity, along with a rise in poverty and slums in major cities. Urbanization, advances in science and technology, and the spread of appurtenances and information were markers of the times.
• With the outbreak of Earth State of war I in 1914, art became heavily influenced by the desire to abstruse life and escape the horrific possibilities of the homo condition. Artists began to question and play around with themes of reality, perspective, infinite, and time.

Key Terms

• urbanization: The modify in a country or region when its population migrates from rural to urban areas.

The kickoff two decades of the 20th century were marked by enormous industrial, economic, social and cultural change. International merchandise brought with it increasing growth and prosperity, forth with a rise in poverty and slums in major cities. Urbanization, architectural advances, increases in technology, and the spread of goods and data were markers of the times. Competition betwixt nations was reflected in attempts to evidence off advances in technology, business organisation, and architecture, among other things. Prominent scientific advancements of the time included Einstein's Theory of Relativity and Freud's development of modern psychology.

After the relative peace of most of the 19th century, rivalry betwixt European powers erupted in 1914 with the outbreak of the first Earth War. Over 60 million European soldiers were mobilized from 1914–1918 every bit countries around the world were chosen into the disharmonize. With the widespread death and destruction of the greatest war the world had ever seen, art increasingly became a ways for escapism, a way to abstract life and escape the difficulties of the human status.

A ration party of the Royal Irish Rifles in a communication trench during the Boxing of the Somme, July 1916: The death and destruction of World War I contributed to the desire of artists to abstruse life.

The economical and social changes of the early 20th century greatly influenced the Northward American and European worldview which, in turn, shaped the development of new styles of art. Artists began to question and experiment with themes of reality, perspective, space and time, and representation. Einstein'south Theory of Relativity contributed to the development of cubism, and developments in psychology profoundly influenced the bailiwick matter of a number of artistic schools of thought. The rapid rise of applied science impacted artists both straight and indirectly, from the invention of new artistic materials to subject matter and themes.

Fauvism

The Fauves were a group of early 20th century Modern artists based in Paris whose works challenged Impressionist values.

Learning Objectives

Contrast the characteristics of Fauvism, equally found in the work of Matisse and Derain, from those of its predecessor Impressionism

Key Takeaways

Key Points

• The Fauvist movement, led past Henri Matisse and Andre Derain, officially lasted for only four years: 1904–1908.
• Vivid colour, simplification, abstraction, and unusual brush strokes are hallmarks of the Fauvist style. Fauvist influences and references include Van Gogh's Post- Impressionism and the Neo-Impressionist technique of Pointillism.
• Gustave Moreau, a controversial professor at the École des Beaux-Arts in Paris, mentored several of the Fauves, including Matisse, and profoundly influenced their work.

Fundamental Terms

• Post-Impressionism: (Art) a genre of painting that rejected the naturalism of impressionism, using color and form in more expressive manners.
• pointillism: In art, the use of small areas of color to construct an image.
• Fauvism: An artistic movement of the last part of the 19th century that emphasized spontaneity and the apply of extremely bright colors.

Fauvism is the style of les Fauves (French for "the wild beasts"), a curt-lived and loose group of early on 20th century Modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued across 1910, the movement equally such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain.

Charing Cross Bridge, London by André Derain, 1906: The vibrant, surprising utilise of color in this work is feature of the Fauvist style.

Apart from Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, the Belgian painter Henri Evenepoel, Maurice Marinot, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault, the Dutch painter Kees van Dongen, the Swiss painter Alice Bailly, and Georges Braque (after Picasso's partner in Cubism).

The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a loftier degree of simplification and abstraction. Fauvism can exist classified every bit an extreme development of Van Gogh'due south Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in particular Paul Signac. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derain's work.

Gustave Moreau, a controversial professor at the École des Beaux-Arts in Paris and a Symbolist painter, was the motion's inspirational teacher. Moreau taught Matisse, Marquet, Manguin, Rouault, and Camoin during the 1890s, and was viewed by critics every bit the group'south philosophical leader until Matisse was recognized as such in 1904. Moreau's broad-mindedness, originality, and affirmation of the expressive potency of pure color was inspirational for his students.

Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure, and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts," which the artists and so appropriated every bit the championship for their motion. The painting that was singled out for special condemnation, Matisse's Adult female with a Hat, was subsequently bought by the major patrons of the avant-garde scene in Paris, Gertrude and Leo Stein.

Adult female with a Chapeau past Henri Matisse, 1905.: This painting was rejected past critics when initially exhibited, but was soon acquired by avant-garde collectors Leo and Gertrude Stein.

Primitivism and Cubism

Equally one of the most influential artists of the xx^th century, Pablo Picasso is widely known for his involvement in Cubism and Primitivism.

Learning Objectives

Place Picasso's unique importance to the development of both Primitivism and Cubism in the early on 20th century

Key Takeaways

Key Points

• 1906–1909 is referred to equally Picasso'south African menses, during which he produced Les Demoiselles d'Avignon and several other paintings incorporating primitivist elements.
• Picasso was inspired by African artifacts as well as the piece of work of Post-Impressionist artist Paul Gauguin.
• The formal elements of Les Desmoiselles d'Avignon bridged Picasso's African Menstruum and subsequent Cubist work.
• Picasso and Georges Braque co-founded the Cubist movement, one of the well-nigh influential movements in Mod Art.
• Cubism stressed basic abstract geometric forms that presented the discipline from many angles simultaneously.

Key Terms

• primitivism: Primitivism is a Western fine art movement that borrows visual forms from not-Western or prehistoric peoples, a exercise that was key to the development of modern art.

African Menses and Primitivism (1906–1910)

During the tardily 19th and early 20th centuries, the European cultural aristocracy were discovering African, Micronesian, and Native American art. African artifacts were being brought dorsum to Paris museums following the expansion of the French empire into Africa. The press was abuzz with exaggerated stories of cannibalism and exotic tales well-nigh the African kingdom of Dahomey. The mistreatment of Africans in the Belgian Congo was exposed in Joseph Conrad's pop book, Heart of Darkness.

Artists such as Paul Gauguin, Henri Matisse, and Picasso were intrigued and inspired by the stark power and simplicity of styles of "primitive" cultures. Around 1906, Picasso, Matisse, Derain, and other Paris-based artists had acquired an involvement in Primitivism, Iberian sculpture, African art, and tribal masks, in part due to the works of Paul Gauguin that had recently achieved recognition in Paris'southward advanced circles. Gauguin's powerful posthumous retrospective exhibitions at the Salon d'Automne in Paris in 1903 and 1906 had a powerful influence on Picasso's paintings.

The Moon and the Earth past Paul Gauguin, 1893: Picasso was profoundly influenced by Gauguin'south African inspired works like The Moon and The Earth.

In 1907, Picasso experienced a "revelation" while viewing African art at the ethnographic museum at Palais du Trocadéro. African fine art influenced Picasso'south painting Les Demoiselles d'Avignon (1907), especially in its treatment of the two figures on the right side of the composition. This painting is besides considered a protocubist work bridging Picasso'due south African and Cubist periods. Other works of Picasso's African Flow include Bosom of a Adult female (1907, in the National Gallery, Prague); Mother and Child (Summertime 1907, in the Musée Picasso, Paris); Nude with Raised Arms (1907, in the Thyssen-Bornemisza Museum, Madrid, Espana); and Three Women (Summer 1908, in the Hermitage Museum, Petrograd).

Les Desmoiselles d'Avignon past Pablo Picasso, 1907: This piece of work is influenced by primitivism and is considered to be one of the earliest examples of Cubist painting.

Cubism (1909–1912)

Cubism, established by Picasso and his colleague Georges Bracque, was marked by a revolutionary departure from representational art. In Cubist artwork, objects were analyzed, broken upwards, and reassembled in an abstracted form instead of beingness depicted from i viewpoint. Picasso, Braque, and other Cubists depicted subjects from a multitude of viewpoints to create a greater scope of context. Cubism has been considered the near influential fine art movement of the 20th century.

Violin and Candlestick by Georges Braque, 1910: Georges Braque, with Picasso, was ane of the founders of Cubism.

Cubism had a global accomplish as a movement, influencing similar schools of thought in literature, music, and compages. Particular offshoots across France included the movements of Futurism, Suprematism, Dada, Constructivism, and De Stijl, which all developed in response to Cubism. Early Futurist paintings have some commonalities with Cubism: the fusing of the past and the nowadays and the representation of different views of the discipline pictured at the same time, as well called multiple perspective, simultaneity or multiplicity. Constructivism was influenced by Picasso'south technique of constructing sculpture from separate elements. Other common threads betwixt these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Cubist Sculpture

Just as in painting, Cubist sculpture is rooted in Paul Cézanne'due south reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones). And just as in painting, information technology became a pervasive influence and contributed fundamentally to Constructivism and Futurism.

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. Marcel Duchamp was responsible for another farthermost evolution inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (merely as a painting), and that it uses the material detritus of the globe (as collage and paper mache in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object every bit a self-sufficient work of art representing just itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack equally a sculpture in its own right.

Other Forms of Cubism

Futurism and Constructivism adult from Cubism in Italian republic and Russia respectively.

Learning Objectives

Differentiate the artistic styles of Futurism and Constructivism from their Cubist origins

Key Takeaways

Key Points

• Cubist work represents an artistic subject from multiple perspectives simultaneously.
• Italian Futurism and Russian Constructivism are 2 movements that were greatly influenced by Cubism.
• Divisionism, a technique in which colour and light are deconstructed, is an important attribute of Futurist and Cubist work.
• Gertrude Stein, Wallace Stevens, Pierre Reverdy, and William Faulkner all applied Cubist principles to written piece of work.
• Cubist poets and writers as well influenced Dada and Surrealism.

Central Terms

• futurism: An early 20th century avant-garde art movement focused on speed, the mechanical, and the modern, which took a securely antagonistic attitude to traditional artistic conventions; (originated by F.T. Marinetti, amidst others).
• divisionism: In art, the use of modest areas of colour to construct an prototype.
• constructivism: A Russian motility in modern art characterized by the cosmos of nonrepresentational geometric objects using industrial materials.

Cubism

Cubism was an advanced art movement of the early on 20th century pioneered by Georges Braque and Pablo Picasso, and later joined by Juan Gris, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger. The motility revolutionized European painting and sculpture and inspired related movements in music, literature, and architecture. Cubism has been considered the most influential art movement of the 20th century.

Violin and Candlestick by Georges Braque, 1910: Georges Braque, with Picasso, was one of the founders of Cubism.

In Cubist artwork, objects are analyzed, cleaved up, and reassembled in an abstracted form. Instead of depicting objects from one viewpoint, the artist depicts the discipline from a multitude of viewpoints to represent the subject field in a greater context.

Constructivism

Constructivism was an artistic and architectural philosophy that originated in Russia in 1919. It entailed a rejection of the thought of autonomous fine art and was in favor of art as a exercise for social purposes. Constructivism had a great impact on modernistic art movements of the 20th century, influencing major trends such every bit Bauhaus and the De Stijl movement. It is difficult to isolate a particular aesthetic common to the Constructivist philosophy as it is so broad, just it tin can be roughly distinguished by its use of bright, assuming color and geometric designs, especially in graphic design.

The Get-go Working Group of Constructivists (including Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, and the theorists Aleksei Gan, Boris Arvatov, and Osip Brik) adult a definition of Constructivism as the combination of faktura: the particular material properties of an object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a means of participating in industry. Subsequently the definition would be extended to designs for two-dimensional works such every bit books and posters.

Proun Vrashchenia past El Lissitzky c. 1919: The geometric forms and bright colors in this painting are feature of the Constructivist aesthetic.

Futurism

Futurism was an Italian movement that emphasized and glorified themes associated with gimmicky concepts of the futurity such as speed, applied science, youth, and violence, besides as objects such as the car, the aeroplane, and the industrial urban center. In 1910 and 1911 futurist painters fabricated use of the technique of divisionism, which entails breaking light and color down into a field of stippled dots and stripes. Severini was the offset to come into contact with Cubism. Following a visit to Paris in 1911, the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analyzing energy in paintings and visually expressing their desired focus on dynamism, motion, and speed. The adoption of Cubism determined the style of much subsequent Futurist painting.

Abstract Speed + Sound, by Giacomo Balla 1913–1914: This is a seminal piece of work from the Futurist motion which was influenced by Cubism.

German language Expressionism

German language Expressionism refers to a number of related creative movements outset before WWI and peaking in Berlin during the 1920s.

Learning Objectives

Hash out the importance of the group Die Brücke and artists such as Kirchner, Kollwitze, Schiele, and Modersohn-Becker in the evolution of German Expressionism

Cardinal Takeaways

Key Points

• Kathe Kollwitz, Egon Schiele, and Paula Modersohn-Becker are among the contained German Expressionists who were unaffiliated with other Expressionist groups just nonetheless successful.
• Kollwitz is all-time remembered for her compassionate series, The Weavers.
• Many of Egon Schiele'southward contemporaries found the explicit sexual themes of his work disturbing.
• Paula Modersohn-Becker is among the showtime recognized female artists to create nude self-portraits.

Cardinal Terms

• Weimar Republic: The autonomous government of Germany from 1919 to the assumption of power by Adolf Hitler in 1933.
• expressionism: A movement in the arts in which the creative person does not depict objective reality, but rather a subjective expression of inner experience.
• Fauvism: An artistic movement of the terminal part of the 19th century that emphasized spontaneity and the use of extremely bright colors.

Expressionism

Expressionism was a modernist movement, beginning with poesy and painting, that originated in Germany at the first of the 20th century. It emphasized subjective experience, manipulating perspective for emotional event in order to evoke moods or ideas. Expressionist artists sought to express significant or emotional experience rather than concrete reality.

Expressionism was adult every bit an avant-garde style earlier the Commencement World War and remained pop during the Weimar Commonwealth, particularly in Berlin. The style extended to a wide range of the arts, including painting, literature, theatre, dance, film, architecture, and music.

Expressionist painters had many influences, among them Edvard Munch, Vincent van Gogh, and several African artists. They were also aware of the Fauvist movement in Paris, which influenced Expressionism'southward trend toward arbitrary colors and jarring compositions.

Die Brücke

In 1905, a group of four German language artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. Later members were Emil Nolde, Max Pechstein, and Otto Mueller. The group aimed to eschew the prevalent traditional academic style and find a new mode of creative expression, which would form a bridge (hence the proper name) between the past and the present. They responded both to by artists such as Albrecht Dürer, Matthias Grünewald, and Lucas Cranach the Elder, equally well as contemporary international avant-garde movements. As function of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Die Brücke is considered to be a key group of the High german Expressionist movement, though they did not use the discussion itself. The grouping is often compared to both Primitivism and Fauvism due to their use of high-keyed, non-naturalistic color to express extreme emotion like the Fauvists and a rough cartoon technique that eschewed complete abstraction, similar the Primitivists.

Der Blaue Reiter

A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Passenger) in Munich. The group was founded by a number of Russian emigrants, including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, and native German artists, such equally Franz Marc, August Macke, and Gabriele Münter. Like Die Brücke, Der Blaue Reiter is considered a major feature of the German Expressionist movement.

Within the group, creative approaches and aims varied from artist to artist, however, there was a shared desire to express spiritual truths through their art. Der Blaue Reiter equally a group believed in the promotion of modern fine art, the connection between visual art and music, the spiritual and symbolic associations of color, and a spontaneous, intuitive approach to painting. Members were interested in European medieval art and Primitivism, every bit well as the contemporary, not-figurative art scene in French republic. As a effect of their encounters with Cubist, Fauvist and Rayonist ideas, they moved towards abstract art.

Kathe Kollwitz

Käthe Kollwitz (1867–1945) was a German painter, printmaker, and sculptor whose piece of work offered an eloquent and often searing account of the human status, and the tragedy of war, in the first half of the 20th century. Initially her piece of work was grounded in Naturalism, and later took on Expressionistic qualities. Inspired by a performance of Gerhart Hauptmann's The Weavers, which dramatized the oppression of the Silesian weavers in Langembielau and their failed defection in 1842, Kollwitz produced a cycle of six works on the Weavers theme. Rather than a literal illustration of the drama, the works were a free and naturalistic expression of the workers' misery, hope, courage, and, somewhen, doom. The Weavers became Kollwitz' most widely acclaimed work.

Mother with her Dead Son by Käthe Kollwitz: This Kollwitz sculpture is a WWII war memorial.

Egon Schiele

Egon Schiele (1890–1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter in the early on 20th century. His work is noted for its intensity, as well as for the many cocky-portraits he produced. The twisted torso shapes and expressive line that characterize Schiele's paintings and drawings mark the creative person as an early exponent of Expressionism. Schiele was influenced by his mentor, Klimt, as well as by Edvard Munch, January Toorop, and Vincent van Gogh. Schiele explored themes not simply of the homo form, only also of homo sexuality. Many viewed Schiele's work every bit being grotesque, erotic, pornographic, or disturbing, focusing on sexual practice, death, and discovery.

Sitzender weiblicher Akt mit aufgestützen Ellbogen by Egon Schiele: Schiele'southward depiction of female person nudes scandalized his contemporaries.

Paula Mendersohn-Becker

Paula Modersohn-Becker (1876–1907) was a German language painter and i of the most important representatives of early Expressionism. In a brief career, cut short by her death at the historic period of 31, she created a number of groundbreaking images of great intensity. Modersohn-Becker studied briefly at the École des Beaux-Arts in Paris and was influenced by French post impressionists Paul Cézanne, Vincent van Gogh, and Paul Gauguin. On her terminal trip to Paris in 1906, she produced a series of paintings about which she felt keen excitement and satisfaction. During this period of painting, she produced her initial nude self-portraits—something unprecedented by a female person painter—and portraits of friends such as Rainer Maria Rilke and Werner Sombart.

Selbstporträt past Paula Modersohn-Becker, 1906: Female person nude self-portraits were uncommon subjects in this era.

Abstract Sculpture

Modern abstract sculpture developed alongside other avant-garde movements of the early 20th century like Cubism and Surrealism.

Learning Objectives

Discuss the evolution of abstruse sculpture through the periods of Cubism and Surrealism, naming the important works of Rodin, Picasso, Duchamp, and Brâncuşi

Primal Takeaways

Key Points

• Auguste Rodin is seen every bit the progenitor of modern sculpture.
• Picasso and fellow cubist artists adult new means of constructing works of art using collage, or sculptural assemblage using disparate materials. This is known every bit Cubist constructionism.
• Surrealism further expanded upon contemporary definitions of sculpture by introducing the concept of the " readymade."
• Constantin Brâncuşi rejected naturalism in sculpture too equally any form of representational art. His minimal, abstract artworks endeavor to describe the essence of an object.

Key Terms

• abstruse art: Fine art that is non intended to depict objects in the natural earth, but instead uses color and form in a non-representational way.
• naturalism: A creative movement that seeks to encapsulate reality or familiar experience in which subjects may receive highly symbolic, idealistic, or even supernatural treatment.
• coulage: Automatic or involuntary sculpture made by pouring a molten material (such every bit metal, wax, or chocolate) into cold water. Every bit the material cools it takes on what appears to be a random (or aleatoric) class, though the concrete properties of the materials involved may pb to a conglomeration of discs or spheres.

Rodin

Auguste Rodin, forth with artists like Edgar Degas and Paul Gauguin, developed a radical new approach to the creation of sculpture in the 19th century. Rodin was a naturalist, less concerned with monumental expression than with character and emotion. Parting from centuries of tradition, he turned away from the idealism of the Greeks and the decorative beauty of the Baroque and neo-Bizarre movements. His sculpture emphasized the individual and the concreteness of flesh, suggesting emotion through detailed, textured surfaces, and the interplay of light and shadow.

The mod sculpture movement essentially began during the Rodin exhibit at the Universal Exhibition in Paris in 1900. At this upshot, Rodin showed his Burghers of Calais, Balzac and Victor Hugo statues, along with The Thinker. Though all of these are representational works of art, Rodin's arroyo to form paved the way for increasingly experimental and abstract art.

The Thinker by Auguste Rodin: Rodin's experiments with form, visible in The Thinker, launched mod abstract sculpture.

Influence of Cubism

Cubist sculpture developed in parallel with Cubist painting, centered in Paris beginning around 1909 and evolving through the early on 1920s. The fashion is most closely associated with the formal experiments of Georges Braque and Pablo Picasso. Others were quick to follow Braque and Picasso'due south lead in Paris, including Raymond Duchamp-Villon, Alexander Archipenko, Joseph Csaky, Jacques Lipchitz, Henri Laurens, and Ossip Zadkine.

During his period of Cubist innovation, Picasso revolutionized the fine art of sculpture by combining disparate objects and materials into i sculptural work—the sculptural equivalent of collage in 2 dimensional art. Just as collage was a radical development in two dimensional art, so was Cubist construction a radical development in iii dimensional sculpture.

Head of a Woman by Picasso, 1909: Picasso was a pioneer in early 20th century Cubist sculpture.

Influence of Surrealism

The advent of Surrealism led to objects existence described as "sculpture" that would not have been termed as such previously. Surrealist sculpture made use of many of the same techniques as other forms of Surrealist fine art, such every bit games to tap into the unconscious mind such as coulage, a kind of automatic or involuntary sculpture fabricated past pouring a molten fabric into common cold h2o. As the cloth cools it takes on what appears to be a random form, though the physical properties of the materials involved may pb to a conglomeration of discs or spheres. The artist may use a diversity of techniques to affect the event. Involuntary sculpture is described by Surrealists as sculpture created by absent-minded-mindedly manipulating something, such equally rolling and unrolling a movie ticket, bending a paper clip, etc.

Duchamp

Marcel Duchamp had a deep impact on the evolution of abstraction in sculpture. He originated the use of the "found object" or "readymade" with pieces like Fountain (1917), a urinal that was displayed as art. Duchamp experimented a great deal with sculpture, creating readymades, assemblages, and kinetic works. His notion that anything tin can be fine art that an artist names art is an idea that has resonated throughout many historical and gimmicky movements. Though never considered himself to be a Surrealist, he was involved socially with many key members of the movement and his ideas were of influence.

Duchamp participated in the design of the 1938 International Surrealist Exhibition, which was held at the Galerie des Beaux-arts, Paris. The show featured more than 60 artists from different countries, including approximately 300 paintings, objects, collages, photographs, and installations. The surrealists wanted to create an exhibition which in itself would exist a creative human action, and André Breton named Duchamp, Wolfgang Paalen, Man Ray, Salvador Dali, and Max Ernst to help do then.

Brâncuşi

The work of Constantin Brâncuşi at the outset of the century paved the way for later abstract sculpture. In revolt against the naturalism of Rodin and his late 19th-century contemporaries, Brâncuşi distilled subjects downward to their essences equally illustrated past his Bird in Space series (1924). These elegantly refined abstract forms became synonymous with 20th century sculpture.

Brâncuşi'southward affect, with his vocabulary of reduction and abstraction, is seen throughout the 1930s and 1940s, and exemplified by artists including Gaston Lachaise, Sir Jacob Epstein, Henry Moore, Alberto Giacometti, Joan Miró, Ásmundur Sveinsson, Julio González, Pablo Serrano, and Jacques Lipchitz.

Fountain by Marcel Duchamp: Duchamp's appropriation of a urinal every bit a slice of art challenged the prevailing definition of sculpture.

Dada and Surrealism

Dada and Surrealism were multidisciplinary cultural movements of the European avant-garde that emerged in Zurich and Paris respectively during the fourth dimension of WWI.

Learning Objectives

Identify the origins, characteristics, and political ideologies of Dada

Key Takeaways

Key Points

• Dada was a political motion opposed to artistic and social conformity likewise as the capitalist forces that led to WWI.
• Dada artists worked in non-traditional media including collage, photomontage, and assemblage. Dada creative person Michel Duchamp pioneered the notion of the "readymade;" everyday objects appropriated for artistic purposes.
• Dada spread throughout Europe and North America following WWI; past the early on 1920s the middle of Dada action was Paris.
• Dada informed many of the major avant-garde movements of the 20th century century, including Surrealism and Social Realism.
• Surrealism began in the 1920s and had a lot in mutual with Dadaism.
• Surrealist works drew inspiration from intuition, the ability of the unconscious heed, and various psychological schools of thought.
• Surrealist artists and writers regarded their work as an expression of the philosophical movement, with the artwork existence an artifact.

Key Terms

• readymade: Everyday objects constitute or purchased and declared art. The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified as an antidote to what he called "retinal art." By simply choosing the object (or objects) and repositioning, joining, titling, and signing it, the object became art.
• collage: A composite object or collection (abstract or concrete) created past the assemblage of various media; specially for a work of fine art like text, film, etc.
• social realism: An creative motility that depicted social and racial injustice and economic hardship through unvarnished pictures of life'south struggles.

Dadaism

Dada was a multi-disciplinary art movement that rejected the prevailing creative standards past producing "anti-fine art" cultural works. Dadaism was intensely anti-war, anti-conservative, and held potent political affinities with the radical left. 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 state of war, and against the cultural and intellectual conformity—in art and more broadly in lodge—that corresponded to the war. Many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and encompass anarchy and irrationality.

The origin of the proper name Dada is unclear. Some believe that it is a nonsensical word while others maintain that it originates from the Romanian artists Tristan Tzara'due south and Marcel Janco's frequent utilize of the words "da, da," pregnant "yes, yes" in Romanaian. Another theory posits that the name "Dada" came during a meeting of when a pocketknife stuck into a French–German lexicon happened to point to dada, a French discussion for "hobbyhorse." Likely, the origin of the name Dada is another endeavour to devalue a system of logic, namely that of language.

Dada began in Zurich in 1916. Central figures in the Dada motion included Hugo Ball, Emmy Hennings, Hans Arp, and Raoul Hausmann, among others. The movement influenced later styles like avant-garde, and movements including Surrealism, Nouveau réalisme, pop art and Fluxus.

Plaque commemorating the birth of Dada movement: This plaque is from the Cabaret Voltaire, the outset venue where Dada artists showcased their work in 1916.

Dada was an breezy international movement with participants in Europe and Due north America that employed all kinds of media merely are known especially for collage, writing, photomontage and operation. Dadaists worked in collage, creating compositions by pasting together transportation tickets, maps, plastic wrappers and other artifacts of daily life. Dada artists too worked in photomontage, a variation on collage that utilized bodily or reproductions of photographs printed in the printing. In Cologne, Max Ernst used photographs taken from the forepart during World War I to comment on the war. Some other variation on collage used past Dadaists was assemblage, the assembly of everyday objects to produce meaningful or meaningless pieces of work, including state of war objects and trash.

When Globe War I ended in 1918, most of the Zurich Dadaists returned to their domicile countries, while some began Dada activities in other cities.

Dada poster from 1923: This poster for a Dada soiree references the medium of collage.

Similar Zurich, New York City was a refuge for writers and artists from Earth War I. Frenchmen Marcel Duchamp and Francis Picabia met American artist Man Ray in New York City in 1915. The trio soon became the heart of radical anti-fine art activities in the United states.

During this fourth dimension, Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared art) and was active in the Order of Independent Artists. In 1917, he submitted the now famous Fountain to the Order of Independent Artists exhibition. Initially an object of scorn inside the arts community, the Fountain has since go well-nigh canonized past some as one of the most recognizable modernist works of sculpture. The commission presiding over Britain'southward prestigious Turner Prize in 2004, for example, called it "the most influential piece of work of modern fine art."

Fountain by Marcel Duchamp: Duchamp's appropriation of a urinal as a piece of art challenged the prevailing definition of sculpture.

By 1921, most of the original Dadaists moved to Paris, where Dada experienced its last major incarnation. Inspired past Tristan Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances, and a number of journals.

While broad, the Dada movement was unstable. By 1924, artists had gone on to other ideas and movements including surrealism and social realism. Some theorists argue that Dada was the beginning of postmodern fine art.

Surrealism

Surrealism was a cultural movement starting time in the 1920s that sprang directly out of Dadaism and overlapped in many senses. Surrealist works drew inspiration from intuition, the ability of the unconscious listen, and various psychological schools of thought. The work oft features unexpected juxtapositions, non sequiturs, and elements of surprise.

Get-go and foremost, Surrealist artists and writers regarded their piece of work as an expression of the philosophical motion, with the artwork being an artifact. Leader André Breton was explicit in his assertion that Surrealism was above all a revolutionary movement. Surrealism adult out of the Dada activities during World War I and the most important heart of the motion was Paris. From the 1920s onward, the movement spread around the earth, eventually affecting the visual arts, literature, film, and music of many countries and languages, too equally political idea and practice, philosophy, and social theory.

As the Surrealists adult their philosophy, they believed that Surrealism would abet the idea that ordinary and representative expression was vital and important, but that expression must be fully open to the imagination. Freud'southward work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists every bit they developed methods to liberate their imaginations.

Like Dada, Surrealism aimed to revolutionize homo experience, in terms of the personal, cultural, social, and political aspects. Surrealists wanted to costless people from faux rationality, and also from restrictive community and structures. Breton proclaimed that the true aim of Surrealism was "long live the social revolution, and it alone!"

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/european-art-in-the-early-20th-century/

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