Art Deco was a style that flourished throughout 1910 to around 1935. Known for its advancements in the art of advertising, the style had begun to prosper around the start of World War I (1914 – 1919), and had further developed to become a combination of various styles, as well as a rebellion against the concepts of Art Nouveau. Originally known to be referred to as the Art Moderne style, the name was changed only after the period had already passed its peak. The origin of the name involved the idea of decorative arts, hence the shortened name Art Deco, but previously the style had taken root within the time period of Modernism. Modernists sought to abstract the form and move away from the naturalistic curves found within the Art Nouveau period,
What does the term aesthetic mean? How many different theories and concepts are there? What can be classified as aesthetic? The primary objective of this study is to introduce the meaning of the word aesthetic and give specific examples of aesthetic in art from period of Symbolism. Symbolism was an art movement originated in late nineteenth century in France as reaction to Realism and Impressionism. The leading focus of Symbolism was to
Art Deco as an art mover has had a lot of influence in the history of arts and was under the influence of the past art movements and different cultures, the present lifestyle and the societies of the life changing World War I and II. In design Art Deco was glamorous and in style it was luxurious. Major influences were the styles of art and the French crafts of high standards, different cultures and avant-grade art. It wasn’t just a normal style that reflected adventure, entertainment and leisure but a highly enjoyed taste by all classes of people with different minds after Second World War. It handed down its concepts of design and traditional and modern visual styles to younger generations while at the same time its styles influencing many present-day designers (Hillier & Escritt, 2004).
Modernists at the beginning of the century were faced by oppositional forces much like this young suitor. They strove to express their art in a much freer format then their predecessors. In trying "to avoid grandiosity and pompous themes" (Carroll, 185) they often explored simple themes in creative ways and always shocked the reader into thinking about life in a new way. This was a time of great change for America, yet the artistic expression, before the Modernists' intervention, remained cold and stale. An ...
The 1940’s through the 1960’s were not only some of the most socially and politically volatile times in American History, but were the catalyst for the numerous changes in which occurred in American Popular culture during these and following years. Instead of experiencing the trauma which resulted after World War I’s end, post-World War II United States returned fairly easily back to everyday life. Although there were some problems converting from a wartime to a peacetime economy in the late 1940’s, Americans took on the task and entered the 1950’s on a very auspicious high note. During the time period after World War II, the United States experienced many changes. Technology was abundant and the rate at which new inventions, industries and technologies came about was at a rate never seen before. From a television in every home to the first computers and ultimately space flight, these two decades after World War II were crowded with advancements. Some of the most dramatic changes came in the field of art. What was once a single, slow road of popular culture advancement branched off into thousands of smaller, faster changing roads. Some of these “roads”, which can be seen as changing styles, or movements, in art, whipped Americans through a roller coaster of change in what they saw around them.
They all stressed the importance of handmade, decorative, ornamental and functional designs. William Morris started the movement as a reaction against the machine and stressed the importance of working with your hands. He didn’t see the beauty in mechanically produced things and neither did Art nouveau artists and Modernista architects. They all collectively stressed the importance of new never before seen structures and styles that would inspire people and bring beauty to a world that was becoming bland and repetitive.
Green 1 Controlled Chaos: The Impact of Surrealism on the Art World The Surrealist movement that began in the 1920’s, was unlike anything the art world had ever seen before. While Surrealist painters borrowed techniques from previous “ism” movements, for example Impressionism and Cubism, the prominent painters of this movement had acquired a new, shocking style all their own. Surrealism, as an art movement, stressed the importance of expanding one’s mind in order to welcome other depictions of ‘reality’. Surrealist artists channelled their subconscious and their works reflected images of total mind liberation. Unlike the art movements before it, Surrealism came the closest to truly reflecting the human dreamlike state. While this essay will explore the purpose, techniques and lasting impact of the Surrealist art movement, it should be noted that this movement transcended the boundaries of the image arts world. The influence of Surrealism can be felt in the fields of literature, film, music and philosophy, among others. The Surrealist movement started in 1920’s Europe, with Paris as the unofficial basis for the movement. Surrealism is usually linked with the Dada movement. Dadaism attacked the conventional forms of aesthetics and it stressed how absurd and unpredictable the process of artistic creation was. They created pieces of ‘non-art’ to show, out of protest, how meaningless European culture had become (de la Croix 705). The Dada movement was declared dead around 1922 when it had become ‘too organised‘ a movement, but it planted the seeds for Surrealism (de la Croix 706). While the Dada movement provided the basis for Surrealism, Surrealism was lighter and much less violent than its predecessor. Dadaism provided a basis for Su...
"1920's Art." The 1920's - Roaring Twenties - The Nineteen Twenties in History. 2005. Web. 28 Feb. 2011. .
Impressionism is the name given to the art movement that changed art forever. Starting in France in the 1860's, Impressionism was considered a radical break from tradition.1 Through the work of artists including Édouard Manet, Claude Monet, Pierre Renoir, Camille Pissarro and Edgar Degas impressionism was born. Impressionists painted outside and focused greatly on light and its reflection. They painted quickly on primed white canvas with short visible brushstrokes and placed separate colours side by side letting the viewer’s eyes mix them. (Techniques uncommon to art at this time) Regarding their subject they again broke with tradition and painted anything they wanted including the modernity of Paris and the everyday life of its citizens. This new found freedom regarding subject along with unconventional techniques greatly displeased the L’École des Beaux-Arts where academic artists would have worked on subjects such as history, royalty and mythology.2 In contrast to the impressionists their work had a smooth varnished finish, showing little to no evidence of the artist’s presence. Having introduced Impressionism, I aim to in this essay analyse why the city of Paris is at the heart of the impressionist movement. Firstly by looking at how Paris helped create the impressionist movement and secondly how Paris fuelled it.
Antoni Gaudi and Victor Horta were both huge influences and designers in the Art Nouveau movement. Although they designed buildings that were very different in shape, size and overall appearance, they also had a lot of similar characteristics within their buildings. Some of the influences from the art nouveau movement were baroque, rococo, gothic rococo, and may others.
This group ran their own exhibition, and over time, became some of the famous names we know today, such as: Claude Monet, Edgar Degas, and Alfred Sisley. However, it was not all fame and fortune from the beginning. Most patrons who came to the exhibition were so used to the classic, disciplined style that they often criticized the artists’ works, calling them “unfinished” and offended that they could showcase “sketches” as finished pieces. But this is exactly what these artists embraced; letting go of formality and embracing the “freedom of technique” (“Impressionism”,
In a time when artistic freedom was severely limited, the French Impressionists tirelessly explored new artistic frontiers despite hostile encounters with the public, ultimately redefining the world’s perspective on art.
It was the Swing era of jazz music, big bands, and flappers, as well as the birth of the silent movie and silver screen charm where celebrities reveled in lavish indulgence. As a result of the considerable reforms in social, personal and economical matters of post World War 1, expensive, hand crafted and formal Art Nouveau lost its support and was replaced with a new design concept of mass produced modernism. The jumbled floral patterns, pastel colors and the overly decorative curls and designs of Art Nouveau were cleared down to angular geometric shapes, uncomplicated, vivid and striking colors, crisp shapes and stylish, elegant characteristics of the new style Art
The earliest forms of art had made it’s mark in history for being an influential and unique representation of various cultures and religions as well as playing a fundamental role in society. However, with the new era of postmodernism, art slowly deviated away from both the religious context it was originally created in, and apart from serving as a ritual function. Walter Benjamin, a German literary critic and philosopher during the 1900’s, strongly believed that the mass production of pieces has freed art from the boundaries of tradition, “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependance on ritual” (Benjamin 1992). This particular excerpt has a direct correlation with the work of Andy Warhol, specifically “Silver Liz as Cleopatra.” Andy Warhol’s rendition of Elizabeth Taylor are prime examples of the shift in art history that Benjamin refers to as the value of this particular piece is based upon its mass production, and appropriation of iconic images and people.