Cubism and Its Impact on Fine Art Photography - Essay Example

Cubism and Its Impact on Fine Art Photography Introduction Cubism as an art form occupies the central position of what is generally referred to as modern art aesthetics. The modern era is historical period stretching from around the mid 1860s up to the late 1970s. Nevertheless, the critical years of between 1910 and the 1930s were most transformative for documentary photography as a result of salient influences of Cubism. The dramatic epic from pictorialism that characterized the modern era is perfectly attributed to cubism and not photography as would conveniently be assumed. It is noteworthy that the arts during modern era were graced with the most momentous progress of civilizations, scientific and artistic impression and innovations manifested in cubist design skyscrapers and urbanism. Cubism is a form of art that expressed disassembled forms of representation or the characterization of objects in painting or sculpture as if they were assemblages viewed from multiple dimensions and elevations. Cubism is thought to have been inspired by the mathematical advances of the fourth dimension and elements of relativity as expressed by the theory of relativity in physics (Beauchamp 285). Later developments of the art are characterized by a wide variety and formations which later branched out into distinct art forms with distinct social and political motivations and ramification. Pictorialism as an art made it possible to portray realism though a distorted and optimized social lens for the public which aided the tremendous social and economic transition brought about by both enlightenment and industrial progress. Critics of photography never accepted the notion of simply freezing moments without giving them an artistic treat. Cubism on the same account also brought about the systematic and critical medium for the transition through the era of modernism by initiating the element of artistic communication through a valid method of mystery and heuristic materialism in imagery. The most influential contributors of the cubist art are Georges Braque and Pablo Picasso. These pioneers and others in the art movement inspired great social movements in architecture, music and literature. Nevertheless, cubism consisted primarily in a form of reductionism of images into segments of simple geometrical shapes and forms. Although the natural forms were retained in the overall view, it only emerged on the whole art work through a binocular vision perspective. These were basically shapes of spheres, cylinders and cones. The overall affect was revolutionary and the images gave a representation of four dimensional objects. Many art forms serve popular notions of social and political ends while a great many varieties also serve individual ends for varied types of people. All these renditions in plural produce useful renditions for the social and political circumstances in which they occur. It is noteworthy that cubism and the other closely related art forms of pictorialism were instrumental in producing the modern social order and still stimulate varied useful reflections to many coming generations. Cubism in Artistic Transitions in Pictorialism and Modernism Modernism is a cultural and artistic trend that predominantly characterized western societies in the early 20th century. Despite the roots in the late 19th century, modernism is mainly felt in the early 20th century and particularly after the First World War. The modernist sensibility of life and art was mainly characterized by many transformations in marriages, marriage forms, gender roles and the family set up. The lives of many artists characterized modernity because their industry was indeed the social kitchen for the fast paced outlook of life and its many transformations. Women for the first time demanded greater social and economic participation in the economy. Social life gradually transformed from merely living a household welfare to that of outdoor and leisurely travels. Many marriages were temporary because socialization itself accepted a more sensational touch with nudity and eroticism penetrating the private spaces of the household in either picture forms or paintings. Nevertheless, other trends of artistic forms were advancing amid the climate of economic and social despair chiefly introduced by the war experience in Europe. Photography as the very core of pictorialism is the best manifestation of social and cultural phenomena not only for the aesthetic reasons of enjoyment of art but also for historical reasons. Photography captures the very practical history and as Steiglitz demonstrated also manifests a higher coincidental expression of heightened realism when the artist engages in the development of desirable effects. In the predicament of the calamity of the world war and immense industrial transformation, photography played a crucial role because the artist would edit and bring out only the desirable emotional and symbolic realisms that were demanded to instil and legitimize modernity and guide reasoning. Furthermore, both in Europe and America, the proceedings of the turn of the century form the 19th to the 20th century were significant in material and historical terms. For instance, the grand match of democratic organization and industrial revolution in America during the time saw rapid transformations of the social order. It a time of great commercial development with robber barons and cutthroats of business investing hugely and transforming the substantive livelihoods of many Americans. Pictorialism involved essentially manipulating images to present unique effects instead of merely recording them. In Russell’s extensive survey (320), it was thus a unique art form that illuminated the art scene with strange representations of personalities and landscapes. The impact on culture can be said to have been astounding because many people did not readily understand the essential methods and as such the products of pictorialism sold in volumes. Moreover, the artists created strange essence through the photographs which gave messages and notions of the nature of great artistic character. Furthermore, the fact that most of the products appeared in black and white and sometime presented shadows of warm brown to deep blue, the producers were able to evoke emotional responses in the viewers which sometime tantalized their imaginations. After 1920s, pictorialism started to gradually decline until about 1945 when the technique was overrun by more advanced camera productions and video imaging. A great new era in photography was achieved through the development of the Kodak cameras. Apart from just capturing photos of important individuals and leaders, the art of photography which nonetheless required a wide variety of technical skills was highly developed. Throughout the development of pictorialism, artistic techniques always intruded. At one stage, the technique of ‘Tonalism’ was thought to have changed the course of development of pictorialism as a distinct art form. Nevertheless, Alfred Steiglitz always dominated in all such challenges to insist on the autonomy and superiority of photography. In particular, his insistence that the pictorial representations must be consistent of the atmosphere as a dominant component and as way through which critical effects of realism could be injected into the artificial modifications of pictures. He for instance insisted that it is through a careful representation of the atmosphere that the picture modified for specific effects can retain depth and a sense of distance. The greatest achievement of the movement of pictorialism is that they were able to produce delicate mysticism and varied suggestions that had never been shown in many forms of art. For instance, the notion that atmosphere gave nature its authentic naturalness was reflected in the photographs through tone (Barber & Peniston-Bird 50). All these advancements made pictorialism a sound art form for the embodiment of cultural and social notions of modernism. Modernism was created through illusions and relativistic preoccupations with truth and nature. After the era of enlightenment when truth was embodied as absolute, the modern era helped to infuse new energy into the social fabric by representing tantalising realism in a very authentic manner which defeated rigid truth notions and permitted a fluid interpretation of realism. Therefore, pictorialism made immense contribution to the progress of culture and civilization as can be readily observed through a historical lens. From the tragedy of the French revolution in Europe to the established order of democracy in the new American democracy, modernism was the chiefly social and artistic medium through which that transformation was achieved. Sexuality was another element of culture that brought a great new energy into the expansion of the social realm. Without the representation of sexual notions into the public realm, modernity is robbed of a crucial component. Nudity both in advertisements and in general artistic expression was reawakened by the photographic art forms of the era. Moreover, a great detail of precision would be manifested through pictorialism to a vivid extent. It is through such representations and cubism that the many dynamics of industrial progress was justified. The factory employee was in a position to earn salary and would be liberated to explore exotic entertainment escapades not only through music but also in the manner of diets and cookery. New clothing styles and fashion bloom was the result. In such a climate, photography and pictorialism did a great deal of work to popularize new fashions and justify new designs of fashion. Modelling as a part time preoccupation developed and film acting bloomed during the time. These elements of progress were effectively justified through pictorial representations much more than drawings and paintings alone would achieve. Alfred Steiglitz: The Transitions in Pictorialism and Modernism Steiglitz is best remembered for his efforts to popularize photography as a form of art. While running several art galleries in New York, he introduced European artists to photography. While Steiglitz was in Germany, he enrolled for an engineering class but later dropped it for a chemistry class where photography was being developed. He learned the art of making art from nature by simply taking photographs of landscapes and people. His initial recognition came as he won awards contributing articles and photographs to the Magazine, Amateur Photographer. On returning to New York, he rapidly gained popularity writing about photography in relation to the other art forms (Batchen & Bezzola 59; Fineman 93). After quitting his company, the Photochrome, he devoted time and effort to founding the Camera Club of New York. While producing the Camera Notes, a magazine of the grand organization, he achieved prestige as a great photographer. Steiglitz was a perfectionist and an ambitious artist who travelled far and wide to popularize photography as a legitimate form of art. Hover, it is recognisable that the legend immensely borrowed from cubism to edit and produce the pictures. In overall, he struggled with many art forms of photography and introduced photography as a legitimate art form. He led many of the initial organizations and clubs dealing in the publication and printing of photographs. Modernism was a natural outcome of many art forms with cubism forming the epicentre. Despite having a central influence in modern art aesthetics, cubism is thought to have essentially begun in 1907 in France with the works of Paul Cezanne first displayed at Salon d’Automne. Works of photography availed in the exhibitions and in the commercial sale of magazines and photographs throughout the United States and Europe where Steiglitz had a major impact established the artist as a having contributed the leading influence. In fact, he devoted so much time to the advancement of photography than he dealt his family obligations. It is through such devout effort that photography eventually gained much acceptability as a legitimate form of art. In addition, modernism has more to do with consumerism, urbanism and industrial production and manufacturing. These were new elements of socialization and they brought new challenges particularly due to the fact that the war period and the tensions before the war were escalating. Edward Steichen: Cubism in Pictorialism and Modernism Steichen was an American photographer whose works featured prominently in American fashion photography and art. He worked for numerous advertising companies and popular magazines as a photographer. His contribution to art and expression therefore is dominant in fashion and design with Cubism manifesting a leading influence. Nevertheless, the astounding approach in his works is what makes his contribution phenomenal. Steichen was later the director of the Naval Aviation Unit of Photography and produced an award winning documentary. The documentary “The fighting Lady” later won the Academy Award, elevating Steichen’s contribution and achievements to lofty heights. During the World War II, Steichen served in the office of naval aviation photography and later at the Museum of Modern Art built by the Rockefellers. Later in 1963, he won the presidential Medal of Freedom. He appeared on several shows and later died in 1973 after having achieved tremendous success in his work as a photographer. While at the office and out in his private practice, the artist brought unparalleled talent to the work of creating images that wore authentic though edited. It was this process that made pictorialism an astounding form of art because it not only made it possible to relieve immense social and economic sensations, but also introduced new sensibilities of imagination and cultural engagement. The modern sensation or sensibility was filled with both fantasy and real progress. For instance, most of the advert pictures depicted working class women and middle class families exhibiting progressive livelihoods. The pictorialism and other embodiments of that sort of art tended to portray utopia or such ideals. These were social and economic projections coined in the aftermath of the destruction of the world wars. Pictorialism can be regarded to have played a key role in popularizing a set of social and economic trends among the citizens regarding the war. For instance, the participation of women in the armed struggle, the transformation of labour arrangements to absorb women into salaried occupation and other social trends were advanced through the use of pictures. Therefore, modernism is seen to have emerged from pictorialism to some extent and as a direct consequence of the works of specific artists. Cubism and the Modernist Aesthetic The modernist aesthetic can be generally regarded as the notions of modern renditions of cultural sensibilities, attitudes and lifestyles. Cubism which is an art form inspired by the representation of three dimension art work was central to a lot of the art forms of the modern era and actually formed its basis from a social inspiration perspective. Furthermore, art is sometime produced by the deep laid feelings and social preoccupations of a people at a given time. Both in Europe and America, the events of the turn of the century form the 19th to the 20th century were momentous in material and historical terms. For instance, the grand match of democracy and industrial transformation in America during the time saw rapid transformations of the society. Skyscrapers were defining the New York skyline and the city reverberated with a new sensation of urbanism. It was a time of great corporate development with robber barons and cutthroats of commerce investing hugely and transforming the material livelihoods of many Americans. It was also a time a few households made huge fortunes and others driven to the very edge of economic despair and disillusionment. Modernism in its majestic economic and social connotation was born in the very storm of these transformations and art acted as the very pivot. The essential contribution of the modernist aesthetic was in the critical aspect of faking reality but also making the fake representation authentic not only for social or cultural goals but also with the intentionality to create heuristic realism. Both Alfred Stieglitz and Steichen made a dedicated effort in the light of the social and political challenges of their time to achieve just the desirable outcome. The urban landscape was rapidly changing and social phenomena demanded effective engagement and control. It was through various forms of art that many perspectives of social outcomes would be infused into the cultural mainstream. The pop culture was the outcome of this progress in the musical scene and musicians like the beetles made a huge contribution to a loosening up of social and political tensions within the body of society. According to Higgott &Wray (57), in the field of architecture, the construction of story houses and skyscrapers was the expression of cubism. Without art, the utility and acceptability of such buildings and arrangements in the society would have demanded much more to achieve. Modernism characterised many diverse aspects of city or urban livelihoods. Such life situations across the western world were moulded through the architecture of industrial advancement chiefly as a result of the scientific and technological innovations and revolutions. Art on the other hand, found technologies of printing and photography as well as architecture which defined the sort of music, art forms and even made meaning to life. Both Alfred Stieglitz (1864–1946) and Edward Steichen made monumental contributions to the industry of art and media particularly as they graced the war experiences and fashion. While Edward Steichen concentrated more in the war photography, Steiglitz concentrated mainly on photography for artistic expression (Fineman 93). They however both represent the idealisms and rudiments of modernism in its very primary forms. In addition, all these developments made pictorialism an authentic art form for the personification of both cultural and social notions of modernism. Modernism was fashioned through illusions and relativistic obsession with a new form of truth and temperament. According to Nilsen (98), after the era of enlightenment when truth was embodied as absolute, the modern era helped to infuse new energy into the social fabric by representing tantalising realism in a very authentic manner which defeated rigid truth notions and permitted a fluid interpretation of realism Conclusion Every civilization and social order represents themselves through their art. Art is the mouthpiece of culture and therefore, modernism without cubism as its central art form is defiled. Civilizations are incomplete without the words and literature that define them and give them meaning. Cubism was expressed through varied forms of photography, and the ideas of urbanism of the skyscraper design in New York City. Art forms are incomplete without imagery and pictures that affirm them. It is through cubist photography and the representation of live pictures that the modernist sensibility was expressed. Even though video and the moving picture industry later dominated the modern livelihoods and culture, it was cubist photography generally that still yield the social and cultural sensibility of modernism. In addition, the artists Edward Steichen and Stieglitz were always at the very centre of events on both sides of the Atlantic and thus their works combined capture the very climax of cubist modernism. In addition, modernism had a lot to do with consumerism on the front of lifestyles, urbanism in settlement patterns and industrial production and manufacturing in commerce. These were new elements of socialization and they brought new challenges particularly due to the fact that the war period and the tensions before the war were escalating. It could be seen through a historical lens that pictorialism was key to a huge enterprise of social and political transformation through the era. This was possible because through pictorialism and the broadcast media, new and fresh notions of truth and realism would be constructed which resolved the tensions of enlightenment and rigid philosophies born in Europe during the time. Works Cited Barber, Sarah, and Corinna Peniston-Bird, eds. History beyond the text: a student’s guide to approaching alternative sources. Routledge, 2013. Batchen, Geoffrey, and Tobia Bezzola. The Original Copy: Photography of Sculpture, 1839 to Today. Ed. Roxana Marcoci. The Museum of Modern Art, 2010. Beauchamp, Cari. "Fan magazines and other primary or archival materials are cited in the text of individual essays." Idols of Modernity: Movie Stars of the 1920s (2010): 285. Fineman, Mia. Faking it: Manipulated Photography before Photoshop. Metropolitan Museum of Art, 2012. Higgott, Andrew, and Timothy Wray, eds. Camera Constructs: Photography, Architecture and the Modern City. Ashgate Publishing, Ltd., 2012. Lord, Russell, et al. "Reviews Publications Received." History of Photography 34.3 (2010): 314-323. Men, Now Praise Famous. "James Agee, Walker Evans, and the Dialectic of Documentary Representation in Let Us." The Past Is Not Dead: Essays from the Southern Quarterly 48 (2012): 342. Nilsen, Micheline. Architecture in Nineteenth Century Photographs: Essays on Reading a Collection. Ashgate Publishing, Ltd., 2011. Read More