Visual Art and Modernism - Essay Example

Visual Art and Modernism Name: Course: Institution: Date: Visual Art and Modernism Introduction The world of visual art has been used as a platform for artists to express their ideas and the values they hold towards the society. This, over the years necessitated the development of different theories that could be used in the development of effective understanding of the society through art. By late 19th century and early 20th century, modernism was introduced as a radical school of thought. Its evolution and that of the Avant-Garde were enhanced by their desire to reject and challenge anything that was considered traditional. This is a sense was aimed at finding new ways that could be used in communicating ideas about the modern world. The main objective of this paper is to assess the term modernism as one of the most prevalent terminologies used in the 20th century. The paper will also assess different elements in the 20th century that contributed to its development with reference to modernistic tendencies in visual arts. Evolution of Modernism By late 1890s a group of thinkers began emerging with an assertion that it was necessary to put away previous norms and values entirely instead of engaging them in in-depth revision attempts to ensure that they fit the prevailing conditions and the amount of knowledge that was being developed in the society (Scholes 2006, p. 19). In art, the growth of modernism was parallel to the connotations that were used in the definition of the works of art in the 19th century (Kemp 2000, p. 494). Developments such as the Theory of Relativity in Physics, which focused on the integration of industrialization and internal combustion in engines increased the roles attributed to social sciences in the development of public policy, modernist in visual arts were of the arguments that if scientists were questioning the nature of reality and if the restrictions that had been operational in the functioning of human activities were failing then it was necessary for art to undergo radical change (Thompson1990, p. 99). This explains why in the first 15 years of the 20th century different genres of art such as artists, musicians and writers broke away from traditional means of organizing literature, visual art and music (Liska 2007, p. 449). When the revolution in art is understood from the perspective of Avant-garde, it is possible to argue that common norms were being replaced with more radical approaches to understanding of the society (Scholes 2006, p. 22). This was only possible through the development of revolutionary approaches towards initiation of change, which was critical for the development of strong political and social institution (Bann 2007, p. 150). One of the outstanding features that characterized visual art was the use of abstraction in the production of different works of art. During the years of modernism, abstraction was merged with certain aspects of realism to simplify and change shapes and forms in ways that were considered satisfactory to the artist (Thompson1990, p. 100). Revolution and the evolution of modernism The social order that had previously characterized the society was creating unease and tension among members of the society. This was as demonstrated in the 1905 Russian Revolution. The agitation for radical parties was also manifested in every medium that was considered artistic with the intention of radically simplifying or rejecting previously held practices (Thompson1990, p. 103). Visual artists such as Pablo Picasso and Henri Matisse were shocking the society with their open rejection to traditional perspectives that were used in structuring visual art. This was considered a revolution in the world of art since artists such as Picasso had taken radical steps that even the impressionist had not attempted. The introduction of a new and liberal way of structuring art was considered as some form of development that was giving new meaning to the term modernism (Bann 2007, p. 151). This is because through such radical approaches that were revolutionary in nature modernism was perceived to be embracing discontinuity while ta the same time rejecting smooth change in every field. Pablo Picasso, for instance, in his painting Les Demoiselles d’Avigon of 1907 presents a reinvention of the art of painting. Figure 1.0: Pablo Picasso, Les Demoiselles d’Avigon (1907) This painting is considered a revolution in the world of visual art because it depicted that which was considered graphic according to the existing standards of structuring painting. Picasso used his painting in asserting the need for artists to be liberated from the ill structured approaches to the development of art. This in the view of Picasso was the only away through which artists could demonstrate their creativity and ensure that the works were relevant to the prevailing societal conditions (Scholes 2006, p. 32). The desire by Picasso and other modernist to break social norms in the view of Charles Darwin was not because of their ignorance or their childish nature but it was due to the essential nature of the human animal, which is often characterized by the need to survive and engage in initiatives aimed at personal development (Bann 2007, p. 153). Modernism when understood from the works of radical artists was in approval of disruption, rejection or an attempt to move beyond simple realism in fields such as art and literature. this was the aspect that differentiated modernist from 19th century artists who held the belief that change ought to be smooth, it ought to be evolutionally and gradual instead of revolutionary (Thompson1990, p. 105). The 19th century artist despite the absence of radicalization in them they appreciated works of art that demonstrate progress and valued members of the society who produced art that respected the values and norms of the society while critiquing those that were in violation of the said norms (Vergo 2010, p. 300). While still progressive in nature, modernism perceived traditional social arrangements and traditional norms as a hindrance to progress. This explains why the artists recast all these norms by overthrowing all that was operational and introducing new ways of explain social order in society (Bann 2007, p. 152). Futurism, which is considered as an element of modernism, played a contributory role in 1909 to develop a manifesto that brought ideas, which were aimed at provoking and gathering followers. This means that modernism was only a larger part of social movements that was aimed at ensuring that any aspect that was held as a norm was rejected and in its place a new approach was developed (Grace & Smith 2005, p. 101). War and the evolution of modernism Prior to the First World War, Modernism was an ideology that enjoyed minority taste in Europe and in other countries. The need to boost the popularity o the movement necessitated the rejection of national artistic values and the adoption of the ideas of an international movement. Resulting ideologies such as Leninism and cubism were examples of movements, which found adopters beyond the countries of origin (Thompson1990, p. 110). Every modernist in charge of a movement stressed on the need to use new methodologies in the production of new results. New approaches to artistic works, introduction of new movies in theatres and exhibitions were demonstrations to the public that the world was in the process of embracing change (Kemp 2000, p. 496). There were hostile reaction especially by those who were in opposition with the movements as elements of visual art such as paintings were spat on, riots were organized against the movement as some political figures denounced the modernistic ideology as immoral and unwholesome (Bann 2007, p. 153). In the years following the First World War, had won its place as a major ideology in the development of the society although by this time the ideology had changed. There were reactions against the pre-world war one, which lay emphasis on its continuity while rebelling against aspect that seemed excessively irrational, ill manner and emotionalist (Vergo 2010, p. 295). In the field of visual art there were disputes concerning the essence of the public, the relationship between art and the audience and the role that art played in the society. This was a demonstration that modernism was composed of a series of contradictory responses to every situation. This led to the understanding that any attempt to fight universals principles was always aimed at ensuring that society was not static but rather one characterized by a plethora of ideas of growth and development (Grace & Smith 2005, p. 102). By 1930, a second generation of modernism had emerged considering that the ideology had become a popular culture. Urbanization had become a common practice and the population began looking as modernism as a source of ideas that could be used in dealing with emerging challenges of the day (Vergo 2010, p. 290). Modernism became a popular culture, which was not a derivative of high culture but of its own realities fueled by modernistic innovations. This period saw with it the development of different aspect of art as magazines such as The New Yorker began publishing modern and new ideas as propounded by younger writers. In addition, modern ideas in visual art were appearing in commercials and logos (Grace & Smith 2005, p. 104). The famous London underground logo for instance that had been designed in 1919 by Edward Johnston was viewed as one of the earliest examples of the need to develop easily recognizable, clear and memorable visual symbols (Bann 2007, p. 155). Visual arts such Composition No. 10 by Piet Mondrian was used as logos to help give meaning and provide explanations to that which considered abstract. Figure 2.0 Composition No. 10 by Piet Mondrian 1939-42, oil on canvas Another influential element in the second generation of the 20th century was Marxism. Pre-World War One was viewed as a primitive and irrational aspect of modernism. In the years following the First World War ideologies such as fascism, effects of war and the great Depression were major contributors to radicalization of the society (Vergo 2010, p. 300). One of the most visible changes following this radicalization was the adoption of modern technology in daily life. Technologies such as telephones and automobiles were viewed as the new form of social life and manners. Being the leading ideology in the description of social order, modernism was used in producing inquiries into different aspects of sexuality, family and the need to have fewer children. These inquiries made the ideology more popular and practical in the society (Grace & Smith 2005, p. 105). Conclusion Modernism was an ideology founded on the belief that through rejection of tradition it was possible to radically discover new ways of making art. The most pragmatic and popular motive of modernism was the absolute rejection of the norms and traditional practices and the introduction of completely new forms. In early and mid-20th century, modernism became a popular culture, which was not a derivative of high culture but of its own realities fueled by modernistic innovations. While still progressive in nature, modernism perceived traditional social arrangements and traditional norms as a hindrance to progress. This explains why the artists recast all these norms by overthrowing all that was operational and introducing new ways of explain social order in society. References Bann, Stephen. 2007. Ways Around Modernism. London: Taylor and Francis. pp.150 Grace, Virginia & Smith, George. 2005. Forms in Modernism: A Visual Set : the Unity of Typography, Architecture & the Design Arts. New York, NY Watson-Guptill, p. 101 Kemp, Martin. 2000. the Oxford History of Western Art. Oxford: Oxford University Press, p. 494 Liska, Vivian, 2007. Modernism. Amsterdam: John Benjamins, p. 449 Scholes, Robert, 2006. Paradoxy of modernism. New Haven: Yale University Press. Thompson, James. 1990. 20th Century Theories of Art. Ottawa: Carleton University Press, p. 99 Vergo, Peter. 2010. The music of painting : music, modernism and the visual arts from the Romantics to John Cage. London: Phaidon, p. 300 Read More