Visual Art, Photography and Fashion in the First Half of the 20th Century - Report Example

Visual Art, Photography and Fashion Name: Course: Institution: Date Visual Art, Photography and Fashion Introduction Early 20th century was an era of modernism. This period was characterized by trends whose objectives were to affirm the power of man in making, improving and reshaping their environment using technological knowledge, practical experiments and scientific knowledge. Modernism was therefore concerned with the political, cultural and artistic movements that were rooting for different changes in the westerns society at the beginning of the 20th century (Entin 2007, p. 34). It was therefore through the works of artist in areas such as visual arts, fashion and photography that the Western society was able to embrace change and development in different spheres of the society. One of the major developments in the 19th century was photography, however, its popularity and impact as an example of art was relatively minimal until the 20th century (Museum Ludwig Cologne 2007, p. 16). During this period photographs became Meta signs that could be used as images in themselves or as images about other things. This made it possible to conceive a photograph as an art and as an element about art. Furthermore, the depiction of photographs in the 20th century was as commodities in themselves or as mediums used to commoditize others. The main objective of this essay is to engage in a series of critical discussions about the many inter-connections between the fields of visual art, photography and fashion in the first half of the 20th century. Photography as visual art and as an element of visual art Photography, just as other types of visual art, underwent a series of changes in the first half of the 20th century. One of the unique elements of this approach to art was that it transformed the perception of the medium used in the production of art. Visual artists used their works of art in expressing their views and education members of the public on different aspects related to works of art in the society (Entin 2007, p. 30). With the invention of photography in late 1880s, the foiled of art had received another r medium that could be used in communication different aspects about the environment. In sciences for instance, photography was perceived as an essential element considering that photographs could be used in the documentation of places, people and events. In addition, photographers were able to create portfolios of photographs and use them in measuring animal and human locomotion. This is because photography had the ability to record movements that were too rapid for the eyes to observe. It was through the use of a camera that new elements in science and art could be studies (Museum Ludwig Cologne 2007, p. 28). The main objective of any visual art is to use creativity in representing abstract real phenomenon in the society. Through such representation, art can be used in proving an understanding of the hope, oppression of disappointments among members of the society. One of the major contributions of photography in the development of art in early 20th century was the introduction of a medium that could replicate the exact phenomenon of an object in question (Lucie-Smith 1996, p. 18). Despite this development, photographers faced the challenge of being recognized as artists because they used a machine in their production rather than creativity and artistry. Prior to their recognition photographers were excluded from art because their products were produced by just pressing a button and this mechanical technique of producing art work was considered as effortless hence less of an art(Entin 2007, p. 46) . Visual art was deemed as a product of imagination, craft and skill. This was in agreements with the objectives of photography because it required skills and creativity to capture elements in the environment for representation. Photography was therefore used in the reproduction of details from nature. However, questions were relayed about the credibility of photography in situations where the negatives were manipulated or if the photographs were retouched (Museum Ludwig Cologne 2007, p. 29). To prove the credibility of photographs as works of art, amateur photographers together with elites in the 20th century formed group and societies challenges negative conceptions about photography. They promoted the element of art photography by producing low-contrast and war toned images. Such images were aimed at expressive the ability of photography to embrace imagination and originality in the production of photographs. Photography form this perspective was a work of art considering that photographers had the responsibility of not only representing the exact image in the environment but also using the photographs in expressing their concerns about the society and the environment (Lucie-Smith 1996, p. 21). Photographs improved the nature and the quality of visual art because they could be art in themselves or they could be about art. Early 20th centre was characterized by industrial revolution, warfare, political revolution, and the introduction of radio and talking motion pictures. Artists just like scientist were of the desire to create an art that was not only radical but also new in modern art. Technology in 1920s for instance became a vehicle of progress. This explains why for Avant-grade artists, technology was considered as an appealing methodology of embracing technology (Entin 2007, p. 81). In the world of art, photography provided a new and faster way of creating images and a chance to change the models of vision and exemplification. In August Sander’s work of photography Secretary at a radio station and Disabled Man, the artists attempts a systematic demonstration of modern types of people as an approach towards understanding the notions of professionalism and other constructs of identity. Prior to the popularity of photography, portraits were elements of visual art that were used in the representation of different individuals in the society (Entin 2007, p. 127). Through photography, Sanders engages in eth transformation of the practice of portraiture with his photographs. In addition, through such images it became easier to develop a relationship between social constructs in the society and the behaviour of personalities. August Sander, Disabled Man, 1926 and Pastry Chef, 1928 It is through photography that it became easier to communicate about visual art. This is because the potential for photography was to capture an individual moment in time. This enables photographers to freeze, hold and recreate images. This was the source of photojournalism. It embraced the sense of accuracy, spontaneity, and ephemeral correspondence to the racing tempo that defined modern culture (Lucie-Smith 1996, p. 26). An additional objective of visual art in early 20th century was to facilitate the transformation of the perceptions of man about the world. The introduction and popularity of photography was a major contributor to this understanding considering its ability to demonstrate the role of modern technologies in transforming the perceptions of man about the world and communicating within it. Through photomontages such as The Roving Reporter by Umbo, photographers had developed a technique of altering and enhancing senses. Photography from this perspective therefore offered a medium for the transformation of visual art in relation to the changes in the world (Museum Ludwig Cologne 2007, p. 33). Photography and fashion in the first part of the 20th century The work of art is to provide a platform for artists to engage in the expression of the inner self. Fashion in the first part of the 20th century was considered as an approach through which designers were able to express their extraordinary inner self in their creative designs. In Paris, for instance the field of fashion design was perceived as an art. This was because designers just like artists during this period had studios, clients and exhibited their fine art collections in the form of designs (Baudot 2006, p. 24). The gallery opening in Paris in early 20th century was a demonstration of the intimacy level between art and fashion. The dresses for such galleries were chosen carefully and the designers used these exhibitions as platforms of communicating to their audience more details about their dresses (Ruhrberg and Ingo 2000, p. 488). The period following the First World War was characterized by the emergence and popularity of surrealism. This school of thought was based on the desire of embracing principles, ideals and practices of producing artwork or literature through unnatural juxtapositions and combinations. The relationship between surrealism and fashion in early 20th century was in the ability of the transferring the concept of ordinary objects and unusual landscape to fabric painting (Baudot 2006, p. 26). This gave the artist the freedom of making pieces of art embracing different concepts related to their understanding of the environment. The main contribution of surrealism in relation to the development of fashion and photography was in its ability to identify the relationship of the real and the unreal. Through such an approach, it became possible for different elements of fashion and photography to merge efforts in the production of fashion magazines and fashion commercials (Lucie-Smith 1996, p. 45). Artists such as Cecil Beaton were influential in the depiction of how photographs could be used as commodities or in commoditizing other elements especially in the world of fashion. Her popularity in demonstrating the role of photography as an element of art in fashion was in her ability to merge American fashion and European styles through her contributions in the Vogue magazine (Watson 2003, p. 200). Fashion designers such as Beaton used photography in capturing images of their designs and communicating to their audience through the magazines. This was considered as one way through which American women were able to find out about fashion derived from other communities especially within Europe (Baudot 2006, p. 45). Photography was therefore viewed as an essential element in fashion since it provided a marketing platform for designers. In addition, fashion magazines were also an expression of the level of progress in the industry. Through sharing of photographs in fashion magazines, it became easier for designers to embrace diversity in the world of fashion (Lucie-Smith 1996, p. 44). The French Haute Couture culture gained dominance at the merger of photography and fashion. This is because already established textile industries such as those in the US could not resists progress an innovation in the French fashion industry considering that innovation and the ability to communicate through photography influenced creativity in fashion design. From this perspective, it is possible to recognize fashion inspired by photography as an element of art. This is because it was used in altering the throughs o the audiences and other designers in matters related to the progress of fashion (Baudot 2006, p. 46). The introduction of photography as a modern approach to art and the progress made by avant-garde movements had an effect on designs. Ideologies such as cubism were one of the bold movements affecting the creators of textile and fashion in relation to their ability to express their level of creativity through photography (Warren 2006, p. 17). During this period, the artist needed a radical resolution that they could use in understanding their perceptions and improve the available alternatives in terms of the existing types of art. One of the main contributions of cubism was its ability to deviate from traditional approach to the creation of visual art by blending an object with its surrounding. Photography thrived in cubism because it provided a relatively faster way of making picture in which the role of the artist win the production of pictures was relatively invisible (Ruhrberg and Ingo 2000, p. 487). Elsa Schiaparelli Tears DressDali (Circus 1938) The role of photography in fashion was to enhance the popularity and the commercialization of works of fashion. The usage of this mechanical approach towards the production of artwork created a new way through which designers and artists represented their work. Photography enabled fashion designers to work with the producers of theatrical plays, which were later transformed into fashion shows (Lucie-Smith 1996, p. 166). The main objective of these shows was for fashion designers to disclose their work to the public. The role of the designers in relation to the production of artwork was to embrace creativity and imagination in expressing their desires in terms of dresses. Photography played its artistic role through the representation of the works of artists in the form of pictures. Through an in-depth articulation of the perception of art as an element of fashion, it is possible to analyse clothing as functional objects with an excellent function with the purpose of adornment, the elevation of self-enhancements, protection and as objects that satisfy the aesthetic needs of man. Paris French active (1930s) Gala wearing the shoe-hat created by Elsa Schiaparelli The role of photography in fashion was emphasized through the introduction and the popularity of editorial design magazines. This is because the photographers embraced graphic design in the manipulation of pictures to ensure that they communicated the desired artistic impression to their audience. Through the works of Alexey Brodovitch, it was easier to understand the role of photographers in the 1940s (Lucie-Smith 1996, p. 140). Through his work on how to merge photography and fashion in the production of exemplary artwork, a group of photographers and designers believed in visual vitality and immediacy as the most prudent expressionist approach in understanding different concepts that define the role of photography as an art emerged (Lucie-Smith 1996, p. 140). Conclusion One of the unique elements of photography as an approach to art was that it transformed the perception of the medium used in the production of art. Visual artists used their works of art in expressing their views and education members of the public on different aspects related to works of art in the society. To prove the credibility of photographs as works of art, amateur photographers together with elites in the 20th century formed group and societies challenges negative conceptions about photography. They promoted the element of art photography by producing low-contrast and war toned images to express imagination and originality in the production of photographs. Fashion designers used photography in capturing images of their designs and communicating to their audience through the magazines. The role of the designers in relation to the production of artwork was to embrace creativity and imagination in expressing their desires in terms of dresses. Photography played its artistic role through the representation of the works of artists in the form of pictures. References Baudot, François. 2006. Fashion: the Twentieth Century. New York: Universe. Entin, Joseph B. 2007. Sensational modernism experimental fiction and photography in thirties America. Chapel Hill: University of North Carolina Press. http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=461027. Lucie-Smith, Edward. 1996. Visual arts in the twentieth century. New York: Harry N. Abrams. Museum Ludwig Cologne. 2007. 20th century photography. Köln: Taschen. Ruhrberg, Karl, and Ingo F. Walther. 2000. Art of the 20th century. Köln: Taschen. Warren, Lynne. 2006. Encyclopedia of twentieth-century photography. New York: Routledge. Watson, Linda. 2003. 20th century fashion. Buffalo, N.Y.: Firefly. Read More

This is because photography had the ability to record movements that were too rapid for the eyes to observe. It was through the use of a camera that new elements in science and art could be studies (Museum Ludwig Cologne 2007, p. 28). The main objective of any visual art is to use creativity in representing abstract real phenomenon in the society. Through such representation, art can be used in proving an understanding of the hope, oppression of disappointments among members of the society. One of the major contributions of photography in the development of art in early 20th century was the introduction of a medium that could replicate the exact phenomenon of an object in question (Lucie-Smith 1996, p. 18). Despite this development, photographers faced the challenge of being recognized as artists because they used a machine in their production rather than creativity and artistry.

Prior to their recognition photographers were excluded from art because their products were produced by just pressing a button and this mechanical technique of producing art work was considered as effortless hence less of an art(Entin 2007, p. 46) . Visual art was deemed as a product of imagination, craft and skill. This was in agreements with the objectives of photography because it required skills and creativity to capture elements in the environment for representation. Photography was therefore used in the reproduction of details from nature.

However, questions were relayed about the credibility of photography in situations where the negatives were manipulated or if the photographs were retouched (Museum Ludwig Cologne 2007, p. 29). To prove the credibility of photographs as works of art, amateur photographers together with elites in the 20th century formed group and societies challenges negative conceptions about photography. They promoted the element of art photography by producing low-contrast and war toned images. Such images were aimed at expressive the ability of photography to embrace imagination and originality in the production of photographs.

Photography form this perspective was a work of art considering that photographers had the responsibility of not only representing the exact image in the environment but also using the photographs in expressing their concerns about the society and the environment (Lucie-Smith 1996, p. 21). Photographs improved the nature and the quality of visual art because they could be art in themselves or they could be about art. Early 20th centre was characterized by industrial revolution, warfare, political revolution, and the introduction of radio and talking motion pictures.

Artists just like scientist were of the desire to create an art that was not only radical but also new in modern art. Technology in 1920s for instance became a vehicle of progress. This explains why for Avant-grade artists, technology was considered as an appealing methodology of embracing technology (Entin 2007, p. 81). In the world of art, photography provided a new and faster way of creating images and a chance to change the models of vision and exemplification. In August Sander’s work of photography Secretary at a radio station and Disabled Man, the artists attempts a systematic demonstration of modern types of people as an approach towards understanding the notions of professionalism and other constructs of identity.

Prior to the popularity of photography, portraits were elements of visual art that were used in the representation of different individuals in the society (Entin 2007, p. 127). Through photography, Sanders engages in eth transformation of the practice of portraiture with his photographs. In addition, through such images it became easier to develop a relationship between social constructs in the society and the behaviour of personalities. August Sander, Disabled Man, 1926 and Pastry Chef, 1928 It is through photography that it became easier to communicate about visual art.

This is because the potential for photography was to capture an individual moment in time.

Read More