Postmodernism Philosophical and artistic movement Initially emerging from a mode of literary criticism, postmodernism developed in the mid-twentieth century as a rejection of modernism,[8][9][10] and has been observed across many disciplines. Postmodernism is associated with the theories of deconstruction and post-structuralism.[4] Various authors have criticized postmodernism as promoting obscurantism, as abandoning Enlightenment rationalism and scientific rigor, and as adding nothing to analytical or empirical knowledge.[13] Definition[edit] Origins of term[edit] In 1942 H. In 1926, Bernard Iddings Bell, president of St. Author Peter Drucker suggested the transformation into a post-modern world that happened between 1937 and 1957 and described it as a "nameless era" characterized as a shift to a conceptual world based on pattern, purpose, and process rather than a mechanical cause. History[edit] Theories and derivatives[edit] Structuralism and post-structuralism[edit] Deconstruction[edit] Philosophy[edit]
Expressionism Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4] Origin of the term[edit] In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. "View of Toledo" by El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Expressionist-Visual artists[edit] In other arts[edit] Dance[edit]
Empire style 19th-century Neoclassical art movement The Empire style (French pronunciation: [ɑ̃.piːʁ], style Empire) is an early-nineteenth-century design movement in architecture, furniture, other decorative arts, and the visual arts, representing the second phase of Neoclassicism. It flourished between 1800 and 1815 during the Consulate and the First French Empire periods, although its life span lasted until the late-1820s. The Empire style originated in and takes its name from the rule of the Emperor Napoleon I in the First French Empire, when it was intended to idealize Napoleon's leadership and the French state. History[edit] Directoire style of the immediately preceding period, which aimed at a simpler, but still elegant evocation of the virtues of the Ancient Roman Republic: The stoic virtues of Republican Rome were upheld as standards not merely for the arts but also for political behaviour and private morality. The Empire style "turned to the florid opulence of Imperial Rome. Ornaments[edit]
Anti-war movement An anti-war poster An anti-war movement (also antiwar) is a social movement, usually in opposition to a particular nation's decision to start or carry on an armed conflict, unconditional of a maybe-existing just cause. The term can also refer to pacifism, which is the opposition to all use of military force during conflicts. Many activists distinguish between anti-war movements and peace movements. Anti-war activists work through protest and other grassroots means to attempt to pressure a government (or governments) to put an end to a particular war or conflict. Usage[edit] Many groups call themselves anti-war activists though their opinions may differ: some anti-war activists may be equally opposed to both sides' military campaign; in contrast, many modern activists are against only one side's campaigns (usually the one they see as most unethical). Pacifist and anti-war movements are similar, but not the same. History of modern movements[edit] Antebellum Era[edit] American Civil War[edit]
Pablo Picasso Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.[4][5][6][7] Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. His work is often categorised into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). Early life Pablo Picasso and his sister Lola, c.1889 Picasso showed a passion and a skill for drawing from an early age. Fame
Cubism Early-20th-century avant-garde art movement Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.[1] Cubism has been considered the most influential art movement of the 20th century.[2][3] The term is broadly used in association with a wide variety of art produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s. History[edit] Pablo Picasso, 1909–10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm, Tate Modern, London Proto-Cubism: 1907–08[edit] Cubism burgeoned between 1907 and 1911. Early Cubism: 1909–1914[edit] "M.
Avant-garde The avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard"[1]) are people or works that are experimental or innovative, particularly with respect to art, culture, and politics. The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825), which contains the first recorded use of "avant-garde" in its now customary sense: there, Rodrigues calls on artists to "serve as [the people's] avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political and economic reform.[3] Theories[edit] Several writers have attempted, with limited success, to map the parameters of avant-garde activity. Bürger's essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. Relation to mainstream society[edit]
Fauvism Artists and style[edit] Press clipping, Les Fauves: Exhibition at the Salon d'Automne, in L'Illustration, 4 November 1905 Besides 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, Jean Metzinger, the Dutch painter Kees van Dongen and Georges Braque (subsequently Picasso's partner in Cubism).[1] The paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction.[3] Fauvism can be classified as an extreme development of Van Gogh's Post-Impressionism fused with the pointillism of Seurat[3] and other Neo-Impressionist painters, in particular Paul Signac. Fauvism can also be seen as a mode of Expressionism.[3] Origins[edit] Salon D'Automne 1905[edit] Gallery[edit] See also[edit] Notes and references[edit]