How Did World War Ii Impact the Second Half of the 20th Century? Art History

The Early 20th Century

The early 20th century was marked by rapid industrial, economic, social, and cultural modify, which influenced the worldview of many and fix the stage for new artistic movements.

Learning Objectives

Place how industrial, economic, social, and cultural modify set the stage for the art movements of the early 20th century

Primal Takeaways

Key Points

• The beginning two decades of the 20th century were marked past enormous industrial, economical, social, and cultural developments.
• International trade brought with it increasing growth and prosperity, along with a rise in poverty and slums in major cities. Urbanization, advances in science and technology, and the spread of appurtenances and information were markers of the times.
• With the outbreak of World War I in 1914, fine art became heavily influenced by the desire to abstruse life and escape the horrific possibilities of the human being condition. Artists began to question and play effectually with themes of reality, perspective, space, and time.

Key Terms

• urbanization: The change in a country or region when its population migrates from rural to urban areas.

The starting time ii decades of the 20th century were marked past enormous industrial, economical, social and cultural alter. International merchandise brought with it increasing growth and prosperity, along with a rise in poverty and slums in major cities. Urbanization, architectural advances, increases in engineering, and the spread of appurtenances and information were markers of the times. Competition betwixt nations was reflected in attempts to evidence off advances in technology, business, and architecture, amid other things. Prominent scientific advancements of the time included Einstein's Theory of Relativity and Freud's development of modernistic psychology.

After the relative peace of most of the 19th century, rivalry betwixt European powers erupted in 1914 with the outbreak of the starting time World War. Over 60 one thousand thousand European soldiers were mobilized from 1914–1918 as countries effectually the earth were called into the disharmonize. With the widespread death and devastation of the greatest war the globe had e'er seen, fine art increasingly became a ways for escapism, a way to abstract life and escape the difficulties of the human being status.

A ration party of the Royal Irish Rifles in a communication trench during the Boxing of the Somme, July 1916: The death and devastation of Globe State of war I contributed to the want of artists to abstract life.

The economical and social changes of the early 20th century greatly influenced the North American and European worldview which, in turn, shaped the evolution of new styles of art. Artists began to question and experiment with themes of reality, perspective, space and time, and representation. Einstein's Theory of Relativity contributed to the development of cubism, and developments in psychology greatly influenced the subject affair of a number of artistic schools of thought. The rapid ascent of engineering impacted artists both directly and indirectly, from the invention of new artistic materials to subject matter and themes.

Fauvism

The Fauves were a group of early on 20th century Modern artists based in Paris whose works challenged Impressionist values.

Learning Objectives

Contrast the characteristics of Fauvism, as found in the piece of work of Matisse and Derain, from those of its predecessor Impressionism

Key Takeaways

Key Points

• The Fauvist motion, led by Henri Matisse and Andre Derain, officially lasted for only 4 years: 1904–1908.
• Bright color, simplification, abstraction, and unusual brush strokes are hallmarks of the Fauvist mode. Fauvist influences and references include Van Gogh's Post- Impressionism and the Neo-Impressionist technique of Pointillism.
• Gustave Moreau, a controversial professor at the École des Beaux-Arts in Paris, mentored several of the Fauves, including Matisse, and greatly influenced their piece of work.

Primal Terms

• Postal service-Impressionism: (Art) a genre of painting that rejected the naturalism of impressionism, using color and form in more expressive manners.
• pointillism: In art, the utilize of small areas of colour to construct an image.
• Fauvism: An creative motility of the last role of the 19th century that emphasized spontaneity and the use of extremely bright colors.

Fauvism is the manner of les Fauves (French for "the wild beasts"), a brusk-lived and loose group of early 20th century Modernistic artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued across 1910, the movement as such lasted merely a few years, 1904–1908, and had three exhibitions. The leaders of the motility were Henri Matisse and André Derain.

Charing Cross Span, London by André Derain, 1906: The vibrant, surprising employ of color in this work is characteristic of the Fauvist style.

Apart from 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, the Dutch painter Kees van Dongen, the Swiss painter Alice Bailly, and Georges Braque (subsequently Picasso'southward partner in Cubism).

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. Fauvism can exist classified as an extreme evolution of Van Gogh'southward Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters, in detail Paul Signac. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated colour—notably in paintings from Tahiti—strongly influenced Derain's work.

Gustave Moreau, a controversial professor at the École des Beaux-Arts in Paris and a Symbolist painter, was the motion'due south inspirational teacher. Moreau taught Matisse, Marquet, Manguin, Rouault, and Camoin during the 1890s, and was viewed by critics every bit the group's philosophical leader until Matisse was recognized as such in 1904. Moreau'southward broad-mindedness, originality, and affirmation of the expressive authorisation of pure color was inspirational for his students.

Derain and Matisse worked together through the summer of 1905 in the Mediterranean hamlet of Collioure, and later that year displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts," which the artists then appropriated every bit the title for their movement. The painting that was singled out for special condemnation, Matisse's Woman with a Lid, was subsequently bought by the major patrons of the avant-garde scene in Paris, Gertrude and Leo Stein.

Woman with a Hat by Henri Matisse, 1905.: This painting was rejected by critics when initially exhibited, but was soon acquired by advanced collectors Leo and Gertrude Stein.

Primitivism and Cubism

As one of the about influential artists of the twenty^th century, Pablo Picasso is widely known for his involvement in Cubism and Primitivism.

Learning Objectives

Identify Picasso'southward unique importance to the development of both Primitivism and Cubism in the early 20th century

Central Takeaways

Key Points

• 1906–1909 is referred to equally Picasso's African period, during which he produced Les Demoiselles d'Avignon and several other paintings incorporating primitivist elements.
• Picasso was inspired past African artifacts too every bit the work of Mail service-Impressionist creative person Paul Gauguin.
• The formal elements of Les Desmoiselles d'Avignon bridged Picasso'due south African Menses and subsequent Cubist piece of work.
• Picasso and Georges Braque co-founded the Cubist movement, i of the near influential movements in Modern Fine art.
• Cubism stressed basic abstruse geometric forms that presented the subject from many angles simultaneously.

Cardinal Terms

• primitivism: Primitivism is a Western art movement that borrows visual forms from non-Western or prehistoric peoples, a practice that was central to the development of modern art.

African Catamenia and Primitivism (1906–1910)

During the tardily 19th and early 20th centuries, the European cultural aristocracy were discovering African, Micronesian, and Native American art. African artifacts were being brought dorsum to Paris museums following the expansion of the French empire into Africa. The printing was abuzz with exaggerated stories of cannibalism and exotic tales about the African kingdom of Dahomey. The mistreatment of Africans in the Belgian Congo was exposed in Joseph Conrad's popular book, Heart of Darkness.

Artists such as Paul Gauguin, Henri Matisse, and Picasso were intrigued and inspired past the stark power and simplicity of styles of "primitive" cultures. Effectually 1906, Picasso, Matisse, Derain, and other Paris-based artists had acquired an interest in Primitivism, Iberian sculpture, African fine art, and tribal masks, in role due to the works of Paul Gauguin that had recently achieved recognition in Paris'south avant-garde circles. Gauguin'due south powerful posthumous retrospective exhibitions at the Salon d'Automne in Paris in 1903 and 1906 had a powerful influence on Picasso's paintings.

The Moon and the Earth by Paul Gauguin, 1893: Picasso was greatly influenced by Gauguin's African inspired works like The Moon and The Earth.

In 1907, Picasso experienced a "revelation" while viewing African art at the ethnographic museum at Palais du Trocadéro. African art influenced Picasso's painting Les Demoiselles d'Avignon (1907), especially in its treatment of the 2 figures on the right side of the composition. This painting is also considered a protocubist work bridging Picasso's African and Cubist periods. Other works of Picasso's African Period include Bosom of a Woman (1907, in the National Gallery, Prague); Mother and Child (Summer 1907, in the Musée Picasso, Paris); Nude with Raised Arms (1907, in the Thyssen-Bornemisza Museum, Madrid, Spain); and Three Women (Summer 1908, in the Hermitage Museum, St. Petersburg).

Les Desmoiselles d'Avignon past Pablo Picasso, 1907: This work is influenced by primitivism and is considered to be ane of the earliest examples of Cubist painting.

Cubism (1909–1912)

Cubism, established past Picasso and his colleague Georges Bracque, was marked by a revolutionary departure from representational art. In Cubist artwork, objects were analyzed, broken upwards, and reassembled in an abstracted form instead of being depicted from i viewpoint. Picasso, Braque, and other Cubists depicted subjects from a multitude of viewpoints to create a greater telescopic of context. Cubism has been considered the most influential art movement of the 20th century.

Violin and Candlestick by Georges Braque, 1910: Georges Braque, with Picasso, was i of the founders of Cubism.

Cubism had a global achieve as a motility, influencing similar schools of thought in literature, music, and architecture. Particular offshoots beyond France included the movements of Futurism, Suprematism, Dada, Constructivism, and De Stijl, which all developed in response to Cubism. Early Futurist paintings have some commonalities with Cubism: the fusing of the past and the present and the representation of different views of the subject field pictured at the same time, likewise called multiple perspective, simultaneity or multiplicity. Constructivism was influenced by Picasso'south technique of constructing sculpture from carve up elements. Other mutual threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Cubist Sculpture

Just equally in painting, Cubist sculpture is rooted in Paul Cézanne'southward reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones). And simply every bit in painting, information technology became a pervasive influence and contributed fundamentally to Constructivism and Futurism.

Cubist sculpture adult in parallel to Cubist painting. During the fall of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative infinite and vice versa. Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a articulation consideration that the piece of work itself is considered an object (just as a painting), and that it uses the material detritus of the earth (as collage and newspaper mache in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object every bit a self-sufficient work of art representing but itself. In 1913 he attached a wheel wheel to a kitchen stool and in 1914 selected a canteen-drying rack every bit a sculpture in its ain right.

Other Forms of Cubism

Futurism and Constructivism developed from Cubism in Italy and Russia respectively.

Learning Objectives

Differentiate the artistic styles of Futurism and Constructivism from their Cubist origins

Primal Takeaways

Cardinal Points

• Cubist work represents an creative subject from multiple perspectives simultaneously.
• Italian Futurism and Russian Constructivism are two movements that were greatly influenced by Cubism.
• Divisionism, a technique in which color and low-cal are deconstructed, is an important aspect of Futurist and Cubist work.
• Gertrude Stein, Wallace Stevens, Pierre Reverdy, and William Faulkner all applied Cubist principles to written work.
• Cubist poets and writers as well influenced Dada and Surrealism.

Key Terms

• futurism: An early 20th century avant-garde fine art move focused on speed, the mechanical, and the modern, which took a deeply antagonistic attitude to traditional artistic conventions; (originated past F.T. Marinetti, among others).
• divisionism: In art, the use of modest areas of color to construct an image.
• constructivism: A Russian movement in mod art characterized by the cosmos of nonrepresentational geometric objects using industrial materials.

Cubism

Cubism was an avant-garde art movement of the early on 20th century pioneered by Georges Braque and Pablo Picasso, and later joined past Juan Gris, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger. The movement revolutionized European painting and sculpture and inspired related movements in music, literature, and architecture. Cubism has been considered the almost influential art motion of the 20th century.

Violin and Candlestick past Georges Braque, 1910: Georges Braque, with Picasso, was 1 of the founders of Cubism.

In Cubist artwork, objects are analyzed, cleaved upward, and reassembled in an bathetic form. Instead of depicting objects from one viewpoint, the creative person depicts the subject from a multitude of viewpoints to represent the bailiwick in a greater context.

Constructivism

Constructivism was an artistic and architectural philosophy that originated in Russia in 1919. It entailed a rejection of the idea of autonomous art and was in favor of art as a practice for social purposes. Constructivism had a great impact on modern art movements of the 20th century, influencing major trends such as Bauhaus and the De Stijl motility. It is difficult to isolate a particular artful common to the Constructivist philosophy as it is so wide, but it can be roughly distinguished past its apply of bright, bold color and geometric designs, peculiarly in graphic blueprint.

The Commencement Working Group of Constructivists (including Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, and the theorists Aleksei Gan, Boris Arvatov, and Osip Brik) developed a definition of Constructivism as the combination of faktura: the particular textile backdrop of an object, and tektonika, its spatial presence. Initially the Constructivists worked on iii-dimensional constructions as a means of participating in industry. Afterward the definition would be extended to designs for two-dimensional works such as books and posters.

Proun Vrashchenia by El Lissitzky c. 1919: The geometric forms and brilliant colors in this painting are feature of the Constructivist aesthetic.

Futurism

Futurism was an Italian movement that emphasized and glorified themes associated with contemporary concepts of the future such every bit speed, technology, youth, and violence, too as objects such as the car, the aeroplane, and the industrial city. In 1910 and 1911 futurist painters made use of the technique of divisionism, which entails breaking light and color downward into a field of stippled dots and stripes. Severini was the first to come into contact with Cubism. Following a visit to Paris in 1911, the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analyzing free energy in paintings and visually expressing their desired focus on dynamism, motion, and speed. The adoption of Cubism adamant the style of much subsequent Futurist painting.

Abstract Speed + Sound, by Giacomo Balla 1913–1914: This is a seminal work from the Futurist motion which was influenced by Cubism.

German Expressionism

German Expressionism refers to a number of related creative movements showtime before WWI and peaking in Berlin during the 1920s.

Learning Objectives

Discuss the importance of the group Die Brücke and artists such as Kirchner, Kollwitze, Schiele, and Modersohn-Becker in the development of German Expressionism

Central Takeaways

Key Points

• Kathe Kollwitz, Egon Schiele, and Paula Modersohn-Becker are amongst the contained German language Expressionists who were unaffiliated with other Expressionist groups just yet successful.
• Kollwitz is best remembered for her empathetic series, The Weavers.
• Many of Egon Schiele'south contemporaries institute the explicit sexual themes of his work agonizing.
• Paula Modersohn-Becker is amongst the first recognized female artists to create nude self-portraits.

Primal Terms

• Weimar Republic: The democratic authorities of Germany from 1919 to the assumption of power past Adolf Hitler in 1933.
• expressionism: A movement in the arts in which the artist does non depict objective reality, but rather a subjective expression of inner experience.
• Fauvism: An creative movement of the concluding role of the 19th century that emphasized spontaneity and the use of extremely brilliant colors.

Expressionism

Expressionism was a modernist movement, beginning with poetry and painting, that originated in Frg at the start of the 20th century. Information technology emphasized subjective experience, manipulating perspective for emotional effect in order to evoke moods or ideas. Expressionist artists sought to limited meaning or emotional experience rather than physical reality.

Expressionism was developed equally an avant-garde style before the Commencement Globe State of war and remained popular during the Weimar Republic, peculiarly in Berlin. The style extended to a wide range of the arts, including painting, literature, theatre, dance, flick, architecture, and music.

Expressionist painters had many influences, among them Edvard Munch, Vincent van Gogh, and several African artists. They were likewise enlightened of the Fauvist move in Paris, which influenced Expressionism'south tendency toward arbitrary colors and jarring compositions.

Die Brücke

In 1905, a group of four German language artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. Afterwards members were Emil Nolde, Max Pechstein, and Otto Mueller. The grouping aimed to eschew the prevalent traditional academic mode and find a new manner of creative expression, which would course a bridge (hence the name) between the by and the nowadays. They responded both to by artists such as Albrecht Dürer, Matthias Grünewald, and Lucas Cranach the Elder, also as contemporary international advanced movements. As role of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Die Brücke is considered to be a central group of the German Expressionist motility, though they did not use the discussion itself. The group is often compared to both Primitivism and Fauvism due to their use of high-keyed, not-naturalistic color to express extreme emotion similar the Fauvists and a rough cartoon technique that eschewed complete abstraction, like the Primitivists.

Der Blaue Reiter

A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. The grouping was founded by a number of Russian emigrants, including Wassily Kandinsky, Alexej von Jawlensky, Marianne von Werefkin, and native High german artists, such equally Franz Marc, August Macke, and Gabriele Münter. Similar Dice Brücke, Der Blaue Reiter is considered a major feature of the German Expressionist movement.

Within the group, artistic approaches and aims varied from artist to artist, however, there was a shared want to express spiritual truths through their art. Der Blaue Reiter every bit a group believed in the promotion of mod art, the connection between visual art and music, the spiritual and symbolic associations of color, and a spontaneous, intuitive approach to painting. Members were interested in European medieval art and Primitivism, equally well as the contemporary, not-figurative art scene in France. As a result of their encounters with Cubist, Fauvist and Rayonist ideas, they moved towards abstruse art.

Kathe Kollwitz

Käthe Kollwitz (1867–1945) was a German painter, printmaker, and sculptor whose work offered an eloquent and oftentimes searing account of the human being condition, and the tragedy of war, in the first half of the 20th century. Initially her work was grounded in Naturalism, and afterwards took on Expressionistic qualities. Inspired by a performance of Gerhart Hauptmann's The Weavers, which dramatized the oppression of the Silesian weavers in Langembielau and their failed revolt in 1842, Kollwitz produced a cycle of half-dozen works on the Weavers theme. Rather than a literal illustration of the drama, the works were a complimentary and naturalistic expression of the workers' misery, hope, courage, and, eventually, doom. The Weavers became Kollwitz' most widely acclaimed work.

Mother with her Expressionless Son by Käthe Kollwitz: This Kollwitz sculpture is a WWII state of war memorial.

Egon Schiele

Egon Schiele (1890–1918) was an Austrian painter. A protégé of Gustav Klimt, Schiele was a major figurative painter in the early 20th century. His work is noted for its intensity, as well as for the many self-portraits he produced. The twisted trunk shapes and expressive line that characterize Schiele'due south paintings and drawings mark the creative person as an early exponent of Expressionism. Schiele was influenced past his mentor, Klimt, as well as by Edvard Munch, Jan Toorop, and Vincent van Gogh. Schiele explored themes not only of the homo form, but also of human sexuality. Many viewed Schiele'due south work as being grotesque, erotic, pornographic, or disturbing, focusing on sex, death, and discovery.

Sitzender weiblicher Akt mit aufgestützen Ellbogen past Egon Schiele: Schiele's depiction of female nudes scandalized his contemporaries.

Paula Mendersohn-Becker

Paula Modersohn-Becker (1876–1907) was a High german painter and ane of the most important representatives of early Expressionism. In a cursory career, cut short past her death at the age of 31, she created a number of groundbreaking images of great intensity. Modersohn-Becker studied briefly at the École des Beaux-Arts in Paris and was influenced by French post impressionists Paul Cézanne, Vincent van Gogh, and Paul Gauguin. On her terminal trip to Paris in 1906, she produced a series of paintings nearly which she felt smashing excitement and satisfaction. During this period of painting, she produced her initial nude self-portraits—something unprecedented by a female painter—and portraits of friends such equally Rainer Maria Rilke and Werner Sombart.

Selbstporträt past Paula Modersohn-Becker, 1906: Female person nude cocky-portraits were uncommon subjects in this era.

Abstract Sculpture

Modern abstract sculpture developed alongside other advanced movements of the early 20th century like Cubism and Surrealism.

Learning Objectives

Discuss the evolution of abstract sculpture through the periods of Cubism and Surrealism, naming the of import works of Rodin, Picasso, Duchamp, and Brâncuşi

Fundamental Takeaways

Fundamental Points

• Auguste Rodin is seen as the progenitor of mod sculpture.
• Picasso and beau cubist artists adult new means of constructing works of fine art using collage, or sculptural aggregation using disparate materials. This is known every bit Cubist constructionism.
• Surrealism farther expanded upon gimmicky definitions of sculpture by introducing the concept of the " readymade."
• Constantin Brâncuşi rejected naturalism in sculpture equally well as whatever form of representational art. His minimal, abstract artworks attempt to depict the essence of an object.

Key Terms

• abstract fine art: Art that is not intended to depict objects in the natural globe, just instead uses color and form in a non-representational way.
• naturalism: A artistic movement that seeks to encapsulate reality or familiar feel in which subjects may receive highly symbolic, idealistic, or even supernatural handling.
• coulage: Automatic or involuntary sculpture made by pouring a molten fabric (such every bit metallic, wax, or chocolate) into common cold water. Equally the fabric cools it takes on what appears to be a random (or aleatoric) form, though the physical properties of the materials involved may atomic number 82 to a conglomeration of discs or spheres.

Rodin

Auguste Rodin, along with artists like Edgar Degas and Paul Gauguin, developed a radical new approach to the creation of sculpture in the 19th century. Rodin was a naturalist, less concerned with monumental expression than with character and emotion. Departing from centuries of tradition, he turned away from the idealism of the Greeks and the decorative beauty of the Baroque and neo-Baroque movements. His sculpture emphasized the individual and the concreteness of flesh, suggesting emotion through detailed, textured surfaces, and the interplay of low-cal and shadow.

The mod sculpture movement essentially began during the Rodin showroom at the Universal Exhibition in Paris in 1900. At this event, Rodin showed his Burghers of Calais, Balzac and Victor Hugo statues, along with The Thinker. Though all of these are representational works of art, Rodin'south arroyo to course paved the way for increasingly experimental and abstract art.

The Thinker by Auguste Rodin: Rodin'southward experiments with form, visible in The Thinker, launched modern abstract sculpture.

Influence of Cubism

Cubist sculpture developed in parallel with Cubist painting, centered in Paris kickoff effectually 1909 and evolving through the early 1920s. The style is about closely associated with the formal experiments of Georges Braque and Pablo Picasso. Others were quick to follow Braque and Picasso's lead in Paris, including Raymond Duchamp-Villon, Alexander Archipenko, Joseph Csaky, Jacques Lipchitz, Henri Laurens, and Ossip Zadkine.

During his period of Cubist innovation, Picasso revolutionized the art of sculpture by combining disparate objects and materials into one sculptural work—the sculptural equivalent of collage in two dimensional art. Merely as collage was a radical development in ii dimensional art, so was Cubist construction a radical development in 3 dimensional sculpture.

Head of a Adult female by Picasso, 1909: Picasso was a pioneer in early 20th century Cubist sculpture.

Influence of Surrealism

The advent of Surrealism led to objects being described equally "sculpture" that would not have been termed equally such previously. Surrealist sculpture fabricated use of many of the same techniques as other forms of Surrealist art, such as games to tap into the unconscious mind such every bit coulage, a kind of automatic or involuntary sculpture fabricated past pouring a molten material into cold water. Every bit the cloth cools it takes on what appears to exist a random course, though the physical properties of the materials involved may atomic number 82 to a conglomeration of discs or spheres. The creative person may use a diversity of techniques to impact the outcome. Involuntary sculpture is described by Surrealists every bit sculpture created by absent-mindedly manipulating something, such as rolling and unrolling a movie ticket, bending a paper clip, etc.

Duchamp

Marcel Duchamp had a deep impact on the evolution of brainchild in sculpture. He originated the utilize of the "plant object" or "readymade" with pieces like Fountain (1917), a urinal that was displayed as art. Duchamp experimented a cracking deal with sculpture, creating readymades, assemblages, and kinetic works. His notion that annihilation can be fine art that an creative person names art is an idea that has resonated throughout many historical and contemporary movements. Though never considered himself to be a Surrealist, he was involved socially with many key members of the motion and his ideas were of influence.

Duchamp participated in the design of the 1938 International Surrealist Exhibition, which was held at the Galerie des Beaux-arts, Paris. The show featured more than lx artists from unlike countries, including approximately 300 paintings, objects, collages, photographs, and installations. The surrealists wanted to create an exhibition which in itself would be a creative human action, and André Breton named Duchamp, Wolfgang Paalen, Man Ray, Salvador Dali, and Max Ernst to help do so.

Brâncuşi

The work of Constantin Brâncuşi at the beginning of the century paved the style for later abstract sculpture. In revolt confronting the naturalism of Rodin and his late 19th-century contemporaries, Brâncuşi distilled subjects downward to their essences as illustrated by his Bird in Space series (1924). These elegantly refined abstract forms became synonymous with 20th century sculpture.

Brâncuşi'southward affect, with his vocabulary of reduction and abstraction, is seen throughout the 1930s and 1940s, and exemplified by artists including Gaston Lachaise, Sir Jacob Epstein, Henry Moore, Alberto Giacometti, Joan Miró, Ásmundur Sveinsson, Julio González, Pablo Serrano, and Jacques Lipchitz.

Fountain by Marcel Duchamp: Duchamp's cribbing of a urinal as a piece of art challenged the prevailing definition of sculpture.

Dada and Surrealism

Dada and Surrealism were multidisciplinary cultural movements of the European avant-garde that emerged in Zurich and Paris respectively during the time of WWI.

Learning Objectives

Identify the origins, characteristics, and political ideologies of Dada

Key Takeaways

Central Points

• Dada was a political motility opposed to creative and social conformity too as the capitalist forces that led to WWI.
• Dada artists worked in non-traditional media including collage, photomontage, and assemblage. Dada creative person Michel Duchamp pioneered the notion of the "readymade;" everyday objects appropriated for creative purposes.
• Dada spread throughout Europe and Due north America following WWI; past the early 1920s the center of Dada action was Paris.
• Dada informed many of the major advanced movements of the 20th century century, including Surrealism and Social Realism.
• Surrealism began in the 1920s and had a lot in mutual with Dadaism.
• Surrealist works drew inspiration from intuition, the power of the unconscious mind, and various psychological schools of thought.
• Surrealist artists and writers regarded their piece of work equally an expression of the philosophical move, with the artwork being an artifact.

Key Terms

• readymade: Everyday objects found or purchased and declared art. The readymades of Marcel Duchamp are ordinary manufactured objects that the artist selected and modified as an antitoxin to what he called "retinal art." By simply choosing the object (or objects) and repositioning, joining, titling, and signing it, the object became art.
• collage: A blended object or drove (abstract or concrete) created past the assemblage of various media; peculiarly for a work of art like text, flick, etc.
• social realism: An artistic motion that depicted social and racial injustice and economical hardship through unvarnished pictures of life'due south struggles.

Dadaism

Dada was a multi-disciplinary fine art move that rejected the prevailing creative standards by producing "anti-art" cultural works. Dadaism was intensely anti-war, anti-bourgeois, and held strong political affinities with the radical left. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root crusade of the state of war, and against the cultural and intellectual conformity—in art and more than broadly in lodge—that corresponded to the war. Many Dadaists believed that the reason and logic of conservative backer club had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality.

The origin of the name Dada is unclear. Some believe that it is a nonsensical word while others maintain that it originates from the Romanian artists Tristan Tzara's and Marcel Janco's frequent use of the words "da, da," meaning "yes, yes" in Romanian. Another theory posits that the name "Dada" came during a coming together of when a pocketknife stuck into a French–German dictionary happened to bespeak to dada, a French word for "hobbyhorse." Likely, the origin of the name Dada is another endeavour to devalue a system of logic, namely that of language.

Dada began in Zurich in 1916. Key figures in the Dada movement included Hugo Ball, Emmy Hennings, Hans Arp, and Raoul Hausmann, among others. The motility influenced afterward styles like avant-garde, and movements including Surrealism, Nouveau réalisme, pop art and Fluxus.

Plaque commemorating the birth of Dada move: This plaque is from the Cabaret Voltaire, the first venue where Dada artists showcased their piece of work in 1916.

Dada was an informal international motion with participants in Europe and North America that employed all kinds of media simply are known specially for collage, writing, photomontage and operation. Dadaists worked in collage, creating compositions past pasting together transportation tickets, maps, plastic wrappers and other artifacts of daily life. Dada artists also worked in photomontage, a variation on collage that utilized actual or reproductions of photographs printed in the press. In Cologne, Max Ernst used photographs taken from the front during Earth War I to comment on the war. Another variation on collage used by Dadaists was aggregation, the associates of everyday objects to produce meaningful or meaningless pieces of work, including war objects and trash.

When Earth State of war I ended in 1918, most of the Zurich Dadaists returned to their domicile countries, while some began Dada activities in other cities.

Dada poster from 1923: This poster for a Dada soiree references the medium of collage.

Like Zurich, New York City was a refuge for writers and artists from World War I. Frenchmen Marcel Duchamp and Francis Picabia met American artist Man Ray in New York City in 1915. The trio soon became the centre of radical anti-art activities in the United States.

During this time, Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared fine art) and was active in the Social club of Contained Artists. In 1917, he submitted the at present famous Fountain to the Society of Independent Artists exhibition. Initially an object of contemptuousness within the arts customs, the Fountain has since get most canonized by some as one of the most recognizable modernist works of sculpture. The committee presiding over Britain'southward prestigious Turner Prize in 2004, for instance, called it "the most influential work of modern art."

Fountain by Marcel Duchamp: Duchamp'southward appropriation of a urinal as a piece of art challenged the prevailing definition of sculpture.

Past 1921, most of the original Dadaists moved to Paris, where Dada experienced its terminal major incarnation. Inspired by Tristan Tzara, Paris Dada presently issued manifestos, organized demonstrations, staged performances, and a number of journals.

While broad, the Dada motility was unstable. By 1924, artists had gone on to other ideas and movements including surrealism and social realism. Some theorists argue that Dada was the commencement of postmodern art.

Surrealism

Surrealism was a cultural movement first in the 1920s that sprang direct out of Dadaism and overlapped in many senses. Surrealist works drew inspiration from intuition, the power of the unconscious heed, and various psychological schools of thought. The piece of work often features unexpected juxtapositions, not sequiturs, and elements of surprise.

First and foremost, Surrealist artists and writers regarded their work equally an expression of the philosophical movement, with the artwork being an artifact. Leader André Breton was explicit in his assertion that Surrealism was to a higher place all a revolutionary movement. Surrealism developed out of the Dada activities during Earth War I and the nearly of import middle of the movement was Paris. From the 1920s onward, the movement spread effectually the globe, eventually affecting the visual arts, literature, moving picture, and music of many countries and languages, also as political thought and practise, philosophy, and social theory.

As the Surrealists developed their philosophy, they believed that Surrealism would advocate the thought that ordinary and representative expression was vital and important, just that expression must be fully open to the imagination. Freud's work with costless association, dream assay, and the unconscious was of utmost importance to the Surrealists every bit they adult methods to liberate their imaginations.

Like Dada, Surrealism aimed to revolutionize human feel, in terms of the personal, cultural, social, and political aspects. Surrealists wanted to free people from imitation rationality, and also from restrictive community and structures. Breton proclaimed that the truthful aim of Surrealism was "long live the social revolution, and it solitary!"

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/european-art-in-the-early-20th-century/

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