Pictorialism was a photography approach emphasizing the beauty of subject matter as beautifully rendered as any painter 's canvas and as skillfully constructed as any graphic artist 's composition rather than documenting of reality. Photographers explore the expressionistic potential of photography by injected own sensibility into the perception of image. In an effort to establish this new, technical medium as a fine art form, In composing Pictorialist photography by using “painterly” techniques such as soft focus, staged or stylized scenes, or the manipulation of negatives or prints. In the second half of the 19th century Pictorialism was the dominant tendency in photography. Introduction of Alfred Stieglitz Alfred Stieglitz was the impresario of art photography, who leading the movement of Pictoralism, not only introducing model art to America, but also made photography as an art form.
Artists die but ideas live on until nobody is interested in them anymore and Fluxus is defined as an approach to art and culture, “a mood, a way of life impregnated with a superb freedom to think, express and choose”. This means Fluxus attitude can exist outside of the core group in Maciunas’ day, can be employed in certain art practices, even in today’s art scene and still be
Art, a visual expression of events, thoughts, emotions, and agendas, completely made up of lines, colors, perceivable and unperceivable ideals, topography of paint and structure, and the overall response to the work as it is interpreted. Art can be anything from the purposeful organization of items in nature as in earthworks, to the random spatter patterns of abstract. To critique art, one must be able to identify the components that make up the work of which is being critiqued. Composition is the key element; it provides the artist with the logic within which to organize a work (LaCaruba, Starter Kit). Then one must identify the principles of the composition; line, directional forces, shape, color and value.
Professor Abrams in his book illustrates the transition of the perspective of the theorists on the artist from one to the other and the ramifications of the latter in aesthetics, poetics and practical criticism. The essay “Orientation of critical theories” is the first chapter of this book. It provides a condensed history of the evolution of critical theories and discriminates between them with the aid of a simple diagram. The essay begins with the definition of modern criticism which is to exhibit “the relation of art to the artist, rather than to external nature, or to the audience, or to the internal requirements of the work itself”. This one and a half century old theory of art competed against innumerable theories such as the mimetic theory, the pragmatic theory, etc., all of which have been thoroughly discussed in the essay.
Eventually became the world's most famed painting movement. See: Characteristics of Impressionist Painting (1870-1910). the most contribution of artistic movement to "modern art" was to legitimatise the utilization of non-naturalist colors, so paving the approach for the all non-naturalist abstractionism of the twentieth century. Short-lived, dramatic and extremely prestigious, light-emitting diode by Henri Emile Benoit Matisse (1869-1954), art movement was 'the' modern vogue throughout the mid-1900s in Paris. The new vogue was launched at the Salon d'Automne, and have become instantly famed for its vivid, garish, non-naturalist colors that created artistic movement seem virtually monochrome!
“Art does not reproduce the visible, but makes visible (Franciscono, p13),” and it makes one aware of those things, which are basic, elemental and universal, and exists in a state of change around us. In everyday language of abstraction refers to the process by which one draws a generalized notion or formula from real experience. Abstract art is accompanied by conceptual images from natures which starts with the elements of lines, color, and forms. Klee’s main emphasis was to make sure these elements demonstrate once their task in a pictorial
The American Revolution is an integral event in modern history. It set the wheels in motion for practically every political and social order we take for granted today. The American Revolution was fundamentally a radical movement because of its democratic ideals, its separation of church and state, and its unifying of the rich and poor through the ideals of liberty and the pursuit of happiness. Prior to the revolution, American society reflected its mother country. Gordon Wood writes: “we have often overlooked how dominantly British and traditional the colonists’ culture still was."
In the late 50 's and in 60`s, materialism which came from industrial society was in its golden age. Pop art born in these background and dominated in the 60 's receiving positive and negative appraisal. Born in materialism, it is natural pop reflects the 60 's and it 's feature ; mass-culture. Pop art aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitsch elements of any
Abstract expressionism also setup the theoretical ground for high modernism was a state of history in which the artist experimented on form and style and also searched deep into the existential issue pertaining to human life, modernism was the face of intellectuals who ultimately celebrated the human freedom. Art was the only medium expressing their freedom and joy. Abstract expressionism was a purest form of apolitical art of 20th century. Early 20th century western art had shown the tendencies of art moving towards abstraction which the artists thought to be closer to the purest of forms of art like music. Kandinsky was one of the early exponents of abstract art.
Less is Bore Modernism movement had transformed with the clear ambition of improving people’s lives, however, it was in direct conflict with the spirit of 70s. For example, modernist architects aimed to find the perfect building that could serve any person, any function, and in any location. The clean lines on architecture of modernism was basically directed to be a perfectly engineered blank canvas for life. The people of the 70s, however, viewed modernist architecture as an oppressive, one-size-fits-all solution to the richly varied complexities of life. Furthermore, characteristics of modernist (rejecting historicism and ornamentation) have pushed both designers and architect to create building and design with the exact opposite characteristics