Research Trail
The Excecution of Lady Jane Grey, 1833 Paul Delaroche
Oil painting The National Gallery, London
Impressionism
Impression Surise, 1873 Claude Monet
Oil paint on Canvas
https://www.claude-monet.com/impression-sunrise.jsp
Monet painted this from a hotel window at Le Havre in 1873. It was one of the nine works that he showed at the First Imoressionist Exhibition of 1874. Of all those displayed there, this is probably the most famous picture, not so much because of any crucial status within Monet's oeuvre, but rather for the criticism it attracted from the reviewers, which gave rise to the name of the movement.
On 25 April, ten days after the exhibition had opened, an article appeared in the satirical journal Le Charivari in which the critic Louis Leroy described a fictitious conversation between two visitors. One of them was a landscape painter who, while looking at this work, exclaimed: 'Impressionism, I knew it; after all I'm impressed so it must be an impression...What freedom! What ease of workmanship! Wallpaper in its embryonic state is more finished than this seascape!' The article was entitled 'The Exhibition of the Impressionists', and the label stuck thereafter, as well as being used by such other critics of the exhibition as Castagnary.
Despite its notoriety the painting is in some ways untypical of Monet's own work of this period and of Impressionism more generally. It shows little of the Impressionist treatment of light and color. The colors are very restrained and the paint is applied not in discrete brushstrokes of contrasting colours but in very thin washes. In some places the canvas is even visible and the only use of impasto is in the depiction of the reflected sunlight on the water. The painting is strongly atmospheric rather than analytical and has a spirit somewhat akin to Turner's works. Nevertheless, it does illustrate particularly well one of the features of Impressionist painting that was thought so revolutionary.
The technique is very 'sketchy' and would have been seen as a preliminary study for a painting rather than a finished work suitable for exhibition. (Monet himself saw the work as unfinished, and it was for that reason that he adopted the title 'Impression' to distinguish it from such works as his other view of Le Havre in the same exhibition, though this too lacks the finish then expected.) In this work Monet stripped away the details to a bare minimum: the dockyards in the background are merely suggested by a few brushstrokes as are the boats in the foreground. The whole represents the artist's swift attempt to capture a fleeting moment. The highly visible, near abstract technique, compels almost more attention than the subjectmatter itself, a notion then wholly alien to viewers.
https://www.impressionists.org/impression-sunrise.jsp
Impressionism, French Impressionnisme, a major movement, first in painting and later in music, that developed chiefly in France during the late 19th and early 20th centuries. Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. The most conspicuous characteristic of Impressionism in painting was an attempt to accurately and objectively record visual reality in terms of transient effects of light and colour. In music, it was to convey an idea or affect through a wash of sound rather than a strict formal structure.
Expressionism
Expressionism, artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person. The artist accomplishes this aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements. In a broader sense Expressionism is one of the main currents of art in the late 19th and early 20th centuries, and its qualities of highly subjective, personal, spontaneous self-expression are typical of a wide range of modern artists and art movements. Expressionism can also be seen as a permanent tendency in Germanic and Nordic art from at least the European Middle Ages, particularly in times of social change or spiritual crisis, and in this sense it forms the converse of the rationalist and classicizing tendencies of Italy and later of France.
More specifically, Expressionism as a distinct style or movement refers to a number of German artists, as well as Austrian, French, and Russian ones, who became active in the years before World War I and remained so throughout much of the interwar period.
https://www.britannica.com/art/Expressionism
Modernism
Modernism, in the fine arts, a break with the past and the concurrent search for new forms of expression. Modernism fostered a period of experimentation in the arts from the late 19th to the mid-20th century, particularly in the years following World War I.
In the visual arts the roots of Modernism are often traced back to painter Édouard Manet, who, beginning in the 1860s, broke away from inherited notions of perspective, modeling, and subject matter. The avant-garde movements that followed—including Impressionism, Post-Impressionism, Cubism, Futurism, Expressionism, Constructivism, de Stijl, and Abstract Expressionism—are generally defined as Modernist. Over the span of these movements, artists increasingly focused on the intrinsic qualities of their media—e.g., line, form, and colour—and moved away from inherited notions of art.
https://www.britannica.com/art/Modernism-art
Postmodernism
Postmodernism can be seen as a reaction against the ideas and values of modernism, as well as a description of the period that followed modernism's dominance in cultural theory and practice in the early and middle decades of the twentieth century. The term is associated with scepticism, irony and philosophical critiques of the concepts of universal truths and objective reality.
Anti-authoritarian by nature, postmodernism refused to recognise the authority of any single style or definition of what art should be. It collapsed the distinction between high culture and mass or popular culture, between art and everyday life. Because postmodernism broke the established rules about style, it introduced a new era of freedom and a sense that ‘anything goes’. Often funny, tongue-in-cheek or ludicrous; it can be confrontational and controversial, challenging the boundaries of taste; but most crucially, it reflects a self-awareness of style itself. Often mixing different artistic and popular styles and media, postmodernist art can also consciously and self-consciously borrow from or ironically comment on a range of styles from the past.
Realism
Realism, in the arts, the accurate, detailed, unembellished depiction of nature or of contemporary life. Realism rejects imaginative idealization in favour of a close observation of outward appearances.
Realism was stimulated by several intellectual developments in the first half of the 19th century. Among these were the anti-Romantic movement in Germany, with its emphasis on the common man as an artistic subject; Auguste Comte’s Positivist philosophy, in which sociology’s importance as the scientific study of society was emphasized; the rise of professional journalism, with its accurate and dispassionate recording of current events; and the development of photography, with its capability of mechanically reproducing visual appearances with extreme accuracy. All these developments stimulated interest in accurately recording contemporary life and society.
Cubism
Cubism, highly influential visual arts style of the 20th century that was created principally by the artists Pablo Picasso and Georges Braque in Parisbetween 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories that art should imitate nature. Cubist painters were not bound to copying form, texture, colour, and space. Instead, they presented a new reality in paintings that depicted radically fragmented objects.
Abstract
Abstract art, also called nonobjective art or nonrepresentational art, painting, sculpture, or graphic art in which the portrayal of things from the visible world plays no part. All art consists largely of elements that can be called abstract—elements of form, colour, line, tone, and texture. Prior to the 20th century these abstract elements were employed by artists to describe, illustrate, or reproduce the world of nature and of human civilization—and exposition dominated over expressive function.
Abstract art has its origins in the 19th century. The period characterized by so vast a body of elaborately representational art produced for the sake of illustrating anecdote also produced a number of painters who examined the mechanism of light and visual perception. The period of Romanticism had put forward ideas about art that denied classicism’s emphasis on imitation and idealization and had instead stressed the role of imagination and of the unconscious as the essential creative factors. Gradually many painters of this period began to accept the new freedom and the new responsibilities implied in the coalescence of these attitudes.
The Relationships between
Art and Technology
Contemporary art has been greatly influenced by the rapid development in digital technology and by the astonishing progression in theintroduction of new, more attractive and tougher materials that artists can work with. Both these innovations have expanded horizons of creativity and opened new artistic frontiers. They have also allowed contemporary artists to reduce time spent in the actual execution of artwork to a minimum thereby freeing them to focus more on contemplation, creativity and developing groundbreaking ideas, as well as sound preparation for artwork.
Possessing this massive quantity of tools and capabilities must be accompanied by a comprehensive and in-depth knowledge of every detail of these tools and their capabilities, so as to enable the artist to successfully translate all his or her fantasies and creativity via the designated tool, using the fastest and shortest means possible.
What was Modernism?
Martin Durazo, Contemporary Artist
The rejection of realism in painting or in art that came about, as cities began to develop and there was intensified relationship with people.
The modernization of society related to its relation of his artworks, it's almost enabled him to go back and forth, accept, rejected reformat, and reshape it.
Alasdair Groves, Contemporary Painter
It is sort of "Bella Epoque" type of things, a wonderful period of experimentation where artists invented new techniques, new tech materials and probably invention of the camera, oil paints, tubes, compressed charcoal, and manufactured.
Max Presneill, Curator and Contemporary artist
He replied the interviewer that it's impossible to ake a work without having a relationship with modernism. Althought the angles and facets in his paints don't refer to cubism, it's changes the nature of how we think. It doesn' demonstrate us a picture that shows a way of thinking about something. It makes a crucial turning moment which has led to developments in later modernism.
The aspect of post-modernism is a critique of the fundamentals and approaches of modernism.
Charles Stuckey, Writer and Curator
He defined modernism as an art-making back at the middle of the 19th century, developed it from normal tradition art into a modern art until now.
Ian Burns
It is a plot that applied to the artist as a pervasive and heroism.
Prof. Vanessa Schwartz, Expert in the 19th Century Culture
it is the broader context of the history of modernity. Modernity is another set of transformations that are economic, broadly social about the democratization of culture, and the ability to see your own world being represented. The most powerful thing about modernity is the distancing of the world as if it was a representation.
Douglass Fogle, Curator and Writer
Modernism was the idea challenged by the notion from the beginning even though there was a canonical sort of version.
Dove Bradshaw, Contemporary Artist
She said that Duchamp dominated the first half of the century of modernism because his boldness and extraordinary creativity affected many people.
Ben Quilty, Contemporary Painter and Writer
Its to link these modernism movemens to the ways society was going. Modenity was in step with industrial revolution and throwing off the old laboured ways of making images with lots of rules about how to make image very realistic.
Dr. David McNeil, Art Theoris
Modernism was an historical moment in a global context where the cultures confused in technological and scientific progress with moral development and progress.
Claudia Pardneli, Contemporary Artist
Modernism was a desire to distill art to a kind pure form that is self reflective and didn't allude representational of something other than art.
Dr. Uros Cvoro, Art and Cultural Theorist
He described modernism as historical attitudes and a set of ideas about the world, how it developed, and happened in a particular area that certainly include art, literature,..etc
Dani Marti, Contemporary Artist
He was inspired by formal minimalist aesthetic service of modernism from his childhood. He used minimal formal vocabulary that makes lots of sense for his artwork. This helped to communicate with something further and feel in a figurative form.
Dr. Tim Gregory, Art Historian and Theorist
He said that modernism was a series of ideas and has occurred across time. The benefit of thinking like that was to remove it from a certain type of Eurocentrism that lace London and Paris at the heart and start off what now we think as contemporary visual culture.
He saw modernism in broader movement, not only industrialization but also the effect of of the population centermoving from rural areas into urban populations. So the cultural consequences of that is shift the dominant effect of modernism.