IMG_9195 Felix Vallotton. 1865-1925. Paris. The dinner, effect of lamp. Dinner, lamp effect. 1899. Paris Orsay.

IMG_9195 Felix Vallotton. 1865-1925. Paris. The dinner, effect of lamp. Dinner, lamp effect. 1899. Paris Orsay.
Felix Vallotton. 1865-1925. Paris.
The dinner, effect of lamp. Dinner, lamp effect. 1899.
Paris Orsay.

MODERN ART : THE RENEWAL OF FORMS

Modern Art, announced at the beginning of the 20th century by the romantic painters ( Constable, Turner, Delacroix ) and the pre-impressionists has been a factor in a remarkable renewal of aesthetic forms in european painting.
Its essential characteristic is definitely its commitment to invention, change, which expresses itself in painting, in the use of color, in search of a new drawing, in the diversity of the topics covered. We can say that european civilization is distinguished from other major civilizations by this constant search, at the scale of centuries, of innovation. This has not been the case, for example, the islamic civilizations, or the chinese whose values have infinitely more priority to sustainability and to the maintenance of traditions. Once again we see that art is a revealing of the values that drive societies.

The techniques used by european painters during the 19th century, to create a new art are multiple, except in the omission, one can the identify as well :
1°"The Painting Flat": for example, with Manet, later Gauguin, Maurice Denis, and Raoul Dufy, the Nabis… This technique reduces or eliminates the volume and the perspective and emphasizes the lines. The painter strives more to make the world in three dimensions, as it has done for centuries. The artist offers a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. It is a return to an aesthetic that was one of the paint Byzantine, Romanesque and Gothic. With other themes, of course, because one of the characteristics of modern art is the scarcity of religious reasons, or inspired by Greek and roman antiquity.
2° The decomposition of the light and of the colours, spots and dots."Tachism". The Préimpressionnistes (Barbizon School, Corot) The Impressionists. The Pointillists (Seurat, Signac)
3° The colors arbitrary or symbolic. The artist departs from the colors "real", those received by the eye and the human brain, and makes colors seem arbitrary: Gauguin, the Fauves, the symbolism, the surrealism … It is a technique that the painting of the romanesque and gothic were put into practice very regularly.
(4) The valuation of the Sketch. The sketch has been for centuries, and only, what its name suggests : a Study preparatory to a definitive painting. In the 19th the sketch is a process, final, terminal, artistic expression.
5° The Geometrism. The decomposition of the space and volume in the real world, lines and surfaces, more or less, synthetic and meaningful. (Cézanne, Braque). We also talked of Cloisonnisme. That will lead to abstract art.
6° The "multiplicity of points of view" on an object or a subject. Technique that seeks to make the real as if it stared at him, at the same time, since several points in space. (The Cubists)
7° Abstract art, finally, a novelty to almost total in the european art.

Art has always been, a way of dreaming the real world. But the new techniques of Modern Art, depart all of them, in a very intentional, proactive, accurate representation of the real.
Painters tend to create an art in which the interpretation of reality prevails on its reproduction.
The artist’s "modern" reproduces the real, but also the dream and the invented. These trends have resulted in non-figurative art, otherwise known as abstract art.
This renewal of forms in painting is total.
It has brought new possibilities, very interesting, and very beautiful, artistic expression.

It must not be confused with Modern Art and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics nor the same ideological foundations.
Modern Art covers a period that goes from the pre-impressionists, circa 1850-60, until the second world war. At least this is the periodization the most commonly accepted by historians of the item
Other historians do start a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is probably the best because the impressionists are artists fully "modern". One may even think that Modern Art begins with the return of peace in Europe after 1815, with some romantic painters such as the French Eugène Delacroix, or with William Turner, fantastic, innovative, a harbinger of impressionism and non-representational art, who died in 1853.
These two artists have made the sketch a means of artistic expression of choice.
The painters of this time are already deeply inspired by the commitment to innovation that characterizes Modern Art. The period of Modern Art, extremely dynamic, on the other hand, another major characteristic, rich of diversity. It fits perfectly in the history of european art. It does not deny the past, academic art is practiced, but it is also remarkably creative works in multiple, inventive forms entirely new aesthetic expression.
.
Contemporary Art has been established in Europe after 1945. Some fix his birth in the 1950s. One can also claim, with much reason, that his date of birth, in any case, the ideological and political, is the establishment of a New York Moma by the Rockefeller (1929). The dates are of course approximate, and some painters such as Picasso and Miro belong to the spirit of Modern Art, while they remain very creative after 1945.
In painting and sculpture, the diversity is then place in a deep consistency that is concealed behind the appearances of the innovation. The explosion of originality, freedom, and non-conformism that characterizes the Modern Art becomes Contemporary Art, a system that freezes in the ideologically correct. And the ldéologie new is that the aesthetic and the sharing of the beautiful with the population, is no longer a goal of the official art. The art must be the opposite of what has been done in the past. The inversion of values is complete, and totalitairement imposed.
Contrary to what it claims to be the Contemporary Art, it’s official, the one that is installed in the permanent collections of museums, or in some specialized exhibitions, is an art frozen, academic, exhausted by a system and an obsession : the New Modernity. It is the Art of the clean slate of the Past : an art without roots, reserved to an elite of so-called "Comprenants" who despise the peoples, they rule "democratically". It is true that next to official art, there is a space of freedom for artists in the private art trade and the art of the streets. But the essential question remains : As the art of Egyptian, Greek, Roman, Catholic, the official art is a reflection of the thinking of the elite ideological and political current, of his vision of the world, and his project for the peoples. We can say that it reveals its deep intentions.

MODERN ART: THE RENEWAL OF FORMS

Modern Art, announced from the beginning of the 20th century by the romantic painters (Constable, Turner, Delacroix) and pre-impressionists has been a factor quite remarkable renewal of aesthetic forms in European painting. Stis essential characteristic is certainly his invention will, his desire for change, expressed in painting, in the use of colors, in the search for a new design, in the diversity of topics. It can be said that European civilization differs from other great civilizations through the constant research, on the scale of centuries, of innovation. This was not the case for example of Islamic and Chinese civilizations whose values have infinitely more given priority to the sustainability and the maintenance of traditions. Once again we see that art is a developer of the values that drive the societies.

The techniques used by European painters during the 19th century to create a new art, are many. Except by omission, and we can enumerate:
1° "The Flat Painting", for example with Manet, Gauguin, Maurice Denis, the Nabis … This technique reduces gold removes volumes and perspective and focuses on lines. The painter no longer tries to represents the world in three dimensions, as he has done for centuries. The painter offered a vision of the world that accepts the flatness of the table. The artist paints in two dimensions. She returned to an aesthetic that was practiced by the Byzantine painting, Romanesque and Gothic. With other themes obviously, since one of the features of modern art is the increasing scarcity of religious motives gold inspired by Greek and Roman antiquity.
2° The decomposition of light and colors with spots and dots. "The Tachism". The Pre-Impressionists, the Barbizon School, Corot, The Impressionists. the Pointillist (Seurat, Signac)
3° The arbitrary and symbolic colors. The artist moves away of the colors "real", those perceived by the eye and the human brain, and invents arbitrary colors: Gauguin, the Fauves, symbolism, surrealism … It is a technique that painting Romanesque and Gothic had practiced regularly.
4° The valorization of the Sketch. The sketch was, for centuries, only what its name indicates: a preparatory study for a final painting. In the 19th the sketch becomes a permanent process, terminal, completed, of artistic expression.
5° The Geometrism. The decomposition of space and volumes of the real world into lines and surfaces, more or less, synthetic and significant. (Cézanne, Braque). We also talked about Cloisonnism. Which will lead to abstract art.
6° The "multiplicity of perspectives" on an object. Technique that seeks to make the real, as if you looked at him, at the same time, from several points of space. (The Cubist)
7° Abstract art, finally, a novelty almost complete in the European part

Art has always been a way to dream the real world. Goal news techniques of Modern Art, are moving away from, in a manner very intentional, voluntarist, of the exact representation of reality.
The painters tends to create an art in which the interpretation of reality prevails over sti reproduction.
The "modern" artist reproduces reality, but also the dream and invents it. These tendencies have led to non-figurative art, otherwise known as abstract art.
This renewal forms in painting is total.
It has brought new opportunities, exciting, and beautiful, artistic expression.

It must of not confusing Modern and Contemporary Art. They do not cover the same period. They do not have the same aesthetic characteristics or the same ideological foundations.
The Modern Art covers a period that goes from pre-Impressionists, to 1850 to 1860, until the Second World War. This is at least the periodization the most commonly accepted by art historians.
Other historians begin “Modern Art” a little later with the post-impressionist and abstract art, circa 1900. The broadest definition is certainly the best because Impressionist artists are fully "modern".

We can even think that Modern Art began as soon as the peace returned to Europe after 1815, with some romantic painters like the French Eugene Delacroix, or with William Turner, a fantastic innovator, announcer of impressionism and non-representational art, who died in 1853. These two artists have made with the sketch a privileged means of artistic expression.
The painters of this period are already deeply inspired by the desire for innovation that characterizes modern art. The period of Modern Art, extremely dynamic, is the other, another major feature rich diversity. It fits perfectly in the history of European art, She does not repudiate the past, academic art is quite practiced, but it is also remarkably creative multiple works, inventive forms entirely new of aesthetic expression.

Contemporary Art imposed itself in Europe after 1945. Some historians fixed sti birth in the 1950s. One can also claim, with a lot of reasons, that its date of birth, in any case ideological and political, is the creation in New York. of the Moma by the Rockefellers (1929). The dates are of course approximate and some painters like Picasso gold Miro belong to the spirit of the Modern Art, while they remain very creative after 1945.
In painting and sculpture, diversity gives way to a profound uniformity dissimulated behind the appearances of innovation.
The explosion of originality, freedom, and non-conformism that characterizes Modern Art becomes with contemporary art, a system that congeals in the ideologically correct. And the new ideology wants that aesthetics and the sharing of beauty with the population, is no longer a goal of the official art. Art must be the opposite of everything that has been done in the past. The inversion of the values is total, and totally imposed.
In painting and sculpture, diversity gives way to a deep uniformity, hidden behind the appearances of innovation and even of the provocation. The explosion of originality and non-conformism that characterizes modern art becomes a system that hard lockups back in the ideologically and aesthetically correct. Contrary to what he claims to be, contemporary art, official, one installed in the permanent collections of museums, or in some specialized exhibitions, is a static, academic, exhausted by a system and an obsession: the New, the Modernity. This is the Art of the clean slate of the Past: an art without roots, reserved for an elite of so-called "Comprenants" who despise the people, that they govern "democratically". It is true that alongside the official art, there is a space of freedom for artists in private commercial art and street art but the essential question remains: Like Egyptian, Greek, Roman, Catholic art, the official art is a reflection of the thinking of the current ideological and political elite, of its vision of the world, and of its project for the peoples . It can be said that he reveals his deep intentions.

the
By jean louis mazieres on 2017-02-01 10:47:49
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