Dada Dada (/ˈdɑːdɑː/) or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zurich, Switzerland, began in 1916, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915.[1] The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades.[2] Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.[3] Francis Picabia, Dame! Overview[edit] Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! Dada was an informal international movement, with participants in Europe and North America. Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war. History[edit] Zurich[edit]
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]
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. 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. The historic peace churches such as the Brethren, the Mennonites and the Quakers teach that Jesus advocates nonviolence, and that his followers must do likewise. History of modern movements[edit] Antebellum Era[edit] American Civil War[edit] Rioters attack federal troops. Second Boer War[edit] World War I[edit] Iraq War[edit]
Romanticism Defining Romanticism[edit] Basic characteristics[edit] Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist. Not essential to Romanticism, but so widespread as to be normative, was a strong belief and interest in the importance of nature. According to Isaiah Berlin, Romanticism embodied "a new and restless spirit, seeking violently to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate effort at self-assertion both individual and collective, a search after means of expressing an unappeasable yearning for unattainable goals The term[edit] The period[edit] Context and place in history[edit] Romantic literature[edit]
Surrealism Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself and/or an idea/concept.[1] Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. Founding of the movement[edit] The group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. Surrealist Manifesto[edit] Expansion[edit]
Realism (arts) Realism in the arts may be generally defined as the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. The term originated in the 19th century, and was used to describe the work of Gustave Courbet and a group of painters who rejected idealization, focusing instead on everyday life.[1] In its most specific sense, Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution.[2] Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic movement. Instead it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. The Realist movement began in the mid-19th century as a reaction to Romanticism and History painting.
Industrial Revolution Iron and Coal, 1855–60, by William Bell Scott illustrates the central place of coal and iron working in the industrial revolution and the heavy engineering projects they made possible. The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. This transition included going from hand production methods to machines, new chemical manufacturing and iron production processes, improved efficiency of water power, the increasing use of steam power, and the development of machine tools. It also included the change from wood and other bio-fuels to coal. Textiles were the dominant industry of the Industrial Revolution in terms of employment, value of output and capital invested; the textile industry was also the first to use modern production methods.[1] The Industrial Revolution marks a major turning point in history; almost every aspect of daily life was influenced in some way. Etymology Textile manufacture Chemicals
Pre-Raphaelite Brotherhood The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood". The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". Beginnings[edit] Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850 Early doctrines[edit] The brotherhood's early doctrines were expressed in four declarations: First exhibitions and publications[edit] List of artists[edit]
Impressionism Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. Overview[edit] Radicals in their time, early Impressionists violated the rules of academic painting. Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. Beginnings[edit] In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art.
Special relativity Special relativity implies a wide range of consequences, which have been experimentally verified,[2] including length contraction, time dilation, relativistic mass, mass–energy equivalence, a universal speed limit, and relativity of simultaneity. It has replaced the conventional notion of an absolute universal time with the notion of a time that is dependent on reference frame and spatial position. Rather than an invariant time interval between two events, there is an invariant spacetime interval. Combined with other laws of physics, the two postulates of special relativity predict the equivalence of mass and energy, as expressed in the mass–energy equivalence formula E = mc2, where c is the speed of light in vacuum.[3][4] A defining feature of special relativity is the replacement of the Galilean transformations of classical mechanics with the Lorentz transformations. Postulates[edit] Lack of an absolute reference frame[edit] Relativity theory depends on "reference frames". where we get
Sigmund Freud Sigmund Freud (/frɔɪd/;[2] German pronunciation: [ˈziːkmʊnt ˈfʁɔʏ̯t]; born Sigismund Schlomo Freud; 6 May 1856 – 23 September 1939) was an Austrian neurologist, now known as the father of psychoanalysis. Freud qualified as a doctor of medicine at the University of Vienna in 1881,[3] and then carried out research into cerebral palsy, aphasia and microscopic neuroanatomy at the Vienna General Hospital.[4] Upon completing his habilitation in 1895, he was appointed a docent in neuropathology in the same year and became an affiliated professor (professor extraordinarius) in 1902.[5][6] Psychoanalysis remains influential within psychotherapy, within some areas of psychiatry, and across the humanities. As such, it continues to generate extensive and highly contested debate with regard to its therapeutic efficacy, its scientific status, and whether it advances or is detrimental to the feminist cause.[10] Nonetheless, Freud's work has suffused contemporary Western thought and popular culture.
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