Postmodernism Philosophical and artistic movement Initially emerging from a mode of literary criticism, postmodernism developed in the mid-twentieth century as a rejection of modernism,[8][9][10] and has been observed across many disciplines. Postmodernism is associated with the theories of deconstruction and post-structuralism.[4] Various authors have criticized postmodernism as promoting obscurantism, as abandoning Enlightenment rationalism and scientific rigor, and as adding nothing to analytical or empirical knowledge.[13] Definition[edit] Origins of term[edit] In 1942 H. In 1926, Bernard Iddings Bell, president of St. Author Peter Drucker suggested the transformation into a post-modern world that happened between 1937 and 1957 and described it as a "nameless era" characterized as a shift to a conceptual world based on pattern, purpose, and process rather than a mechanical cause. History[edit] Theories and derivatives[edit] Structuralism and post-structuralism[edit] Deconstruction[edit] Philosophy[edit]
Tristan Tzara After moving to Paris in 1919, Tzara, by then one of the "presidents of Dada", joined the staff of Littérature magazine, which marked the first step in the movement's evolution toward Surrealism. He was involved in the major polemics which led to Dada's split, defending his principles against André Breton and Francis Picabia, and, in Romania, against the eclectic modernism of Vinea and Janco. This personal vision on art defined his Dadaist plays The Gas Heart (1921) and Handkerchief of Clouds (1924). A forerunner of automatist techniques, Tzara eventually aligned himself with Breton's Surrealism, and under its influence wrote his celebrated utopian poem The Approximate Man. During the final part of his career, Tzara combined his humanist and anti-fascist perspective with a communist vision, joining the Republicans in the Spanish Civil War and the French Resistance during World War II, and serving a term in the National Assembly. Name[edit] S. Biography[edit] Birth of Dada[edit]
Expressionism Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4] Origin of the term[edit] In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (the Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. "View of Toledo" by El Greco, 1595/1610 has been indicated to have a particularly striking resemblance to 20th-century expressionism. Expressionist-Visual artists[edit] In other arts[edit] Dance[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. Many activists distinguish between anti-war movements and peace movements. Anti-war activists work through protest and other grassroots means to attempt to pressure a government (or governments) to put an end to a particular war or conflict. 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. History of modern movements[edit] Antebellum Era[edit] American Civil War[edit]
Paul Cézanne Paul Cézanne (US /seɪˈzæn/ or UK /sɨˈzæn/; French: [pɔl sezan]; 1839–1906) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavour to a new and radically different world of art in the 20th century. Cézanne's often repetitive, exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields. The paintings convey Cézanne's intense study of his subjects. Cézanne can be said to form the bridge between late 19th-century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. §Life and work[edit] §Early years and family[edit] Femme au Chapeau Vert (Woman in a Green Hat. Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. §Cézanne the artist[edit] §Optical phenomena[edit] §Death[edit]
Pablo Picasso Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.[4][5][6][7] Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. His work is often categorised into periods. While the names of many of his later periods are debated, the most commonly accepted periods in his work are the Blue Period (1901–1904), the Rose Period (1904–1906), the African-influenced Period (1907–1909), Analytic Cubism (1909–1912), and Synthetic Cubism (1912–1919). Early life Pablo Picasso and his sister Lola, c.1889 Picasso showed a passion and a skill for drawing from an early age. Fame
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]
Francis Bacon (artist) Francis Bacon in his studio Francis Bacon (28 October 1909 – 28 April 1992) was an Irish-born British figurative painter known for his bold, graphic and emotionally raw imagery.[1] His painterly but abstracted figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. Bacon began painting during his early 20s and worked only sporadically until his mid-30s. He often said in interviews that he saw images "in series", and his artistic output typically focused on a single subject or format for sustained periods. During his lifetime, Bacon was equally reviled and acclaimed. Bacon's birthplace at 63 Lower Baggot Street, Dublin He had an older brother, Harley, five years his senior,[11] two younger sisters, Ianthe and Winifred, and a younger brother, Edward. Bacon spent late 1926 in London, with an allowance of £3 a week from his mother's trust fund, living on his instincts, 'drifting', and reading Nietzsche.