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. 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]
Salvador Dalí Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marqués de Dalí de Pubol (May 11, 1904 – January 23, 1989), known as Salvador Dalí (/ˈdɑːli/;[1] Catalan: [səɫβəˈðo ðəˈɫi]), was a prominent Spanish surrealist painter and sculptor born in Figueres, Catalonia, Spain. Dalí was a skilled draftsman, best known for the striking and bizarre images in his surrealist work. His painterly skills are often attributed to the influence of Renaissance masters.[2][3] His best-known work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film, sculpture, and photography, in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything that is gilded and excessive, my passion for luxury and my love of oriental clothes"[4] to an "Arab lineage", claiming that his ancestors were descended from the Moors. Dalí was highly imaginative, and also enjoyed indulging in unusual and grandiose behavior. Biography[edit]
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! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920 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. To quote Dona Budd's The Language of Art Knowledge, Zurich[edit]
Edvard Munch Edvard Munch (Norwegian: [ˈɛdvɑʈ muŋk] ( Life[edit] Childhood[edit] Edvard Munch was born in a rustic farmhouse in the village of Ådalsbruk in Løten, Norway, to Laura Catherine Bjølstad and Christian Munch, the son of a priest. The family moved to Christiania (now Oslo) in 1864 when Christian Munch was appointed medical officer at Akershus Fortress. Christian's positive behavior toward his children was overshadowed by his morbid pietism. Christian Munch's military pay was very low, and his attempts at developing a private side practice failed, keeping his family in perennial poverty.[2] They moved frequently from one sordid flat to another. Studies and influences[edit] Self Portrait with Skeleton Arm, 1895 In 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry, and math. After numerous experiments, Munch concluded that the Impressionist idiom did not allow sufficient expression. Paris[edit] Berlin[edit] Edvard Munch 1902 The Scream[edit]
Postmodernism Artistic, cultural, and theoretical movement Postmodernism encompasses a variety of artistic, cultural, and philosophical movements. It emerged in the mid-20th century as a skeptical response to modernism, emphasizing the instability of meaning, rejection of universal truths, and critique of grand narratives. While its definition varies across disciplines, it commonly involves skepticism toward established norms, blending of styles, and attention to the socially constructed nature of knowledge and reality. The term began to acquire its current range of meanings in literary criticism and architectural theory during the 1950s–1960s. In the 1990s, "postmodernism" came to denote a generally celebratory response to cultural pluralism. Historically, it arose alongside industrialization, globalization, and cultural upheaval, with early uses in art and literature evolving into philosophical and social theory through figures like Lyotard, Derrida, Foucault, Baudrillard, and Jameson. [edit] History
Vincent van Gogh Vincent Willem van Gogh (Dutch: [ˈvɪnsɛnt ˈʋɪləm vɑn ˈɣɔx] ( );[note 1] 30 March 1853 – 29 July 1890) was a Post-Impressionist painter of Dutch origin whose work—notable for its rough beauty, emotional honesty, and bold color—had a far-reaching influence on 20th-century art. After years of painful anxiety and frequent bouts of mental illness,[1][2] he died aged 37 from a gunshot wound, generally accepted to be self-inflicted (although no gun was ever found).[3][note 2] Letters Vincent c. 1873 aged 19. Although many are undated, art historians have generally been able to put them in chronological order. Biography Early life Vincent c. 1866, approx. age 13 As a child, Vincent was serious, silent, and thoughtful. The house "Holme Court" in Isleworth, where Van Gogh stayed in 1876 [23][24] Van Gogh returned to England for unpaid work as a supply teacher in a small boarding school overlooking the harbor in Ramsgate, where he made sketches of the view. Etten, Drenthe and The Hague Emerging artist
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]
Antoni Gaudí Antoni Gaudí i Cornet (Catalan pronunciation: [ənˈtɔni ɣəwˈði]; 25 June 1852 – 10 June 1926) was a Spanish Catalan architect from Reus, who was the figurehead of Catalan Modernism. Gaudí's works reflect his highly individual and distinctive style and are largely concentrated in Barcelona, notably his magnum opus, the Sagrada Família. Much of Gaudí's work was marked by his big passions in life: architecture, nature, religion.[3] Gaudí studied every detail of his creations, integrating into his architecture a series of crafts in which he was skilled: ceramics, stained glass, wrought ironwork forging and carpentry. After a few years, under the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the Modernista movement which was reaching its peak in the late 19th and early 20th centuries. Gaudí's work enjoys widespread international appeal and many studies are devoted to understanding his architecture. Biography[edit] Birth, childhood and studies[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. The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law".[7] To William Wordsworth poetry should be "the spontaneous overflow of powerful feelings".[8] In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of. Not essential to Romanticism, but so widespread as to be normative, was a strong belief and interest in the importance of nature. The term[edit] The period[edit] The early period of the Romantic Era was a time of war, with the French Revolution (1789–1799) followed by the Napoleonic Wars until 1815.
Max Ernst Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism. Biography[edit] Early life[edit] Max Ernst was born in Brühl, near Cologne, the third of nine children of a middle-class Catholic family. His father Philipp was a teacher of the deaf and an amateur painter, a devout Christian and a strict disciplinarian. In 1914 Ernst met Hans Arp in Cologne. Dada and surrealism[edit] Ernst was demobilized in 1918 and returned to Cologne. Ernst and Luise's son Ulrich 'Jimmy' Ernst was born on 24 June 1920;[4] he also became a painter. Although apparently accepting the ménage à trois at first, Éluard eventually became more concerned about the affair. The next year he collaborated with Joan Miró on designs for Sergei Diaghilev. Ernst developed a fascination with birds that was prevalent in his work. World War II and later life[edit] L'Ange du Foyer, (1937) Selected works[edit]
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
Man Ray Man Ray (born Emmanuel Radnitzky, August 27, 1890 – November 18, 1976) was an American modernist artist who spent most of his career in Paris, France. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. He produced major works in a variety of media but considered himself a painter above all. He was best known for his photography, and he was a renowned fashion and portrait photographer. Ray is also noted for his work with photograms, which he called "rayographs" in reference to himself.[1] Life and career[edit] Background and early life[edit] During his career as an artist, Man Ray allowed few details of his early life or family background to be known to the public. Man Ray's father worked in a garment factory and ran a small tailoring business out of the family home. First artistic endeavors[edit] The Misunderstood (1938), collection of the Man Ray Estate Man Ray displayed artistic and mechanical abilities during childhood.
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. In general, Realists depicted everyday subjects and situations in contemporary settings, and attempted to depict individuals of all social classes in a similar manner. As an art movement Realism was a reaction in the mid 19th century against what was seen as the artificiality of Romanticism, led by Courbet in France.