After H. Two months later, Poetry published an essay which discusses three points that the London group agreed upon. They felt that the following rules should apply when writing poetry:. In addition to the previously published works of Aldington and H. Over the next four years, four anthologies of Imagist poetry were published.
They included work by people in that London group Pound, F. Flint, H. Lawrence, and Marianne Moore. World War I broke out soon after the height of Imagism.
Some poets, like Aldington, were called to serve the country, and this made the spread of Imagism difficult—as did paper shortages as a result of the war. On the other hand, primitivism was the expression of all that civilized man had to repress in order to enter into contract with society. According to Sigmund Freud's Civilization and Its Discontents , in order for man to partake in civilized society, he had had to lay aside many uncivilized urges within the self, such as the natural appetite for adultery, incest, murder, homosexuality, etc.
It is this repression of natural desires that, Freud argues, is the source of modern neurosis. Symbolically, the embrace of primitivism is a negation of the very principles of the Judeo-Christian tradition and an affirmation of authentic expression of that hidden self that only finds expression at night when we dream.
The modernist interest in primitivism also expressed itself in its correlative, the exploration of perversity. This obsession with the forbidden and the lurid was tantamount to the re-discovery of passion, a way of life which so many creative people at the time believed to have been repressed or had lain dormant.
Frederich Nietzsche blames this dormancy on the 19th-century's preoccupation with form. In his seminal work The Birth of Tragedy, Nietzsche had traced the origins and development of drama back in Ancient Greece to the balance that existed between two gods who existed in opposition to one another, Apollo and Dionysius.
Apollo represented the essence of light, rationality, civility, culture, and restraint. In contrast, Dionysius suggested wine, the primitive urge, all that was uncivilized. Although these two gods existed in opposition to one another, they were both, nevertheless, revered equally, thus striking a balance between form the Apollonian and creative impulse Dionysius. The modernists concurred with Nietzsche that art had degenerated because it was too concerned with the rules of form and not enough with the creative energies that lie underneath the surface.
It is that exploration of what is underneath the surface that the modernists were so keen about, and what better way to do so than to scrutinize man's real aspirations, feelings, and actions.
What was revealed was a new honesty in this portrayal: disintegration, madness, suicide, sexual depravity, impotence, morbidity, deception. Many would assail this portrayal as morally degenerate; the modernists, on the other hand, would defend themselves by calling it liberating. Modernism: Characteristics Arising out of the rebellious mood at the beginning of the twentieth century, modernism was a radical approach that yearned to revitalize the way modern civilization viewed life, art, politics, and science.
This rebellious attitude that flourished between and had, as its basis, the rejection of European culture for having become too corrupt, complacent and lethargic, ailing because it was bound by the artificialities of a society that was too preoccupied with image and too scared of change. This dissatisfaction with the moral bankruptcy of everything European led modern thinkers and artists to explore other alternatives, especially primitive cultures.
For the Establishment, the result would be cataclysmic; the new emerging culture would undermine tradition and authority in the hopes of transforming contemporary society.
The modernists believed that for an individual to feel whole and a contributor to the re-vitalization of the social process, he or she needed to be free of all the encumbering baggage of hundreds of years of hypocrisy. The rejection of moral and religious principles was compounded by the repudiation of all systems of beliefs, whether in the arts, politics, sciences or philosophy. No more conventional cookie-cutter forms to be superimposed on human expression.
What were some of the artistic beliefs that the modernists adopted? Ironically, the modernist portrayal of human nature takes place within the context of the city rather than in nature, where it had occurred during the entire 19th-century. At the beginning of the 19th-century, the romantics had idealized nature as evidence of the transcendent existence of God; towards the end of the century, it became a symbol of chaotic, random existence.
Why would the modernists shift their interest from nature and unto the city? The first reason is an obvious one. This is the time when so many left the countryside to make their fortunes in the city, the new capital of culture and technology, the new artificial paradise. Modernism was a philosophical movement of the late 19th and early 20th centuries that was based on an underlying belief in the progress of society.
Modernism is a philosophical movement that, along with cultural trends and changes, arose from enormous transformations in Western society during the late 19th and early 20th centuries. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed by the horror of World War I.
Modernism was essentially based on a utopian vision of human life and society and a belief in progress, or moving forward. It assumed that certain ultimate universal principles or truths such as those formulated by religion or science could be used to understand or explain reality. Modernist ideals were far-reaching, pervading art, architecture, literature, religious faith, philosophy, social organization, activities of daily life, and even the sciences.
In this spirit, its innovations, like the stream-of-consciousness novel, atonal or pantonal and twelve-tone music, divisionist painting and abstract art, all had precursors in the 19th century. In painting, during the s and the s and the Great Depression, modernism is defined by Surrealism, late Cubism, Bauhaus, De Stijl, Dada, German Expressionism, and Modernist and masterful color painters like Henri Matisse as well as the abstractions of artists like Piet Mondrian and Wassily Kandinsky, which characterized the European art scene.
In Germany, Max Beckmann, Otto Dix, George Grosz, and others politicized their paintings, foreshadowing the coming of World War II, while in America, modernism is seen in the form of American Scene painting and the social realism and regionalism movements that contained both political and social commentary dominated the art world. The end of modernism and beginning of postmodernism is a hotly contested issue, though many consider it to have ended roughly around Post-Impression refers to a genre that rejected the naturalism of Impressionism in favor of using color and form in more expressive manners.
Post-Impression refers to a genre of painting that rejected the naturalism of Impressionism, in favor of using color and form in more expressive manners. Post-Impressionists extended Impressionism while rejecting its limitations.
For example, they continued using vivid colors, thick application of paint, distinctive brush strokes, and real-life subject matter, but they were also more inclined to emphasize geometric forms, distort forms for expressive effect, and to use unnatural or arbitrary colors in their compositions. Post-Impressionism developed from Impressionism. From the s onward, several artists, including Vincent Van Gogh, Paul Gauguin, Georges Seurat, and Henri de Toulouse-Lautrec, envisioned different precepts for the use of color, pattern, form, and line, deriving these new directions from the Impressionist example.
These artists were slightly younger than the Impressionists, and their work contemporaneously became known as Post-Impressionism. Some of the original Impressionist artists also ventured into this new territory. Camille Pissarro briefly painted in a pointillist manner, and even Monet abandoned strict en plein air painting.
Although these cases illustrate the difficulty of assigning labels, the work of the original Impressionist painters may, by definition, be categorized as Impressionism. The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, although they did not agree on the way forward. Georges Seurat and his followers, for instance, concerned themselves with Pointillism, the systematic use of tiny dots of color.
Vincent van Gogh used vibrant colors and swirling brush strokes to convey his feelings and his state of mind. Hence, although they were often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, and younger painters in the early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism.
He used planes of color and small brushstrokes to form complex fields and convey intense study of his subjects. Later, he became more interested in working from direct observation, gradually developing a light, airy painting style. To this end, he structurally ordered whatever he perceived into simple forms and color planes. Additionally, his desire to capture the truth of perception led him to explore binocular graphic vision. This exploration rendered slightly different, yet simultaneous, visual perceptions of the same phenomena, providing the viewer with a different aesthetic experience of depth.
He later called these works, mostly portraits, une couillarde a coarse word for ostentatious virility. All in all, works of the Dark Period include several erotic or violent subjects.
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