Introduction
Modernism primarily describes the present world. During past centuries, different styles and forms of line took precedence. The premeditated departure from these forms of practices and adoption of new forms of expressions and innovation in human life and industry attribute to modernism.
From literature to the arts world, modernism is evident in that, there are new innovations in painting and supplies, changed perceptions and feelings, abnormal fantasies, and concepts. Modernism demands critical analysis by observers sequentially for them to learn new facts in areas of art, surroundings, and perceptions whilst making conclusions on observations. This paper will examine modernism in the field of art and painting.
Modernism in Art
Under modernism, presently, there exist new forms of architecture, organizational behavior, social trends, and art change. All this have resulted due to innovations caused by industrial revolution in terms of social, economic and political stipulations (Lewis pp.38-39).
Vast experiments done from mid nineteenth century to late twentieth century suggests that, modern approaches arise through abandoning of old techniques and embracing new innovative and personage techniques. Traditional historicism and romantic subjectivism are no longer in the modern society.
Artists and technicians of 19th century used realism to give out views and suggestions. Later, impressionism took centre stage, hence replacing realism. Impressionism originates from France and it depicts the painting school of art. Artists based this on the argument that, there are no objects but rather, work done in the mind account for object observation. This is because; various pictures created in the conscious mind and in studios, elicited different feelings while sending information and creative thoughts (Witcombe Para. 1-3).
Picture paints were dominant in the 18th century. Some paintings depicted the ills in the society like dictatorial emperors and leaders. At the dawn of the twentieth century, genius artists like Wassily Kandinsky and Matisse, made a landmark in modernism by contributing to the construction of Blue Rider in Munich and realization of present time surrealism and cubism. This made it possible for people to view pictures and actions of artists’ works in cinemas thus, making art a unique and modern discipline.
In art and design, chart art obsolete became futile as photography taken through photo cameras illustrated modernism. Modernism is all about using sophisticated methods and techniques to replace the existing none, which will offer more and excellent observation to keen and critical observers.
In essence, modernism is a shift from views purported ideal to those deemed critical in understanding the present world. Paintings done in the past about the state of people and past society presently help to give direction to in the world of art (Greenberg Para. 12-14).
The present Europe and America have undergone a series of changes in their visual and performing art, which artists attribute to changes in political and social environments. For example, during 1930s, there was cultural diversification in music created as compared to the pre-existing periods; hence, some music genres such as Jazz music remained dominant among the youths in Europe and America. Communication and transport currently is mainly through road and air as compared to the past where people used rail and animals.
Artistic painting in modernism applies different colors ant tints to imply a specific group of people, struggle or various impressions. Most youths in developed countries have a culture of seeing themselves as more modernized than their counterparts in developing countries, a subject that raises many questions in the world of art. After the Second World War, modernism started taking a direction geared towards consumerism.
New technological advancements especially in electronic industry started to replace the past art. In this regard, traditional techniques and art features make up traditional art while consumerist art paintings imply modernism. In addition, sculpture constructions and paintings stopping at cubism sent a signal to the world on conventional actions, hence the currently existing extensive features of art.
For example, women artists in New York and London made artistic paintings to bring inherent officials and social ills into the limelight, which enlightened the society on social evils committed by individuals, organizations, and governments.
In addition, some artistic clay works common in Africa during past centuries assisted in building shelter places and other artistic materials. For example, artist Jackson Pollock, could used canvas materials using imagery and noon-imagery techniques to make long lasting materials like painting brushes, picture boards and floor materials (Gombrich pp.1-10)
In 1960s, expressionism took centre stage whereby, abstract painting, color field painting lyrical abstractions and arte povera became common, contrary to past painting techniques. Book materials like newspapers, encyclopedia, and novels appeared with pictures of certain writings to give emphasis leading to a period of minimalism. Nevertheless, current cottage and assembling industries use new art techniques to make paints and decorations on equipments for example, ceramics, electrical wire coatings, and installation equipments.
Conclusion
In conclusion, modern artists employ modern techniques, which outweigh past artistic painting and sculpture art techniques. These modern techniques, which give divergent views, have changed our art industries, hence emphasizing the concept of modernism.
In addition, constructive cultural hibernations give rise to modernism, a practice embraced by many. In coming years, modernism will cover social and political views rather than idealistic and critical mindsets-postmodernism. Just like traditional art where paintings and sculptures underwent canonization, so will modernism.
Works Cited
Gombrich, Ernst. The Renaissance Conception of Artistic Progress and its Consequences in Norm and Form. Studies in the Art of the Renaissance, 4 (1971): 1-10. Print.
Greenberg, Clement. Modernist painting. 1960. Web. <http://www.sharecom.ca/greenberg/modernism.html>
Lewis, Pericles. Modernism, Nationalism, and the Novel. Cambridge: Cambridge University Press, 2000. Print.
Witcombe, Christopher. Art for art’s sake. Modernism. 1997. Web. <http://arthistoryresources.net/modernism/artsake.html>