Modernist styles including cubism orphism and

Eiffel TowerChamp de Mars, Paris. An icon of modernist architecture designed by Gustave Eiffel. What is Modern Art? Definition There is no precise definition of the term "Modern Art":

Modernist styles including cubism orphism and

Hire Writer Rather than a dismissing the concept of representation in art the modernist styles challenged the validity of the external representation, which had previously en the foundation of art, by focusing on conceptual representation. Traditional representational art is based on the representation of an image as it is, at a fixed point in time, from a singular viewpoint.

This type of art aimed to be entirely familiar to the viewer; the subjects involved easily recognizable and derived from sources of reality. Based on these definitions, it is evident that Cubism, Orphism and Futurism rejected traditional concepts and conventions as these could not portray the conceptual representation modern art was concerned with.

It is evident in the works produced by the artists associated with these movements that they made a conscious decision to expand what was acceptable in art by challenging the artistic techniques and practices of representational art that had been adhered to for hundreds of years.

In this way these modern works challenged the more objective representational art by uncovering new concepts of reality that did not involve the burden of realism. In some ways these artists were set free from the burden of realism by the invention of the camera, which could render an image perfectly.

They were given the freedom to portray their understanding of an image, not how it is observed. This idea was first formally established by Maurice Urinal an art critic and close friend of many of the artists involved in these modern movements. This is a sentiment that abstract artists wished to express and the reason they challenged the traditions of art at all.

I will set out in my argument how the innovative use of artistic conventions by modernist artists proves that the practices of traditional representational art were rejected. It was only through this purposeful rejection of traditional representational art to a truer, more conceptual representation that the innovative concepts associated with these modernist styles were able to develop and this marks the development of modern art into abstraction.

Space and form All three styles, Cubism, Orphism and Futurism show a pictorial space and form which would be unrecognizable to traditional representational art. Although theses three modern styles varied, the works involved all occupied a new and more complex pace.

Mel Gooding explains this as a trend in modern art away from the representation of recognizable objects in pictorial space and towards presentation of a painting or sculpture as a real object in real space.

The technique of one point perspective which was very much adhered to during the renaissance created a space in the picture which vanished into a single point in order to replicate the three dimensionality of our vision.

This coupled with the use of shading and toning to accentuate the weight of form worked to create the illusion of looking into a realistic space.

The Influence of Cézanne

For example, Baroque said of Cubism What most attracted me and what was the governing principle of Cubism, was the materialistic of this new space which I sensed. The art movement of Cubism was in fact sparked by the idea f exploring a new anti naturalistic space which can be seen to be developed and refined throughout the phases of cubism.

The driving force behind the experimentations with form that developed cubism was the rejection of the deceptive singular viewpoint perspective which governed the illusionist of representational art. Initially the search for a new, more truthful pictorial space was found in the introduction of time, the fourth dimension, into space.

Baroque Notes Essay Around this time in history the concept that space and time where interlinked was suggested by Einstein theory of relativity which destroyed the concept that the dimensions of an object were absolute, by demonstrating that they depended on the relative position of the viewer.

This abstract concept was portrayed in Cubism through the use of synthesized impressions of an image or space. As you view an image or object, your impression is not static but a moving collection of impressions over time.

The use of multiple viewpoints aimed to compress a multiplicity of information gathered from various experiences of an object into one image. This innovation off truer space is most evidently portrayed by the analytic phase of Cubism.

Modernist styles including cubism orphism and

Through the incorporation of the new artistic conventions the fragmentation of form was developed. The intention was to encompass the entire visual experience of an object into one image and through this idea an effective technique of breaking up form into planes and facets which each expressed a sample of visual information.

The Cubist works now possessed a shallow pictorial space due to the abandonment of perspective on which these fragmented facets could be hung. In Futurism the concept of time in an image was portrayed by movement. This inclusion of time as a meaner of transforming the static imagery once associated with art into a capturing of movement created a new optical and temporal space.

Modernist styles including cubism orphism and

Futurists were also interested in the use of fragmentation of form to challenge the idea of a fixed viewpoint that was used in representational art.

However, they developed this idea further and produced works which captured the idea of movement in a way that was not possible wrought traditional conventions.

They achieved this through the use of rhythmic repetitions of space and form which is effective in evolving a static image into one which is in constant motion.

Evidence of all of these ideas can be seen in artworks associated with all three of these modernist art styles.The notion of Orphism was popularized by Robert Delaunay's influential article of , "La lumière" and Guillaume Apollinaire's description of "Orphic Cubism" in his writings on modern art.

The collaborations between Robert and Sonia Delaunay broadened the range of Orphism . Modernist styles, including Cubism, Orphism, and Futurism challenged the practices of traditional representational art.

I will argue that modernist styles including Cubism, Orphism and Futurism did challenge the practices of . Modernist styles, including cubism, Orphism and futurism, challenged the traditions of representational art. Modern 20th century art challenged the traditions of representational art.

Until the 20th century art was always thought of as a form that represents a lot of religious values without. Modernist styles, including Cubism, Orphism, and Futurism challenged the practices of traditional representational art. I will argue that modernist styles including Cubism, Orphism and Futurism did challenge the practices of Read more.

Modernist styles, including Cubism, Orphism, and Futurism challenged the practices of traditional representational art. I will argue that modernist styles including Cubism, Orphism and Futurism did challenge the practices of traditional representational art.

Modern architecture, or modernist architecture, is a term applied to a group of styles of architecture which emerged in the first half of the 20th century and became dominant after World War was based upon new technologies of construction, particularly the use of glass, steel and reinforced concrete; and upon a rejection of the traditional neoclassical architecture and Beaux-Arts styles.

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