Friday, July 15, 2011

the influence of money in the arts before world war II

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As early 0th -century artist all over the world moved toward the new and improved artistic ways, the relationship between art and money got weirder. With the division between the modernist figures of the starving artist, the wealthy and healthy has the power to make or break an artist. The contradiction between those behavioral archetypes has helped usher us toward our current situation in the 10s, where contemporary artists are nothing if not confused about money. During this time most artist were constricted to painting certain kinds of art. Many different art styles were born during this time before World War II. These styles were important to the evolution of art, as we know today.

Art Nouveau explores a new style in the visual arts and architecture that developed in Europe and North America at the end of the 1th century from 180-114. The exhibition is divided into three sections the first focuses on the 100 World’s Fair in Pairs, where it was established as the first new decorative style of the twentieth century the second examines the sources that influenced the style; and the third looks at its development and fruition in major cities in Europe and North America (www.sociology/arthistory.com).

At its height exactly one hundred years ago, Art Nouveau was a concerted attempt to create an international style based on decoration. It was developed by a brilliant and energetic generation of artists and designers, who sought to fashion an art form appropriate to the modern age. During this extraordinary time, urban life as we now understand it was established. Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas. Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth.

Art Nouveau was in many ways a response to the Industrial Revolution. Some artists welcomed technological progress and embraced the aesthetic possibilities of new materials such as cast iron. Others deplored the shoddiness of mass-produced machine made goods and aimed to elevate the decorative arts to the level of fine art by applying the highest standards of craftsmanship and design to everyday objects. It played an important part in gaining money and attention to the arts.

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In the north of Europe, the celebration of color was pushed to new emotional and psychological depths. Expressionisms as it was generally known, developed almost simultaneously in different countries from about 105. Characterized by heightened, symbolic colors and exaggerated imagery, it was German Expressionism in particular that tended to dwell on the darker, sinister aspects of the human psyche.

The term “Expressionism” can be used to describe various art forms but, in its broadest sense, it is used to describe any art that raises subjective feelings above objective observations. The paintings aim to reflect the artist’s state of mind rather that the reality of the external world. The German Expressionist movement began in 105 with artists such as Kichner and Nolde, who favored the fauvist style of bright colors but also added stronger linear effects and harsher outlines. It raised the bar of art to another standard and influenced many others to maintain the tradition of painting.

An early 0th century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones.

Cubism was a highly influential visual arts style of the 0th century that was created principally by the painters Pablo Picasso and Georges Braque in Pairs between 107 and 114. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejcucting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honored theories of art as the imitation of nature. Cubist painters were not bound to copying form, texture, color, and space, instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously (www.artcyclopedia.com).

Surrealism as we know it today is closely related to some forms of abstract art. In fact, they shared similar origins, but they diverged on their interpretation of what those origins meant to the aesthetic of art. It was a movement in visual art and literature flourishing in Europe between World Wars II and I. It grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason, but Surrealism’s emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the rationalism that had guided European culture and politics in the past and that had culminated in the horrors of World War I. Surrealism was a means of reuniting conscious and unconscious realms of experience so completely that the world of dream and fantasy would be joined to the everyday rational world in and absolute reality, surreality. With its emphasis on content and free form, Surrealism provided a major alternative to the contemporary, highly formalistic Cubist movement and was largely responsible for perpetuating in modern painting the traditional emphasis on content.

Because it was ignored and rejected by the new academy of modernism, Veristic Surrealism in its evolution has become a new art. A new art that must first show that it has democratic appeal�appeal to those generally unschooled in art or not professionally interested in it. Then it must suffer a period of aristocratic rejection by those schooled in an accepted and thereby traditional form of art�those with a vested interest in a known art and concerned with protecting it at all costs and not selling it to the highest bidder.

Contemporary Veristic Surrealists have worked for the past fifty years in silent seclusion. A renaissance of this art form will provide the world with new eternal aesthetic pleasures and reawaken the use of meaningful expression in art, so that it can once again have a dialogue with the public (www.peak.org).

It would take fifty years for artists born after the Second World War to discover how right this method is for helping us all understand the architecture of the psyche. Those who have understood the method, who have faithfully followed the images of the subconscious and, with patience, painted and analyzed them, have a lot to teach us about the make up and interaction of the three planes of the Spiritual, the psychological, and the physical.

In order to gain support for their works artists had to endure a lengthy process to seek out funding for projects. The guidelines are as follows

· Action should be taken quickly while interest is high; the concern was artists;

· The subject was money and financial support;

· The result would have a national range and presence but would be responsive;

· The result would be something new, rather than simply repeating what went before (www.globalgallery.com)

I believe that we should proceed with new action to support artists and strengthen their economic lives. We should be able to give the artists the opportunity to express themselves in anyway possible. We need to understand and talk about artists survival and needs. We should develop a view that sees the larger web of which artists are a part, and we should find the words to talk about that understanding.

For the most part, actions that involve getting and using money should develop in specific circumstances, through the efforts of specific people for more specific purposes. A check should not be all that it takes to turn an artist into a prostitute. The artist should be able to have more say-so in who oversees his work and broker its own deals instead of being a pawn for all the big money players.

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