The Russian painter Kasimir Malevich, the black square was the perfect icon. It did not represent anything, yet it was the expression of an absolute reality in its purest form. The founder of a short-lived art movement called Suprematism around 1913, Malevich was an admirer of Cubist artists and sculptors like Sonia Delaunay and Alexander Archipenko.
“The Exterminating Angel” by the Father of surrealist cinema, Hitchcock’s favorite filmmaker, a Spanish filmmaker, Luis Buñuel Portolés. Filmed in Mexico, the story is about a group of aristocrats who attend a lavish party. They drink wine, play music, and mingle. They are wonderfully bourgeois. But when a social norm is broken, their moral infrastructure collapses, and they find themselves unable to leave the living room due to an inexplicable supernatural force. The wealthy and comfortable find themselves destitute of basic living needs and desperate to escape their dire circumstance. In one fell swoop, the rich become the poor. Buñuel’s work is reminiscent of Jean Renoir’s famous film “The Rules of the Game.” Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism, OP-ART, DADAISM, Futurism, Bauhaus. Der Blaue Reiter (The Blue Rider) & GERMAN EXPRESSIONISM- Unlike Impressionists, who sought merely to replicate nature, German expressionist painters typically distorted colour, scale and space to convey their feelings about what they saw. Expressionism, a style which the artist displays feelings as clearly as possible through such means as color and shape. This is usually the reality has changed. They wanted to challenge and undermine the accepted taste. they demonstrate a distorted reality as well as a depiction of the artist's mental state of being. by willing to change and look into the future they brought visual manifestation of Romanticism or a satire of the human condition everywhere. "Brigitte Bardot" (1954), Kees van Dongen -stark contrast using rigid movements and highly symbolic but fantastic & stylistic elements, -wildly non-realistic, geometrically absurd sets and objects with sharp angles, great heights, and crowded environments; along with designs painted on walls and floors to represent lights, shadows. Broadly speaking, up until the beginning of World War I, German expressionism remained an aesthetic development of the Saxon Worpswede Group and the Parisian Fauvist movement. Die Brücke is sometimes compared to the Fauves. Both movements shared interests in primitivist art. Both shared an interest in the expressing of extreme emotion through high-keyed color that was very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. Expressionism, a style which the artist displays feelings as clearly as possible through such means as color and shape. This is usually the reality has changed.Unlike Impressionists, who sought merely to replicate nature, German expressionist painters typically distorted colour, scale and space to convey their feelings about what they saw. They wanted to challenge and undermine the accepted taste. they demonstrate a distorted reality as well as a depiction of the artist's mental state of being. by willing to change and look into the future they brought visual manifestation of Romanticism or a satire of the human condition everywhere. "Brigitte Bardot" (1954), Kees van Dongen -stark contrast using rigid movements and highly symbolic but fantastic & stylistic elements, -wildly non-realistic, geometrically absurd sets and objects with sharp angles, great heights, and crowded environments; along with designs painted on walls and floors to represent lights, shadows. Broadly speaking, up until the beginning of World War I, German expressionism remained an aesthetic development of the Saxon Worpswede Group and the Parisian Fauvist movement. Die Brücke is sometimes compared to the Fauves. Both movements shared interests in primitivist art. Both shared an interest in the expressing of extreme emotion through high-keyed color that was very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. OP ART, a style of visual art that makes use of optical illusions & derived from the constructivist practices of the Bauhaus. This German school, founded by Walter Gropius, stressed the relationship of form and function within a framework of analysis and rationality. DADAISM, an art movement which ridiculed the existing art. There is a kind of anti-art. subversive, shock-tactics and absurdity to produce totally irrational or meaningless artworks and "performances", including sculpture and installations which were often constructed using various found objects. Dada developed into an international movement and its themes eventually formed an important part of Surrealism in Paris after the war. These sometimes artists make use of everyday objects. This strengthened the aversion to the current art. "bicycle wheel on stool" (1913), by Marcel Duchamp. Loos’s move to Paris in 1922 brought him into closer contact with the European avant-garde and resulted in notable projects for the Dadaist poet Tzara (built) and the disturber of sexual taboos Josephine Baker (unbuilt). The early years of the century had been characterized by artistic movements issuing manifestoes like political parties and staging performances that resembled terrorist incidents intended to alarm the public. One of the noisiest and most extreme, at least rhetorically, was Italian, initiated by Tommaso Marinetti, a literary figure, but most substantially embodied by a sculptor, Umberto Boccioni, whose work is devoted to conveying movement in works which don’t actually move, through devices like showing successive stages as overlapping repetitions of cavalry charges or careening cyclists. ART DECO DESIGN- fashionable style of decorative art. they were cheaper, streamlined, rectilinear modernism that was faithful to industrial aesthetics Futurism, a style that the artist focuses on the future. This is the 'new' world, for example with regard to new technology, admired. The Futurists were most literal of all in advocating violence and destruction as purgative and renovative. They didn’t manage the trashing of museums or paving over of Venetian canals urged by Marinetti, but their enthusiasm for war led to actual deaths at the front and the effective end of the movement as a result of these losses. One of those who died in uniform was Antonio Sant’Elia, the most impressive architect allied to Futurism. His design shows a dense urban environment oversupplied with power stations and transport interchanges. Futurist dynamism appears as traffic on different levels, threading its way through cliff-like masses of building draped with lots of electrical cable, urban fantasies with more future in set design for film or theatre than construction in existing cities. In other European centres, worship of mechanical power took more sensible and persuasive form. Architects in Germany had been involved in factory design ever since Behrens’s work for AEG, the giant electrical manufacturer, for which his designs included domestic appliances and typography as well as architecture. "The city awakes" (1910/1911), by Umberto Boccioni.
By 1925 Gropius had moved on considerably in ideological commitment to the fusion of art and the processes of mass production. His design (with Hannes Meyer) for the new Bauhaus in Dessau carries on the powerful symbolism of exhibited circulation as a badge of progressive intention. Like the School’s teaching programmes after the departure of the mystic Itten, the buildings transfer the factory aesthetic to the world of art and clothe the activity of the artist in the garb of up-to-date technology. The Bauhaus remains the most influential design school of all time, some of whose teaching procedures were still being treated in Britain as new discoveries forty and fifty years after the school was closed down by the Nazis. And the idea of fully glazed corners on multi-storey buildings and a separation between the wall and the frame that allowed apparently weightless transparency of the building envelope have proved such potent overturnings of ordinary common sense about how buildings work that eighty years later they remain among the most powerful of all of architecture’s gravity-defying tricks.
0 Comments
Leave a Reply. |
AuthorI am interested in unfolding scene design, character design and image design; representing contemporary narrative strategy, narrative shot and narrative style. The flowing images, which combine aesthetics and ideology. NoticeThis site contains copyrighted material for purposes that constitutes 'fair use'; and has not always been specifically authorized by the copyright owner. No fee is charged, and no money is made off this site. If you wish to use this copyrighted material for purposes of your own that go beyond 'fair use,' you must obtain permission from the copyright owner.
Archives
February 2022
Categories |