The Timeline of Art :: Arts Artistic Painting Painter Essays

Timeline of Art The Thread: The thread which joins all the isms in the twentieth century are its slow evolution from one period to another. As artists from one concepts were exploring a certain idea that led to another either just for the sake of the curiosity or by sheer boredom. Therefore my paper deals with the evolution of different isms in this century. Fauvism: From 1904-7, for a very brief period, a few Paris painters evolved a style of painting that earned the name Les Fauves (wild beasts). Henri Matisse, Andre Derain and Maurice Vlaminck were the major contributors to this style of painting which gained popularity due to its apparent freedom of expression with the use of pure colors and exaggeration of drawing. Among all of the twentieth century art movements, this was the most transient and least definable. The three major painters' work was highly individual and shared only for brief periods. The momentary excitement that held these painters aloft and allowed them the maximum of freedom, deserted them as their work developed and matured. The hangover from this movement led to new means of expression. It was never a movement with aims that could be realized such as successive movements as Cubism was, but was a erratic process of experiments with possibilities suggested by the post- impressionist painters. Cubism: Cubism, which began very shortly after Fauvism, is exemplified by Pablo Picasso. In this movement the flattened space including background and foreground are related in a new and more abrupt manner. The first effect is of a camera in motion, a kaleidoscopic impression of the solid portions of the figure. This certain feature can be contrasted to the impressionist movements' works. Added to this kaleidoscopic quality is another new element. Picasso and his Cubist colleagues disintegrated the form into a series of simultaneously viewed but different aspects of the same subject. A cubist painter, to achieve a greater understanding, walked about the subject, observing it from significant various angles and recording them as his impressions of form. But this procedure led to actual destruction of form and its reduction to a series of decorative elements. Negro art and sculpture had a profound effect and it was quite extensively used by Picasso. Negro sculpture approved his subject in a more conceptual way than a naturalistic depiction, mostly by a western view. This resulted in forms that were more abstract and stylized and in a sense The Timeline of Art :: Arts Artistic Painting Painter Essays Timeline of Art The Thread: The thread which joins all the isms in the twentieth century are its slow evolution from one period to another. As artists from one concepts were exploring a certain idea that led to another either just for the sake of the curiosity or by sheer boredom. Therefore my paper deals with the evolution of different isms in this century. Fauvism: From 1904-7, for a very brief period, a few Paris painters evolved a style of painting that earned the name Les Fauves (wild beasts). Henri Matisse, Andre Derain and Maurice Vlaminck were the major contributors to this style of painting which gained popularity due to its apparent freedom of expression with the use of pure colors and exaggeration of drawing. Among all of the twentieth century art movements, this was the most transient and least definable. The three major painters' work was highly individual and shared only for brief periods. The momentary excitement that held these painters aloft and allowed them the maximum of freedom, deserted them as their work developed and matured. The hangover from this movement led to new means of expression. It was never a movement with aims that could be realized such as successive movements as Cubism was, but was a erratic process of experiments with possibilities suggested by the post- impressionist painters. Cubism: Cubism, which began very shortly after Fauvism, is exemplified by Pablo Picasso. In this movement the flattened space including background and foreground are related in a new and more abrupt manner. The first effect is of a camera in motion, a kaleidoscopic impression of the solid portions of the figure. This certain feature can be contrasted to the impressionist movements' works. Added to this kaleidoscopic quality is another new element. Picasso and his Cubist colleagues disintegrated the form into a series of simultaneously viewed but different aspects of the same subject. A cubist painter, to achieve a greater understanding, walked about the subject, observing it from significant various angles and recording them as his impressions of form. But this procedure led to actual destruction of form and its reduction to a series of decorative elements. Negro art and sculpture had a profound effect and it was quite extensively used by Picasso. Negro sculpture approved his subject in a more conceptual way than a naturalistic depiction, mostly by a western view. This resulted in forms that were more abstract and stylized and in a sense