| Revision as of 15:27, 9 September 2003 editSpinster (talk | contribs)Extended confirmed users1,506 editsm wikified Corbu← Previous edit | Revision as of 08:02, 10 September 2003 edit undoPedant17 (talk | contribs)5,619 edits edNext edit → | ||
| Line 1: | Line 1: | ||
| In ] culture the term "Modernism" has several meanings. This article |
In ] ] the term "Modernism" has several meanings. This article focusses on the cultural movement labeled "Modernism" (or the "Modern Movement"). This movement began in the late ] and reached its peak in the period between ] and ]. It tried to redefine various artforms in a radical manner. Leading lights within the ] wing of this movement include ], ], ], ], ], ], and ]. Composers such as ] and ] represent Modernism in ]. Artists such as ], ], ] and the ] represent the ], while ] and ]ers such as ] and ] brought Modernist ideas into everyday ] life. | ||
| Modernism centres on its rejection of ]. It emphasises the return of the arts to their fundamental characteristics, as though beginning from scratch. This dismissal of tradition also involved the rejection of conventional expectations. Hence Modernism often stresses ], experimentation, ] and even ]. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects. Hence the strange and disturbing combinations of motifs in Surrealism, or the use of extreme ] in Modernist music. In literature this often involved the rejection of intelligible plots or characterisation in novels, or the creation of poetry that defied clear interpretation. | |||
| Many Modernists believed that by rejecting tradition they could discover radically new ways of making art. Schoenberg believed that by ignoring harmony (the relationship between consonance and dissonance) he had discovered a wholly new way of organising sound, based in the use of twelve-note rows. This |
Many Modernists believed that by rejecting tradition they could discover radically new ways of making art. Schoenberg believed that by ignoring harmony (the relationship between consonance and dissonance) he had discovered a wholly new way of organising sound, based in the use of twelve-note rows. This became known as ]. Abstract artists began with the assumption that ] and ] formed the essential characteristics of art, not the depiction of the natural world. ], Mondrian and ] all believed in redefining art as the arrangement of pure colour. The invention of ], which had rendered much of the representational function of visual art obsolete, strongly affected this particular aspect of Modernism. However, these artists also believed that by rejecting the depiction of material objects they helped art move from a materialist to a spiritualist phase of development. | ||
| Other Modernists |
Other Modernists, especially those involved in design, had more pragmatic views. Modernist architects and designers believed that new technology rendered old styles of building obsolete. ] (born Charles-Edouard Jeanneret) thought that buildings should function as "] for living in", analogous to ], which he saw as machines for travelling in. Just as cars had replaced the ], so Modernist design should reject the old styles and structures inherited from ] or from the ]. Following this machine aesthetic, Modernist designers typically reject decorative motifs in design, preferring to emphasise the materials used, and pure geometrical forms. The archetypal Modernist building-type was the ], such as Mies's ] in ]. Modernist design of houses and furniture also typically emphasised simplicity and clarity of form, open-plan interiors, and the absence of clutter. | ||
| In other arts such pragmatic considerations were less important. In literature and visual art some Modernists sought to defy expectations mainly in order to make their art more vivid, or to force the audience to take the trouble to think 'outside the box' of their preconceptions. This aspect of Modernism has often been seen as a reaction to ], which developed in ] and ] in the late 19th century. Whereas most manufacturers try to make products that will be marketable by appealing to people's preferences and prejudices, Modernists rejected such consumerist attitudes in order to undermine conventional thinking. This theory of Modernism was expounded by the art critic ] in his essay ''Avant Garde and Kitsch''. Greenberg labelled the products of consumer culture "]", because they were designed simply to have maximum appeal, with any difficult features removed. For Greenberg, Modernism was thus a reaction ''against'' the development of such examples of modern consumer culture as commercial popular music, ], and ]. Greenberg associated this with a revolutionary rejection of ]. | In other arts such pragmatic considerations were less important. In literature and visual art some Modernists sought to defy expectations mainly in order to make their art more vivid, or to force the audience to take the trouble to think 'outside the box' of their preconceptions. This aspect of Modernism has often been seen as a reaction to ], which developed in ] and ] in the late 19th century. Whereas most manufacturers try to make products that will be marketable by appealing to people's preferences and prejudices, Modernists rejected such consumerist attitudes in order to undermine conventional thinking. This theory of Modernism was expounded by the art critic ] in his essay ''Avant Garde and Kitsch''. Greenberg labelled the products of consumer culture "]", because they were designed simply to have maximum appeal, with any difficult features removed. For Greenberg, Modernism was thus a reaction ''against'' the development of such examples of modern consumer culture as commercial popular music, ], and ]. Greenberg associated this with a revolutionary rejection of ]. | ||
Revision as of 08:02, 10 September 2003
In Western culture the term "Modernism" has several meanings. This article focusses on the cultural movement labeled "Modernism" (or the "Modern Movement"). This movement began in the late 19th century and reached its peak in the period between 1910 and 1930. It tried to redefine various artforms in a radical manner. Leading lights within the literary wing of this movement include Virginia Woolf, James Joyce, T.S. Eliot, Ezra Pound, Wallace Stevens, Marcel Proust, and Franz Kafka. Composers such as Schoenberg and Stravinsky represent Modernism in music. Artists such as Picasso, Matisse, Mondrian and the Surrealists represent the visual arts, while architects and designers such as Le Corbusier and Mies van der Rohe brought Modernist ideas into everyday city life.
Modernism centres on its rejection of tradition. It emphasises the return of the arts to their fundamental characteristics, as though beginning from scratch. This dismissal of tradition also involved the rejection of conventional expectations. Hence Modernism often stresses freedom of expression, experimentation, radicalism and even primitivism. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects. Hence the strange and disturbing combinations of motifs in Surrealism, or the use of extreme dissonance in Modernist music. In literature this often involved the rejection of intelligible plots or characterisation in novels, or the creation of poetry that defied clear interpretation.
Many Modernists believed that by rejecting tradition they could discover radically new ways of making art. Schoenberg believed that by ignoring harmony (the relationship between consonance and dissonance) he had discovered a wholly new way of organising sound, based in the use of twelve-note rows. This became known as serial music. Abstract artists began with the assumption that colour and shape formed the essential characteristics of art, not the depiction of the natural world. Kandinsky, Mondrian and Malevich all believed in redefining art as the arrangement of pure colour. The invention of photography, which had rendered much of the representational function of visual art obsolete, strongly affected this particular aspect of Modernism. However, these artists also believed that by rejecting the depiction of material objects they helped art move from a materialist to a spiritualist phase of development.
Other Modernists, especially those involved in design, had more pragmatic views. Modernist architects and designers believed that new technology rendered old styles of building obsolete. Le Corbusier (born Charles-Edouard Jeanneret) thought that buildings should function as "machines for living in", analogous to cars, which he saw as machines for travelling in. Just as cars had replaced the horse, so Modernist design should reject the old styles and structures inherited from Ancient Greece or from the Middle Ages. Following this machine aesthetic, Modernist designers typically reject decorative motifs in design, preferring to emphasise the materials used, and pure geometrical forms. The archetypal Modernist building-type was the skyscraper, such as Mies's Seagram Building in New York. Modernist design of houses and furniture also typically emphasised simplicity and clarity of form, open-plan interiors, and the absence of clutter.
In other arts such pragmatic considerations were less important. In literature and visual art some Modernists sought to defy expectations mainly in order to make their art more vivid, or to force the audience to take the trouble to think 'outside the box' of their preconceptions. This aspect of Modernism has often been seen as a reaction to consumer culture, which developed in Europe and North America in the late 19th century. Whereas most manufacturers try to make products that will be marketable by appealing to people's preferences and prejudices, Modernists rejected such consumerist attitudes in order to undermine conventional thinking. This theory of Modernism was expounded by the art critic Clement Greenberg in his essay Avant Garde and Kitsch. Greenberg labelled the products of consumer culture "kitsch", because they were designed simply to have maximum appeal, with any difficult features removed. For Greenberg, Modernism was thus a reaction against the development of such examples of modern consumer culture as commercial popular music, Hollywood, and advertising. Greenberg associated this with a revolutionary rejection of capitalism.
It is certainly true that many Modernists saw themselves as part of a revolutionary culture: one that included political revolution. However, many rejected conventional politics as well as artistic conventions, believing that a revolution of consciousness was more important than a change in political structures. Many Modernists were apolitical, only concerned with revolutionising their own field of endeavour. Others, such as T. S. Eliot, rejected mass popular culture from a conservative position. Indeed it can be argued that Modernism in literature and art functioned to sustain an elite culture from which the majority of the population were excluded. Modernism was rejected by the Soviet Communist government because it was deemed elitist, and by the Nazi government in Germany because it was deemed to be narcissistic and nonsensical. The Nazis exhibited Modernist paintings alongside works by the mentally ill in an exhibition entitled Degenerate Art.
In fact Modernism only flourished in consumer/capitalist societies, despite the fact that its proponents often rejected consumerism itself. However, Modernism began to merge with consumer culture in the post-war years, especially during the 1960s. In Great Britain a youth sub-culture even called itself "Modernists", though usually shortened to Mods. In popular music Bob Dylan combined folk music traditions with Modernist verse, adopting literary devices derived from Eliot and others. The Beatles also developed along these lines, even creating atonal and other Modernist musical effects in their later albums. Musicians such as Frank Zappa and Captain Beefheart were even more experimental. Modernist devices also started to appear in popular cinema, and later on in music videos. Modernist design also began to enter the mainstream of popular culture, as simplified and stylised forms became popular, often associated with dreams of a space age high-tech future.
This merging of consumer and Modernist culture led to a radical transformation of the meaning of Modernism itself. Firstly it implied that a movement based on the rejection of tradition had become a tradition of its own. Secondly it demonstrated that the distinction between elite Modernist and mass consumerist culture was no longer clear-cut. This transformation is usually interpreted as the beginning of the phase that became known as Postmodernism.
In some fields the effects of Modernism have been stronger and more persistent than in others. In visual art the break with the past has been most complete. Most major capital cities have museums devoted to 'Modern Art' as distinct from post Renaissance art (c1400-c1900). Examples are the Museum of Modern Art in New York, Tate Gallery in London, and the Centre Pompidou in Paris. In such galleries (and in popular attitudes) there is no distinction between Modernist and Post-Modernist phases. Both are seen as developments within 'Modern Art'.
In literature Modernist experimentation has remained comparatively marginal. Many critically admired novelists retain fairly conventional approaches to plot and characterisation. Poetry has perhaps retained more characteristics derived from Modernism.
Music has experienced a similar history, as Modernism has merged with both traditional methods and with ideas derived from popular and non-Western forms of music.
In architecture the term 'Modernist' had the most specific meaning, refering to severe and minimalist styles that rejected decoration. Again some aspects of Modernist design persist within the mainstream of contemporary architecture, while its dogmatism has been replaced by more playful use of decoration, historical quotation, and spatial drama.
Experimental rejection of tradition in any of these fields is now often called avant garde, a phrase once almost interchangable with 'Modernist'. It was separated out during the 1960s when some writers declared that Modernism had become so institutionalized that it was now 'post avant-garde'.