br art history Art History
The history of modern art would appear to be comprised of revolution and counter-revolution , with dominant modes and aesthetics giving way to radically differing criteria and methods . For some observers , modern art comprises an evolution from the primitivism of ’93cave art ’94 and prehistoric art to the technical efficiency of Photorealism and Impressionism for others , the evolution is one of thought rather than technique . The former belief : that the history of art represents an upward evolution from primitivism to modern technical proficiency shows itself as [banner_entry_middle]
specious when tested against the very real responses of both artists and audiences to the aesthetic and technical identities at hand . In point of fact , the evolution of artistic styles and modes relies more heavily upon popular and sociological relevancies than upon critical or theoretical considerations . ’93Throughout the history of modern art , whether demarcated from the onset of Romanticism Impressionism , or early twentieth-century movements , the identity of art practice has been intimately bound up with that of mass culture ’94 (Drucker , 1999 ,
In the case of a well-documented and self-aware movement such as the Pre-Raphaelite Brotherhood , changes in technique and theme emerged from theoretical and moral ideals quite outside of the mainstream of art-criticism , and comprised a dual-function of modernism and classicism . To wit : a painter like Millais shined brilliantly in painting a classical theme such as his ’93Ophelia ’94 however , the execution of the painting relied on painterly techniques that can only be described as ’93avant garde ’94 in the context then-contemporary standards . Similarly , the evolution of Impressionism , Fauvism , and ultimately Cubism and Expressionism emerged from specific psychological moral , and spiritual beliefs of its practitioners , rather than any conscious evolution (or revolution ) of or against traditional methods or modes . Though it is tempting to view the history of modern art as a succession of theses /antitheses , accommodations for such visionaries as Whistler , Gauguin , or DuChamp have less to do with conscious revolution than personal expression and popular sentiment . Artists , like any purveyors of mass or popular culture , remain as dependant upon their subjective predilections and popular acceptance as they are upon interpretations of a linear , historical evolution of techniques and themes References Drucker , J (1999 . Who ‘s Afraid of Visual Culture . Art Journal , 58 (4 37… [banner_entry_footer]
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