History of Modern Painting Essay

The rise in popularity of discourtesy can be united with two other prevalent forces in atomic number 63 during the late 19th century, theology and industrialization. Naturall(a)y dissatisfaction with europiuman bread and butter increased, steeped in centuries of monarchies, wars, feudal wars, and multiple revolutions. Christ symbols, towering church steeples, and haemorrhoid of spiritually historical iconography permeated nearly all of the Europe, even while its principles waned.Meanwhile, Europe began to feel the effects of its going industrial centers. In the 1860s, Paris radically rejuvenated itself under Napoleon III and Haussmanns city restructuring. Apartments, streets, transportation, and commerce were all restructured, becoming new, uniform, sleek, and systemized. Conditionally, primitivism is understood as the other through westerly perception. This imp duplicitys that outsiders to Europe are different inherently, and deserve special attention.While Europe idolizes the mes of cleanliness, efficiency, and puritan values, the other offered an escape into a world that was perceived as exotic, mystically spiritual, and entirely natural. In Avant-Garde and Kitsch, Clement Greenberg says that avant-garde upbraiding has not confronted our present society with timeless utopias, but has soberly examined . . . the forms that lie at the heart of every society. Vincent Van Gogh, in an attempt to ascertain simplified realism, focused on less urban subjects.He travel to south France and began painting provincial scenes using thick impasto paint application. capital of Minnesota Gauguin joined Van Gogh to establish the Studio of the South in Arles in 1988 however, even this is not removed enough from innovational western sandwich values. Gauguin had studied medieval art (sculpture, tapestries, and stained glass), Primitive woodcuts, and certain types of exotic art which he had seen at the Worlds Fair of 1889. Comparatively, the Hesperian projection of art appeared to him dystopic, and he sought renewal in submersing himself in Tahitian culture.Warily, Gauguin traveled to a country under French witness at the time, guaranteeing him safe primitivism than un-Colonized areas. In Tahiti, Gauguin painted with no shaded areas of prudence and rounded, blunt features, loose applications of representative color, as seen Maternite II. All this, added with mythical looking at mist and bare women give a sense of pastoral peace of antiquity, while also remaining distinctly different than the European attestor who enjoyed the painting.The women are all dark-skinned and blissfully exposed, while engaging the believe to partake of the serenity of the scene. Gauguin used Primitive representative techniques, by favoring simplified, ignorant forms or expression. As Imperialism extended the relations between Europe and civilizations that were previously untouched by European ideology. Simplified, organic forms of nature and natural life history were fluidly exposed to European culture, including Gauguins paintings. It was completely antithetical to anything appreciated in the West in form, staging, or perspective.Another feature of Westerners embracing primitivism can be found in Samuel Butlers impertinent Erewhon. In the utopia/dystopia world of Erewhon there is a complete absence of machines, hardly because any variety of them could prove potentially dangerous. This novel was published at a time when industrialized nations began relying more on machines in industry, and features an natural alternative that demonstrates the allure of the Primitive who live the other lifestyle. Those who see modern Western life as a dystopia can find its extremist alternative in the Primitive.Thus artists flee for simpler, idyllic or pure locals, consequently implying that something is inherently wrong with the Europe, its industry, theology, and ideology. References Greenberg, Clement. Art and Culture Critical Essays. capital of Mas sachusetts Beacon Press, 1971. Read, Herbert. A Concise History of Modern Painting. New York Frederick A. Praeger, Inc. , 1957. Schwartz, Robert . France in the Age of Les Miserables. Mount Holyoke College. 4/19/2009 .