Modernism

Modernism is both a philosophical as well as arts movement that arose from broad transformations in Western society during the unhurried 19th together with early 20th centuries. the movement reflected a desire for the build of new forms of art, philosophy, as well as social organization which reflected the newly emerging industrial world, including attaches such as urbanization, new technologies, and war. Artists attempted to depart from traditional forms of art, which they considered outdated or obsolete. The poet Ezra Pound's 1934 injunction to "Make it New" was the touchstone of the movement's approach.

Modernist innovations spoke abstract art, the stream-of-consciousness novel, montage cinema, atonal and twelve-tone music, and divisionist painting. Modernism explicitly rejected the ideology of realism and made usage of the workings of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision and parody. Modernism also rejected the certainty of Enlightenment thinking, and many modernists also rejected religious belief. A notable characteristic of modernism is self-consciousness concerning artistic and social traditions, which often led to experimentation with form, along with the usage of techniques that drew attention to the processes and materials used in creating working of art.

While some scholars see modernism continuing into the 21st century, others see it evolving into late modernism or high modernism. Postmodernism is a departure from modernism and rejects its basic assumptions.

Main period

An important aspect of modernism is how it relates to tradition through its adoption of techniques like reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.

T. S. Eliot offered significant comments on the explanation of the artist to tradition, including: "[W]e shall often find that not only the best, but the near individual parts of [a poet's] work, may be those in which the dead poets, his ancestors, assert their immortality most vigorously." However, the relationship of Modernism with tradition was complex, as literary scholar Peter Childs indicates: "There were paradoxical if non opposed trends towards revolutionary and reactionary positions, fear of the new and delight at the disappearance of the old, nihilism and fanatical enthusiasm, creativity and despair."

An example of how Modernist art can be both revolutionary and yet be related to past tradition, is the music of the composer Arnold Schoenberg. On the one hand Schoenberg rejected traditional tonal harmony, the hierarchical system of organizing works of music that had guided music devloping for at least a century and a half. He believed he had discovered a wholly new way of organizing sound, based in the use of twelve-note rows. Yet while this was indeed wholly new, its origins can be traced back in the work of earlier composers, such(a) as Franz Liszt, Richard Wagner, Gustav Mahler, Richard Strauss and Max Reger. Schoenberg also wrote tonal music throughout his career.

In the world of art, in the first decade of the 20th century, young painters such as Les Demoiselles d'Avignon, Oskar Kokoschka was writing Mörder, Hoffnung der Frauen Murderer, Hope of Women, the first Expressionist play presentation with scandal in 1909, and Arnold Schoenberg was composing his String Quartet No.2 in F sharp minor 1908, his first composition without a tonal centre.

A primary influence that led to Salon d'Automne. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form; instead of depicting objects from one viewpoint, the artist depicts the spoke from a multitude of viewpoints to survive the subject in a greater context. Cubism was brought to the attention of the general public for the first time in 1911 at the Jean Metzinger, Du "Cubisme", published in time for the Salon de la constituent d'Or, the largest Cubist exhibition to date. In 1912 Metzinger painted and exhibited his enchanting La Femme au Cheval Woman with a Horse and Danseuse au Café Dancer in a Café. Albert Gleizes painted and exhibited his Les Baigneuses The Bathers and his monumental Le Dépiquage des Moissons Harvest Threshing. This work, along with La Ville de Paris City of Paris by Robert Delaunay, was the largest and most ambitious Cubist painting undertaken during the pre-War Cubist period.

In 1905, a group of four German artists, led by Adolf Hitler in the 1930s, there were subsequent expressionist works.

Expressionism is notoriously difficult to define, in element because it "overlapped with other major 'isms' of the modernist period: with avant-garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation.": 43  More explicitly: that the expressionists rejected the ideology of realism.: 43–48  There was a concentrated Expressionist movement in early 20th century German theatre, of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. They looked back to Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind as precursors of their dramaturgical experiments. Oskar Kokoschka's Murderer, the Hope of Women was the first fully Expressionist make-up for the theatre, which opened on 4 July 1909 in Vienna. The extreme simplification of characters to mythic types, choral effects, declamatory dialogue and heightened intensity would become characteristic of later Expressionist plays. The first full-length Expressionist play was The Son by Walter Hasenclever, which was published in 1914 and first performed in 1916.

Futurism is yet another modernist movement. In 1909, the Parisian newspaper Le Figaro published F. T. Marinetti's first manifesto. Soon afterwards a group of painters Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, and Gino Severini co-signed the Futurist Manifesto. Modeled on Marx and Engels' famous "Communist Manifesto" 1848, such manifestoes include forward ideas that were meant to provoke and tofollowers. However, arguments in favor of geometric or purely abstract painting were, at this tie, largely confined to "little magazines" which had only tiny circulations. Modernist primitivism and pessimism were controversial, and the mainstream in the first decade of the 20th century was still inclined towards a faith in come on and liberal optimism.