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Armory Show
Many exhibitions have been held in the vast spaces of U.S. National Guard armories, but ' the Armory Show refers to the International Exhibition of Modern Art' that was organized by the Association of American Painters and Sculptors and opened in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, on February 17, 1913, ran to March 15, and became a legendary watershed date in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. The show served as a catalyst for American artists, who became more independent and created their own "artistic language".
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Centre Pompidou
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Eiffel Tower
The Eiffel Tower (, , nickname La dame de fer, the iron lady) is an 1889 iron lattice tower located on the Champ de Mars in Paris that has become both a global icon of France and one of the most recognizable structures in the world. The tallest building in Paris, it is the most-visited paid monument in the world; millions of people ascend it every year. Named for its designer, engineer Gustave Eiffel, the tower was built as the entrance arch to the 1889 World's Fair.
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London
London () is the capital of England and the United Kingdom, the largest metropolitan area in the United Kingdom and the largest urban zone in the European Union by most measures. London has been a major settlement for two millennia, its history going back to its founding by the Romans, who called it Londinium. London's core, the ancient City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core. The bulk of this conurbation forms the London region and the Greater London administrative area, governed by the elected Mayor of London and the London Assembly.
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Madrid
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Montmartre
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Museum of Modern Art
The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan in New York City, on 53rd Street, between Fifth and Sixth Avenues. It has been singularly important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world. The museum's collection offers an unparalleled overview in modern and contemporary art, including works of architecture and design, drawings, painting, sculpture, photography, prints, illustrated books and artist's books, film, and electronic media.
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Nazi Germany
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Saint Petersburg
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Seagram Building
The Seagram Building is a skyscraper, located at 375 Park Avenue, between 52nd Street and 53rd Street in Midtown Manhattan, New York City. It was designed by Ludwig Mies van der Rohe, in collaboration with Philip Johnson. Severud Associates were the structural engineering consultants. The building stands 516 feet tall with 38 stories, and was completed in 1958. It stands as one of the finest examples of the functionalist aesthetic and a masterpiece of corporate modernism. It was designed as the headquarters for the Canadian distillers Joseph E. Seagram's & Sons with the active interest of Phyllis Lambert, the daughter of Samuel Bronfman, Seagram's CEO.
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Shape
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Soviet Union
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Spiral Jetty
The Spiral Jetty, considered to be the central work of American sculptor Robert Smithson, is an earthwork sculpture constructed in 1970.
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The Crystal Palace
The Crystal Palace was a cast-iron and glass building originally erected in Hyde Park, London, England, to house the Great Exhibition of 1851. More than 14,000 exhibitors from around the world gathered in the Palace's of exhibition space to display examples of the latest technology developed in the Industrial Revolution. Designed by Joseph Paxton, the Great Exhibition building was long, with an interior height of .
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Ad Reinhardt
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Adolf Loos
Adolf Loos (10 December 1870 – 23 August 1933) was a Moravian-born Austrian architect. He was influential in European Modern architecture, in his essay Ornament and Crime he repudiated the florid style of the Vienna Secession, the Austrian version of Art Nouveau. In this and many other essays he contributed to the elaboration of a body of theory and criticism of Modernism in architecture.
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Al Hansen
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Al Held
Al Held (October 12, 1928 – July 27, 2005) was an American Abstract expressionist painter. He was particularly well known for his large scale Hard-edge paintings.
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Alberto Giacometti
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Alex Katz
Alex Katz (born July 24, 1927) is an American figurative artist associated with the Pop art movement. In particular, he is known for his paintings, sculptures, and prints.
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Alexander Calder
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Alexander Stoddart
Alexander Stoddart (born in Edinburgh, 1959) is a Scottish sculptor.
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Alfred Döblin
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Alfred Jarry
Alfred Jarry (8 September 1873 – 1 November 1907) was a French writer born in Laval, Mayenne, France, not far from the border of Brittany; he was of Breton descent on his mother's side.
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Alfred Sisley
Alfred Sisley (30 October 1839 – 29 January 1899) was an English Impressionist landscape painter who was born, and spent most of his life, in France. Sisley is generally recognized as the most consistent of the Impressionists in his dedication to painting landscape en plein air (i.e., outdoors). He never deviated into figure painting and, unlike Renoir and Pissarro, never found that Impressionism did not fulfill his artistic needs.
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Alison Knowles
Alison Knowles (born 1933) in New York City is an American visual artist known for her soundworks, installations, performances, and publications. Knowles was very active in the Fluxus movement, and continues to create work inspired by her Fluxus experience.
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Allan Kaprow
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Allen Ginsberg
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Alvar Aalto
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Alwin Nikolais
Alwin Nikolais (November 25, 1910 in Southington, Connecticut – May 8, 1993) was an American choreographer.
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Amedeo Modigliani
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Andreas Huyssen
Andreas Huyssen (born 1942) is the Villard Professor of German and Comparative Literature at Columbia University, where he has taught since 1986. He is the founding director of the university's Center for Comparative Literature and Society and one of the founding editors of the New German Critique, the leading journal of German studies in the United States.
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Andrei Bely
Andrei Bely () was the pseudonym of Boris Nikolaevich Bugaev () (, Moscow – January 8, 1934, Moscow), a Russian novelist, poet, theorist, and literary critic. His novel Petersburg was regarded by Vladimir Nabokov as one of the four greatest novels of the 20th century.
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André Breton
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André Derain
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André Gide
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André Masson
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Andy Warhol
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Anna Akhmatova
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Anna Sokolow
Anna Sokolow (February 9, 1910, Hartford, Connecticut – March 29, 2000 in New York City, New York) was a Jewish American dancer and choreographer.
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Anthony Caro
Sir Anthony Alfred Caro, OM, CBE (born 8 March 1924 in New Malden, then in Surrey) is an English abstract sculptor whose work is characterised by assemblies of metal using 'found' industrial objects.
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Anton Chekhov
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Antoni Gaudí
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Antonin Artaud
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Antonio Gramsci
Antonio Gramsci () (January 22, 1891 – April 27, 1937) was an Italian philosopher, writer, politician and political theorist. A founding member and onetime leader of the Communist Party of Italy, he was imprisoned by Benito Mussolini's Fascist regime. His writings mostly deal with the analysis of culture and political leadership. He is notable as a highly original thinker within the Marxist tradition. He is renowned for his concept of cultural hegemony as a means of maintaining the state in a capitalist society.
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Archie Rand
Archie Rand (born 1949) is an artist and academic from Brooklyn, New York, currently Presidential Professor of Art at Brooklyn College.
http://wn.com/Archie_Rand -
Arnold Schoenberg
http://wn.com/Arnold_Schoenberg -
Arshile Gorky
http://wn.com/Arshile_Gorky -
Arthur Danto
Arthur Coleman Danto (born 1924) is an American art critic, and professor of philosophy. He is best known as the influential, long-time art critic for the Nation and for his work in philosophical aesthetics and philosophy of history, though he has contributed significantly to a number of fields. His interests span thought, feeling, philosophy of art, theories of representation, philosophical psychology, Hegel's aesthetics, and the philosophers Maurice Merleau-Ponty and Arthur Schopenhauer.
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Arthur Honegger
http://wn.com/Arthur_Honegger -
Arthur Miller
Arthur Asher Miller (October 17, 1915 – February 10, 2005) was an American playwright and essayist. He was a prominent figure in American theatre, writing dramas that include award-winning plays such as All My Sons, Death of a Salesman, and The Crucible.
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Arthur Rimbaud
http://wn.com/Arthur_Rimbaud -
Arthur Schopenhauer
http://wn.com/Arthur_Schopenhauer -
Arvo Pärt
http://wn.com/Arvo_Pärt -
August Strindberg
http://wn.com/August_Strindberg -
Auguste Comte
http://wn.com/Auguste_Comte -
Avicenna
http://wn.com/Avicenna -
Barnett Newman
Barnett Newman (January 29, 1905 – July 4, 1970) was an American artist. He is seen as one of the major figures in abstract expressionism and one of the foremost of the color field painters.
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Berthe Morisot
Berthe Morisot (January 14, 1841 – March 2, 1895) was a painter and a member of the circle of painters in Paris who became known as the Impressionists. Undervalued for over a century, possibly because she was a woman, she is now considered among the first league of Impressionist painters.
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Bertolt Brecht
http://wn.com/Bertolt_Brecht -
Billy Klüver
http://wn.com/Billy_Klüver -
Bob Dylan
http://wn.com/Bob_Dylan -
Boulez
http://wn.com/Boulez -
Brice Marden
Brice Marden (born October 15, 1938), is an American artist, generally described as Minimalist, although his work defies specific categorization. He is represented by the Matthew Marks Gallery.
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Bruce Nauman
Bruce Nauman (born December 6, 1941, in Fort Wayne, Indiana) is a contemporary American artist. His practice spans a broad range of media including sculpture, photography, neon, video, drawing, printmaking, and performance.
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Béla Bartók
http://wn.com/Béla_Bartók -
Camille Pissarro
http://wn.com/Camille_Pissarro -
Captain Beefheart
Don Van Vliet (; born Don Glen Vliet, January 15, 1941) is an American musician and visual artist best known by the stage name Captain Beefheart. His musical work was conducted with a rotating ensemble of musicians called The Magic Band, active between 1965 and 1982, with whom he recorded 12 studio albums. Noted for his powerful singing voice with its wide range, Van Vliet also played the harmonica, saxophone, bass clarinet, piccolo oboe and shehnai. His music blended rock, blues and psychedelia with free jazz, avant-garde and contemporary experimental composition. An iconoclastic mix of complex instrumentation, atonal melodies, and often humorously surreal lyrics, it was crafted through dictatorial control over his musicians and creative vision.
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Carl Jung
http://wn.com/Carl_Jung -
Carl Schorske
http://wn.com/Carl_Schorske -
Carlo Carrà
http://wn.com/Carlo_Carrà -
Charles Baudelaire
http://wn.com/Charles_Baudelaire -
Charles Darwin
http://wn.com/Charles_Darwin -
Charles Dickens
Charles John Huffam Dickens (; 7 February 1812 – 9 June 1870) was the most popular British novelist of the Victorian era, and he remains popular, responsible for some of English literature's most iconic characters.
http://wn.com/Charles_Dickens -
Charles Ives
http://wn.com/Charles_Ives -
Charles Weidman
Charles Weidman (1901 in Lincoln, Nebraska – died 1975 in New York, NY) is a renowned choreographer, modern dancer and teacher. He is well known as one of the pioneers of Modern Dance in America. He wanted to break free from the traditional movements of dance forms popular at the time to create a uniquely American style of movement. Born in 1901, he choreographed from the 1920s to the 1970s until his death in 1975. While he is most famous for his work with Doris Humphrey, Weidman did a lot of work on his own. He created a bridge to a new range of movement that he only began to explore. His work inspired many and helped to create a whole genre of dance that is still evolving today.
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Charlie Chaplin
actor
http://wn.com/Charlie_Chaplin -
Charlotte Moorman
Madeline Charlotte Moorman Garside (November 18, 1933–November 8, 1991) was an American cellist and performance artist.
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Chuck Close
Chuck Thomas Close (born July 5, 1940, Monroe, Washington) is an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits. Though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he has continued to paint and produce work that remains sought after by museums and collectors.
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Claude Debussy
http://wn.com/Claude_Debussy -
Claude Monet
http://wn.com/Claude_Monet -
Clement Greenberg
Clement Greenberg (January 16, 1909 – May 7, 1994) was an influential American art critic closely associated with Modern art in the United States. In particular, he promoted the abstract expressionist movement and was among the first critics to praise the work of painter Jackson Pollock.
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Clive Bell
Arthur Clive Heward Bell (16 September 1881 – 18 September 1964) was an English Art critic, associated with formalism and the Bloomsbury Group.
http://wn.com/Clive_Bell -
Constantin Brâncuși
http://wn.com/Constantin_Brâncuși -
Curt John Ducasse
http://wn.com/Curt_John_Ducasse -
Cy Twombly
Edwin Parker (Cy) Twombly, Jr. (born April 25, 1928) is an American artist well known for his large-scale, freely scribbled, calligraphic-style graffiti paintings, on solid fields of mostly gray, tan, or off-white colors. He exhibits his paintings worldwide.
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Cézanne
http://wn.com/Cézanne -
D. H. Lawrence
http://wn.com/D_H_Lawrence -
Dan Christensen
Dan Christensen, the American abstract painter, was born in Cozad, Nebraska on October 6, 1942, he died in Easthampton, New York on January 20, 2007.
http://wn.com/Dan_Christensen -
Dan Flavin
http://wn.com/Dan_Flavin -
David Hockney
David Hockney, CH, RA, (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire, although he also maintains a base in London. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.
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David Hume
http://wn.com/David_Hume -
David Prall
http://wn.com/David_Prall -
David Tudor
http://wn.com/David_Tudor -
Deborah Hay
Deborah Hay is an experimental choreographer working in the field of postmodern dance.
http://wn.com/Deborah_Hay -
Dick Higgins
Dick Higgins (March 15, 1938 – October 25, 1998) was a composer, poet, printer, and early Fluxus artist. Higgins was born in Cambridge, England, but raised in the United States in various parts of New England, including Worcester, Massachusetts, Putney, Vermont, and Concord, New Hampshire.
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Dmitri Shostakovich
http://wn.com/Dmitri_Shostakovich -
Donald Judd
Donald Clarence Judd (June 3, 1928 - February 12, 1994) was a minimalist artist (a term he stridently disavowed). In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. It created an outpouring of seemingly effervescent works that defied the term "minimalism".
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Dorothy Parker
http://wn.com/Dorothy_Parker -
Dorothy Richardson
Dorothy Miller Richardson (17 May 1873 - 17 June 1957) was the first writer to publish an English-language novel using what was to become known as the stream-of-consciousness technique. Her thirteen novel sequence Pilgrimage is one of the great 20th century works of modernist and feminist literature in English.
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Dylan Thomas
http://wn.com/Dylan_Thomas -
Dziga Vertov
http://wn.com/Dziga_Vertov -
E. M. Forster
http://wn.com/E_M_Forster -
E.B. White
http://wn.com/EB_White -
E.O. Hoppé
http://wn.com/EO_Hoppé -
Edgar Degas
http://wn.com/Edgar_Degas -
Edgard Varèse
http://wn.com/Edgard_Varèse -
Edmund Husserl
http://wn.com/Edmund_Husserl -
Eduardo Paolozzi
Sir Eduardo Paolozzi, KBE, FRA (7 March 1924 – 22 April 2005), was a Scottish sculptor and artist. He was a major figure in the international art world working without compromise on his own interpretation and vision of the world around us all. Paolozzi investigated how we can fit into the modern world to resemble our fragmented civilization through imagination and fantasy. By the dramatic juxtaposition of ideas in his work, he let us see the confusion as well as the inspiration.
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Edvard Munch
Edvard Munch (, 12 December 1863 – 23 January 1944) was a Norwegian Symbolist painter, printmaker and an important forerunner of expressionistic art. His best-known composition, The Scream, is part of a series The Frieze of Life, in which Munch explored the themes of life, love, fear, death, melancholia, and anxiety.
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Edward Albee
http://wn.com/Edward_Albee -
Edward Bullough
http://wn.com/Edward_Bullough -
Edward Johnston
http://wn.com/Edward_Johnston -
Edward Kienholz
http://wn.com/Edward_Kienholz -
Eero Saarinen
http://wn.com/Eero_Saarinen -
Elaine Summers
Elaine Summers American choreographer, experimental filmmaker, and intermedia pioneer.
http://wn.com/Elaine_Summers -
Ellsworth Kelly
Ellsworth Kelly (born May 31, 1923) is an American painter and sculptor associated with Hard-edge painting, Color Field painting and the Minimalist school. His works demonstrate unassuming techniques that emphasize the simplicity of form. Kelly often employs bright colors to enhance his works. Ellsworth Kelly lives and works in Spencertown, New York.
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Emeric Pressburger
Emeric Pressburger (5 December 1902–5 February 1988) was a Hungarian/British screenwriter, film director, and producer. He is known for his series of collaborations with Michael Powell.
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Erich Maria Remarque
http://wn.com/Erich_Maria_Remarque -
Erich Mendelsohn
Erich Mendelsohn (21 March 1887 – 15 September 1953) was a German Jewish architect, known for his expressionist architecture in the 1920s, as well as for developing a dynamic functionalism in his projects for department stores and cinemas.
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Erik Satie
http://wn.com/Erik_Satie -
Ernest Hemingway
http://wn.com/Ernest_Hemingway -
Ernst Mach
Ernst Mach () (February 18, 1838 – February 19, 1916) was an Austrian physicist and philosopher, remembered for his contributions to physics such as the Mach number and the study of shock waves. As a philosopher of science, he was a major influence on logical positivism and through his criticism of Newton, a forerunner of Einstein's relativity.
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Ernst Toller
Ernst Toller (1 December 1893–22 May 1939) was a left-wing German playwright, best known for his expressionist plays and serving as President of the short-lived Bavarian Soviet Republic, for six days.
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Erwin Piscator
http://wn.com/Erwin_Piscator -
Eugene O'Neill
'''Eugene Gladstone O'Neill''' (16 October 1888 – 27 November 1953) was an American playwright, and Nobel laureate in Literature. His plays are among the first to introduce into American drama the techniques of realism, associated with Russian playwright Anton Chekhov, Norwegian playwright Henrik Ibsen, and Swedish playwright August Strindberg. His plays were among the first to include speeches in American vernacular and involve characters on the fringes of society, engaging in depraved behavior, where they struggle to maintain their hopes and aspirations, but ultimately slide into disillusionment and despair. O'Neill wrote only one well-known comedy (Ah, Wilderness!). Nearly all of his other plays involve some degree of tragedy and personal pessimism.
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Eugène Ionesco
http://wn.com/Eugène_Ionesco -
Eva Hesse
Eva Hesse (January 11, 1936 - May 29, 1970), was a German-born American sculptor, known for her pioneering work in materials such as latex, fiberglass, and plastics.
http://wn.com/Eva_Hesse -
Ezra Pound
http://wn.com/Ezra_Pound -
F. W. Murnau
Friedrich Wilhelm "F. W." Murnau (December 28, 1888 – March 11, 1931) was one of the most influential German film directors of the silent era, and a prominent figure in the expressionist movement in German cinema during the 1920s. Although some of Murnau's films have been lost, most still survive.
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Fernand Léger
http://wn.com/Fernand_Léger -
Fernando Pessoa
http://wn.com/Fernando_Pessoa -
Francis Picabia
http://wn.com/Francis_Picabia -
Frank Lloyd Wright
http://wn.com/Frank_Lloyd_Wright -
Frank Zappa
http://wn.com/Frank_Zappa -
Franz Kafka
http://wn.com/Franz_Kafka -
Franz Kline
http://wn.com/Franz_Kline -
Friedrich Nietzsche
Friedrich Wilhelm Nietzsche (; in English , ) (October 15, 1844 August 25, 1900) was a 19th-century German philosopher and classical philologist. He wrote critical texts on religion, morality, contemporary culture, philosophy and science, displaying a fondness for metaphor, irony and aphorism.
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Friedrich Schiller
http://wn.com/Friedrich_Schiller -
Fritz Lang
http://wn.com/Fritz_Lang -
Gabriele d'Annunzio
'''Gabriele D'Annunzio or d'Annunzio (ennobled by the King of Italy in 1924 as Principe di Montenevoso'''; ; 12 March 1863 – 1 March 1938) was an Italian poet, journalist, novelist, dramatist, and daredevil. His role in politics is controversial due to his influence on the Italian Fascist movement and his status as the alleged forerunner of Benito Mussolini.
http://wn.com/Gabriele_d'Annunzio -
Georg Kaiser
http://wn.com/Georg_Kaiser -
George Balanchine
George Balanchine (January 22, 1904 – April 30, 1983), born Georgi Melitonovitch Balanchivadze () in Saint Petersburg, Russia, to a Georgian father and a Russian mother, was one of the 20th century's foremost choreographers, a pioneer of ballet in the United States, co-founder and balletmaster of New York City Ballet: his work created modern ballet, based on his deep knowledge of classical forms and techniques. He was a choreographer known for his musicality; he did not illustrate music but expressed it in dance and worked extensively with Igor Stravinsky.
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George Bernard Shaw
George Bernard Shaw (26 July 1856 – 2 November 1950) was an Irish playwright and a co-founder of the London School of Economics. Although his first profitable writing was music and literary criticism, in which capacity he wrote many highly articulate pieces of journalism, his main talent was for drama, and he wrote more than 60 plays. Nearly all his writings deal sternly with prevailing social problems, but have a vein of comedy to make their stark themes more palatable. Shaw examined education, marriage, religion, government, health care, and class privilege.
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George Brecht
http://wn.com/George_Brecht -
George Maciunas
George Maciunas (, pronounced ma-chew-nas; born 8 November 1931 in Kaunas, Lithuania; died 9 May 1978 in Boston, Massachusetts, United States) was a Lithuanian-born American artist. He was a founding member of Fluxus, an international community of artists, architects, composers, and designers. Other leading members brought together by this movement included Yoko Ono, Joseph Beuys, George Brecht and Nam June Paik.
http://wn.com/George_Maciunas -
George Steiner
Francis George Steiner, FBA (born April 23, 1929), is an influential European-born American literary critic, essayist, philosopher, novelist, translator, and educator. He has written extensively about the relationship between language, literature and society, and the impact of the Holocaust. Some consider him both a polyglot and a polymath, he is sometimes said to have redefined the role of the critic.
http://wn.com/George_Steiner -
George Trakl
http://wn.com/George_Trakl -
Georges Braque
Georges Braque[[#Notes|[p]]] (13 May 1882 – 31 August 1963) was a major 20th century French painter and sculptor who, along with Pablo Picasso, developed the art movement known as Cubism.
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Georges Méliès
http://wn.com/Georges_Méliès -
Georges Seurat
http://wn.com/Georges_Seurat -
Gerald Graff
Gerald Graff is a professor of English and Education at the University of Illinois at Chicago. He received his B.A. in English from the University of Chicago in 1959 and his Ph.D. in English and American Literature from Stanford University in 1963. He has taught at the University of New Mexico, Northwestern University, the University of California at Irvine and at Berkeley, as well as Ohio State University, Washington University, and the University of Chicago. He has been teaching at the University of Illinois at Chicago since 2000.
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Gerrit Rietveld
http://wn.com/Gerrit_Rietveld -
Gertrude Stein
Gertrude Stein (February 3, 1874 – July 27, 1946) was an American writer and thinker who spent most of her life in France. She was well known due to her writing, art collection and the many people (some of whom were, or became, famous) who visited her Paris salon.
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Giacomo Balla
http://wn.com/Giacomo_Balla -
Gino Severini
http://wn.com/Gino_Severini -
Giorgio de Chirico
Giorgio de Chirico (; July 10, 1888 – November 20, 1978) was a pre-Surrealist and then Surrealist Italian painter born in Volos, Greece, to a Genoese mother and a Sicilian father. He founded the scuola metafisica art movement. His surname is traditionally written De Chirico (capitalized De) when it stands alone.
http://wn.com/Giorgio_de_Chirico -
Giorgio Morandi
http://wn.com/Giorgio_Morandi -
Gottfried Benn
Gottfried Benn (2 May 1886 Putlitz, Brandenburg – 7 July 1956 West Berlin) was a German essayist, novelist, and expressionist poet. A doctor of medicine, he became an early admirer, and later a critic, of the National Socialist revolution. Benn had a literary influence on German verse immediately before and after Nazi Germany.
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Griselda Pollock
Griselda Pollock (born 1949) is a prominent art historian and cultural analyst, and a world-renowned scholar of international, post-colonial feminist studies in the visual arts. She is best known for her theoretical and methodological innovation, combined with deeply engaged readings of historical and contemporary art, film and cultural theory. Since 1977, Pollock has been one of the most influential scholars of modern, avant-garde art, postmodern art, and contemporary art. She is also a major influence in feminist theory, feminist art history and gender studies.
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Gustav Klimt
http://wn.com/Gustav_Klimt -
Gustav Mahler
http://wn.com/Gustav_Mahler -
Gustave Flaubert
Gustave Flaubert () (December 12, 1821 – May 8, 1880) was a French writer who is counted among the greatest Western novelists. He is known especially for his first published novel, Madame Bovary (1857), and for his scrupulous devotion to his art and style.
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Gustave Moreau
Gustave Moreau (6 April 1826 – 18 April 1898) was a French Symbolist painter whose main focus was the illustration of biblical and mythological figures. As a painter of literary ideas rather than visual images, Moreau appealed to the imaginations of some Symbolist writers and artists, who saw him as a precursor to their movement.
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Guy Debord
Guy Ernest Debord (December 28, 1931 - November 30, 1994) was a French Marxist theorist, writer, filmmaker, hypergraphist and founding member of the groups Lettrist International and Situationist International (SI). He was also briefly a member of Socialisme ou Barbarie.
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György Ligeti
http://wn.com/György_Ligeti -
György Lukács
http://wn.com/György_Lukács -
Hannah Höch
http://wn.com/Hannah_Höch -
Hanya Holm
http://wn.com/Hanya_Holm -
Harry Partch
Harry Partch (June 24, 1901 – September 3, 1974) was an American composer and instrument creator. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for custom-made instruments that he built himself, tuned in 11-limit (43-tone) just intonation.
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Hart Crane
http://wn.com/Hart_Crane -
Hegel
http://wn.com/Hegel -
Helen Frankenthaler
Helen Frankenthaler (born December 12, 1928) is an American abstract expressionist painter. She is a major contributor to the history of postwar American painting. Having exhibited her work in six decades she has spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. She began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as Color Field. Born in New York City, she was influenced by Hans Hofmann, Jackson Pollock's paintings and by Clement Greenberg. Her work has been the subject of several retrospective exhibitions; including a 1989 retrospective at the Museum of Modern Art in New York City. Her work has been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.
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Helen Tamiris
Helen Tamiris (24 April 1905 - 4 August 1966) was an American choreographer, modern dancer, and teacher.
http://wn.com/Helen_Tamiris -
Henri Bergson
http://wn.com/Henri_Bergson -
Henri Matisse
http://wn.com/Henri_Matisse -
Henrik Ibsen
http://wn.com/Henrik_Ibsen -
Henry Cowell
http://wn.com/Henry_Cowell -
Henry Moore
http://wn.com/Henry_Moore -
Hermann Broch
http://wn.com/Hermann_Broch -
Howard Hodgkin
Sir Gordon Howard Eliot Hodgkin CH, CBE (born 6 August 1932) is a British painter and printmaker. His work is most often associated with abstraction.
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Hubert Dreyfus
Hubert Lederer Dreyfus (born October 15, 1929 in Terre Haute, Indiana to Stanley S. and Irene Lederer Dreyfus), is a professor of philosophy at the University of California, Berkeley.
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I. A. Richards
Ivor Armstrong Richards (26 February 1893 in Sandbach, Cheshire – 7 September 1979 in Cambridge) was an influential English literary critic and rhetorician.
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Igor Stravinsky
http://wn.com/Igor_Stravinsky -
Ihab Hassan
Ihab H. Hassan (born in 1925) is an American literary theorist and writer born in Egypt.
http://wn.com/Ihab_Hassan -
Immanuel Kant
http://wn.com/Immanuel_Kant -
Ingmar Bergman
http://wn.com/Ingmar_Bergman -
Irving Singer
Irving Singer is Professor of Philosophy at Massachusetts Institute of Technology.
http://wn.com/Irving_Singer -
Isaac Newton
http://wn.com/Isaac_Newton -
Isaac Witkin
http://wn.com/Isaac_Witkin -
Isamu Noguchi
was a prominent Japanese American artist and landscape architect whose artistic career spanned six decades, from the 1920s onward. Known for his sculpture and public works, Noguchi also designed stage sets for various Martha Graham productions, and several mass-produced lamps and furniture pieces, some of which are still manufactured and sold.
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Ivan Cankar
http://wn.com/Ivan_Cankar -
J. G. Ballard
http://wn.com/J_G_Ballard -
J. M. W. Turner
http://wn.com/J_M_W_Turner -
Jackson Mac Low
http://wn.com/Jackson_Mac_Low -
Jackson Pollock
Paul Jackson Pollock (January 28, 1912 – August 11, 1956) was an influential American painter and a major figure in the abstract expressionist movement. During his lifetime, Pollock enjoyed considerable fame and notoriety. He was regarded as a mostly reclusive artist. He had a volatile personality, sometimes struggling with alcoholism. In 1945, he married the artist Lee Krasner, who became an important influence on his career and on his legacy.
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James Joyce
James Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark novel which perfected his stream of conciousness technique and combined nearly every literary device available in a modern re-telling of The Odyssey. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939), and his complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters.
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James Rosenquist
James Rosenquist (born November 29, 1933) is an American artist and one of the protagonists in the pop-art movement.
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James Thurber
James Grover Thurber (December 8, 1894 – November 2, 1961) was an American author, cartoonist and celebrated wit. Thurber was best known for his contributions (both cartoons and short stories) to The New Yorker magazine.
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Jannis Kounellis
Jannis Kounellis was born on March 23, 1936 in Piraeus, Greece. He studied in art college in Athens until 1956 and at the Accademia di Belle Arti in Rome.
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Jaroslav Hašek
http://wn.com/Jaroslav_Hašek -
Jasper Johns
Jasper Johns, Jr. (born May 15, 1930) is an American contemporary artist who works primarily in painting and printmaking.
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Jean Anouilh
http://wn.com/Jean_Anouilh -
Jean Cocteau
http://wn.com/Jean_Cocteau -
Jean Epstein
http://wn.com/Jean_Epstein -
Jean Renoir
Jean Renoir (; 15 September 1894 – 12 February 1979) was a French film director, screenwriter, actor, producer and author. As a film director and actor, he made more than forty films from the silent era to the end of the 1960s. As an author, he wrote the definitive biography of his father, the painter, Pierre-Auguste Renoir, Renoir, My Father (1962).
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Jim Dine
Jim Dine (born June 16, 1935) is an American pop artist. He is sometimes considered to be a part of the Neo-Dada movement. He was born in Cincinnati, Ohio, attended the University of Cincinnati and received a BFA from Ohio University in 1957. He first earned respect in the art world with his Happenings. Pioneered with artists Claes Oldenburg and Allan Kaprow, in conjunction with musician John Cage, the "Happenings" were chaotic performance art that was a stark contrast with the more somber mood of the expressionists popular in the New York art world. The first of these was the 30 second The Smiling Worker performed in 1959.
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Joan Jonas
Born in 1936 in New York City, Joan Jonas is a pioneer of video and performance art and one of the most important female artists to emerge in the late 1960s and early 1970s.
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Joan Miró
http://wn.com/Joan_Miró -
Joel Shapiro
Joel Shapiro (born 1941 New York City, New York) is an American sculptor renowned for his dynamic work composed of simple rectangular shapes. He received a B.A. in 1964 and an M.A. in 1969 from New York University. Shapiro is represented by The Pace Gallery in New York. He lives and works in New York City, with a summer house on the shore of Lake Champlain, in Westport, New York. He is married to the artist Ellen Phelan.
http://wn.com/Joel_Shapiro -
Johannes Brahms
http://wn.com/Johannes_Brahms -
John Barth
John Simmons Barth (born May 27, 1930) is an American novelist and short-story writer, known for the postmodernist and metafictive quality of his work.
http://wn.com/John_Barth -
John Cage
http://wn.com/John_Cage -
John D. Graham
http://wn.com/John_D_Graham -
John Dewey
http://wn.com/John_Dewey -
John Locke
http://wn.com/John_Locke -
John McCracken
John McCracken (born 1934 in Berkeley, California) is a contemporary artist who lives and works in Santa Fe, New Mexico.
http://wn.com/John_McCracken -
John Ruskin
http://wn.com/John_Ruskin -
Josef Breuer
http://wn.com/Josef_Breuer -
Joseph Conrad
http://wn.com/Joseph_Conrad -
Joseph Cornell
http://wn.com/Joseph_Cornell -
Joseph Nechvatal
Joseph Nechvatal (born 1951) is a post-conceptual art digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses.
http://wn.com/Joseph_Nechvatal -
Joseph Stalin
http://wn.com/Joseph_Stalin -
José Ortega y Gasset
http://wn.com/José_Ortega_y_Gasset -
Juan Gris
http://wn.com/Juan_Gris -
Judith Malina
Judith Malina (born June 4, 1926) is an American theater and film actor, writer, and director, who was one of the founders of The Living Theatre.
http://wn.com/Judith_Malina -
Jules Olitski
Jules Olitski (March 27, 1922 – February 4, 2007) was an American abstract painter, printmaker, and sculptor.
http://wn.com/Jules_Olitski -
Jørn Utzon
http://wn.com/Jørn_Utzon -
Kandinsky
http://wn.com/Kandinsky -
Karl Marx
http://wn.com/Karl_Marx -
Kazimir Malevich
Kazimir Severinovich Malevich (, , , , ), (February 23, 1879, previously 1878: May 15, 1935) was a Russian painter and art theoretician, born in Ukraine of ethnic Polish parents. He was a pioneer of geometric abstract art and the originator of the Avant-garde Suprematist movement.
http://wn.com/Kazimir_Malevich -
Keith Sonnier
Keith Sonnier (born 1941, Mamou, Louisiana) is a minimalist, performance, video and light artist. Sonnier was one of the first artists to use light in sculpture in the 1960s, and has been one of the most successful with this technique. Sonnier was a part of the Process Art Movement.
http://wn.com/Keith_Sonnier -
Kenneth Noland
Kenneth Noland (April 10, 1924 – January 5, 2010) was an American abstract painter. He was one of the best-known American Color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s he was thought of as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977 he was honored by a major retrospective at the Solomon R. Guggenheim Museum, in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, DC. and the Toledo Museum of Art, in Ohio in 1978. In 2006 Noland's Stripe Paintings were exhibited at the Tate in London.
http://wn.com/Kenneth_Noland -
Knut Hamsun
Knut Hamsun (August 4, 1859 – February 19, 1952) was a Norwegian author. He was praised by King Haakon VII of Norway as ''Norway's soul. In 1920, he was awarded the Nobel Prize in Literature for the epic, Growth of the Soil''. He insisted that the main object of modern literature should be the intricacies of the human mind, that writers should describe the "whisper of blood, and the pleading of bone marrow". Hamsun's literary debut was the 1890 psychological novel, Hunger, which some critics consider to have been an inspiration for Franz Kafka's classic short story, A Hunger Artist.
http://wn.com/Knut_Hamsun -
Konstantin Melnikov
http://wn.com/Konstantin_Melnikov -
La Monte Young
La Monte Thornton Young (born October 14, 1935) is an American composer and musician.
http://wn.com/La_Monte_Young -
Larry Poons
Lawrence Poons (born October 1, 1937), better known as Larry Poons, is an abstract painter who was born in Tokyo, Japan. He studied from 1955 to 1957 at the New England Conservatory of Music, with the intent of becoming a professional musician. In 1959, he enrolled at the School of the Museum of Fine Arts, Boston, and also studied at the Art Students League of New York.
http://wn.com/Larry_Poons -
Larry Rivers
Larry Rivers (August 17, 1923 - August 14, 2002) was an American artist, musician, filmmaker and occasional actor. Rivers resided and maintained studios in New York City, Southampton, New York on (Long Island) and Zihuatanejo, Mexico.
http://wn.com/Larry_Rivers -
Larry Zox
http://wn.com/Larry_Zox -
Lawrence Alloway
Lawrence Alloway (London, 17 September 1926 - New York, 2 January 1990) was an English art critic and curator who worked in the United States from the 1960s. In the 1950s he was a leading member of the Independent Group in the UK and in the 1960s was an influential writer and curator in the US. He first used the term "mass popular art" in the mid 1950's and used the term Pop Art in the 1960s to indicate that art has a basis in the popular culture of its day and takes from it a faith in the power of images.
http://wn.com/Lawrence_Alloway -
Le Corbusier
http://wn.com/Le_Corbusier -
Leo Castelli
Leo Castelli (born Leo Krausz; September 4, 1907 – August 21, 1999) was an American art dealer. He was best known to the public as an art dealer whose gallery showcased cutting edge Contemporary art for five decades. Castelli showed Surrealism, Abstract Expressionism, Neo-Dada, Pop Art, Op Art, Color field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Conceptual Art, and Neo-expressionism, among other movements.
http://wn.com/Leo_Castelli -
Leo Tolstoy
http://wn.com/Leo_Tolstoy -
Lester Brown
http://wn.com/Lester_Brown -
Linda Nochlin
Linda Nochlin (born 1931) is an American art historian, university professor and writer. She is considered to be a leader in feminist art history studies. She is best known as a proponent of the question "Why Have There Been No Great Women Artists?"
http://wn.com/Linda_Nochlin -
Louis Aragon
http://wn.com/Louis_Aragon -
Louis Kahn
http://wn.com/Louis_Kahn -
Louis Sullivan
http://wn.com/Louis_Sullivan -
Lucian Freud
Lucian Michael Freud, OM, CH (born 8 December 1922) is a British painter.
http://wn.com/Lucian_Freud -
Luciano Berio
Luciano Berio, Cavaliere di Gran Croce OMRI (October 24, 1925 – May 27, 2003) was an Italian composer. He is noted for his experimental work (in particular his 1968 composition Sinfonia for voices and orchestra and his series of numbered solo pieces titled Sequenza) and also for his pioneering work in electronic music.
http://wn.com/Luciano_Berio -
Lucinda Childs
Lucinda Childs (born June 26, 1940) is an American postmodern dancer/choreographer. Her compositions are known for their minimalistic movements yet complex transitions. Childs is most famous for being able to turn the slightest movements into an intricate choreographic masterpiece. Her use of patterns, repetition, and dialect has caused her to have a unique style of choreography that is often imitated for its ability to experiment.
http://wn.com/Lucinda_Childs -
Ludwig Boltzmann
http://wn.com/Ludwig_Boltzmann -
Luigi Nono
http://wn.com/Luigi_Nono -
Luigi Pirandello
http://wn.com/Luigi_Pirandello -
Luigi Russolo
http://wn.com/Luigi_Russolo -
Lynda Benglis
Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.
http://wn.com/Lynda_Benglis -
Léonide Massine
http://wn.com/Léonide_Massine -
Man Ray
http://wn.com/Man_Ray -
Marc Chagall
http://wn.com/Marc_Chagall -
Marcel Duchamp
Marcel Duchamp (28 July 1887 – 2 October 1968; ) was a French artist whose work is most often associated with the Dadaist and Surrealist movements. Duchamp's output influenced the development of post-World War I Western art. He advised modern art collectors, such as Peggy Guggenheim and other prominent figures, thereby helping to shape the tastes of Western art during this period.
http://wn.com/Marcel_Duchamp -
Marcel Proust
http://wn.com/Marcel_Proust -
Mario Merz
Mario Merz (1 January 1925 – 9 November 2003) was an Italian artist, and husband of Marisa Merz.
http://wn.com/Mario_Merz -
Mark Rothko
http://wn.com/Mark_Rothko -
Martha Graham
Martha Graham (May 11, 1894 – April 1, 1991) was an American dancer choreographer regarded as one of the foremost pioneers of modern dance, whose influence on dance can be compared to the influence Stravinsky had on music, Picasso had on the visual arts, or Frank Lloyd Wright had on architecture. Graham was a galvanizing performer, a choreographer of astounding moves. She invented a new language of movement, and used it to reveal the passion, the rage and the ecstasy common to human experience. She danced and choreographed for over seventy years, and during that time was the first dancer ever to perform at The White House, the first dancer ever to travel abroad as a cultural ambassador, and the first dancer ever to receive the highest civilian award of the USA: the Medal of Freedom. In her lifetime she received honors ranging from the key to the City of Paris to Japan's Imperial Order of the Precious Crown. She said, "I have spent all my life with dance and being a dancer. It's permitting life to use you in a very intense way. Sometimes it is not pleasant. Sometimes it is fearful. But nevertheless it is inevitable."
http://wn.com/Martha_Graham -
Martin Heidegger
http://wn.com/Martin_Heidegger -
Mary Cassatt
Mary Stevenson Cassatt (; May 22, 1844June 14, 1926) was an American painter and printmaker. She lived much of her adult life in France, where she first befriended Edgar Degas and later exhibited among the Impressionists. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children.
http://wn.com/Mary_Cassatt -
Mary Wigman
Mary Wigman (November 13, 1886 – September 18, 1973) was a German dancer, choreographer, and instructor of dance.
http://wn.com/Mary_Wigman -
Max Ernst
Max Ernst (2 April 1891 – 1 April 1976) was a German painter, sculptor, graphic artist, and poet. A prolific artist, Ernst is considered to be one of the primary pioneers of the Dada movement and Surrealism.
http://wn.com/Max_Ernst -
Max Jacob
Max Jacob (July 12, 1876 – March 5, 1944) was a French poet, painter, writer, and critic.
http://wn.com/Max_Jacob -
Maxim Gorky
http://wn.com/Maxim_Gorky -
Maxwell Anderson
http://wn.com/Maxwell_Anderson -
Mazdak
http://wn.com/Mazdak -
Menno ter Braak
Menno ter Braak (26 January 1902, Eibergen, Gelderland – 14 May 1940) was a Dutch modernist author.
http://wn.com/Menno_ter_Braak -
Merce Cunningham
http://wn.com/Merce_Cunningham -
Mikhail Bulgakov
Mikhail Afanasyevich Bulgakov (, , Kiev – March 10, 1940, Moscow) was a Soviet Russian writer and playwright active in the first half of the 20th century. He is best known for his novel The Master and Margarita, which The Times of London has called one of the masterpieces of the 20th century.
http://wn.com/Mikhail_Bulgakov -
Mina Loy
http://wn.com/Mina_Loy -
Morton Feldman
http://wn.com/Morton_Feldman -
Mário de Sá-Carneiro
http://wn.com/Mário_de_Sá-Carneiro -
Nam June Paik
Nam June Paik (July 20, 1932 – January 29, 2006) was a Korean-born American artist. He worked with a variety of media and is considered to be the first video artist.
http://wn.com/Nam_June_Paik -
Nancy Graves
http://wn.com/Nancy_Graves -
Nelson Goodman
Henry Nelson Goodman (7 August 1906, Somerville, Massachusetts – 25 November 1998, Needham, Massachusetts) was an American philosopher, known for his work on counterfactuals, mereology, the problem of induction, irrealism and aesthetics.
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Niels Bohr
http://wn.com/Niels_Bohr -
Nikolaus Pevsner
http://wn.com/Nikolaus_Pevsner -
Orson Welles
http://wn.com/Orson_Welles -
Oscar Niemeyer
Oscar Ribeiro de Almeida Niemeyer Soares Filho (born December 15, 1907) is a Brazilian architect specializing in international modern architecture. He is a pioneer in exploring the formal possibilities of reinforced concrete solely for their aesthetic impact.
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Oscar Wilde
http://wn.com/Oscar_Wilde -
Oskar Kokoschka
http://wn.com/Oskar_Kokoschka -
Otto von Bismarck
http://wn.com/Otto_von_Bismarck -
Pablo Picasso
http://wn.com/Pablo_Picasso -
Paul Cézanne
http://wn.com/Paul_Cézanne -
Paul Gauguin
http://wn.com/Paul_Gauguin -
Paul Hindemith
Paul Hindemith (16 November 1895 – 28 December 1963) was a German composer, violist, violinist, teacher, music theorist and conductor.
http://wn.com/Paul_Hindemith -
Paul Klee
http://wn.com/Paul_Klee -
Paul Valery
http://wn.com/Paul_Valery -
Paul Valéry
http://wn.com/Paul_Valéry -
Paul Verlaine
http://wn.com/Paul_Verlaine -
Peter Reginato
Peter Reginato (born August 19, 1945 in Dallas, Texas) is an American abstract sculptor. Reginato grew up in the hills outside of Oakland, California and he attended the San Francisco Art Institute. He began making abstract sculpture in 1965 and moved to New York City in 1966 to pursue his career as a sculptor. In 1967 he was included in several group exhibitions including showing a major piece at the Park Place Gallery in New York.
http://wn.com/Peter_Reginato -
Peter Voulkos
http://wn.com/Peter_Voulkos -
Philip Glass
Philip Morris Glass (born January 31, 1937) is an American music composer. He is considered one of the most influential composers of the late 20th century and is widely acknowledged as a composer who has brought art music to the public (along with precursors such as Richard Strauss, Kurt Weill and Leonard Bernstein).
http://wn.com/Philip_Glass -
Philip Kitcher
Philip Stuart Kitcher (born 1947) is a British philosophy professor who specializes in the philosophy of science.
http://wn.com/Philip_Kitcher -
Philip Pearlstein
Philip Pearlstein (born May 24, 1924) is an American painter, and part of the contemporary Realist school.
http://wn.com/Philip_Pearlstein -
Pier Luigi Nervi
Pier Luigi Nervi (June 21, 1891 - January 9, 1979) was an Italian engineer. He studied at the University of Bologna and qualified in 1913. Dr. Nervi taught as a professor of engineering at Rome University from 1946-61. He is renowned for his brilliance as a structural engineer and an architect, and for his novel use of reinforced concrete.
http://wn.com/Pier_Luigi_Nervi -
Pierre Bonnard
Pierre Bonnard (3 October 1867 – 23 January 1947) was a French painter and printmaker, a founding member of Les Nabis.
http://wn.com/Pierre_Bonnard -
Pierre Boulez
Pierre Boulez () (born March 26, 1925) is a French composer of contemporary classical music and a conductor.
http://wn.com/Pierre_Boulez -
Pierre Matisse
http://wn.com/Pierre_Matisse -
Pierre Schaeffer
http://wn.com/Pierre_Schaeffer -
Piet Mondrian
http://wn.com/Piet_Mondrian -
R. G. Collingwood
http://wn.com/R_G_Collingwood -
Rainer Maria Rilke
http://wn.com/Rainer_Maria_Rilke -
Rainer Marie Rilke
http://wn.com/Rainer_Marie_Rilke -
Red Grooms
http://wn.com/Red_Grooms -
René Clair
http://wn.com/René_Clair -
René Magritte
http://wn.com/René_Magritte -
Richard Dedekind
Julius Wilhelm Richard Dedekind (October 6, 1831 – February 12, 1916) was a German mathematician who did important work in abstract algebra (particularly ring theory), algebraic number theory and the foundations of the real numbers.
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Richard Serra
Richard Serra (born November 2, 1939) is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement.
http://wn.com/Richard_Serra -
Richard Strauss
Richard Georg Strauss (11 June 1864 – 8 September 1949) was a leading German composer of the late Romantic and early modern eras. He is known particularly for his operas, Lieder, and tone poems. Strauss, along with Gustav Mahler, represents the extraordinary late flowering of German Romanticism after Richard Wagner, in which pioneering subtleties of orchestration are combined with an advanced harmonic style. Strauss's music had a profound influence on the development of music in the twentieth century. Strauss was also a prominent conductor.
http://wn.com/Richard_Strauss -
Richard Tuttle
Richard Dean Tuttle (born 12 July 1941 in Rahway, New Jersey) is an American postminimalist artist known for his small, subtle, intimate works. His art makes use of scale and line.
http://wn.com/Richard_Tuttle -
Richard Wagner
Wilhelm Richard Wagner (, ; 22 May 1813 13 February 1883) was a German composer, conductor, theatre director and essayist, primarily known for his operas (or "music dramas", as they were later called). Wagner's compositions, particularly those of his later period, are notable for their complex texture, rich harmonies and orchestration, and the elaborate use of leitmotifs: musical themes associated with individual characters, places, ideas or plot elements. Unlike most other opera composers, Wagner wrote both the music and libretto for every one of his stage works. Famous extracts from his operas include the "Ride of the Valkyries" and the Bridal Chorus from Lohengrin, popularly known as the wedding march "Here Comes the Bride".
http://wn.com/Richard_Wagner -
Richard Wollheim
Richard Arthur Wollheim (5 May 1923 – 4 November 2003) was a British philosopher noted for original work on mind and emotions, especially as related to the visual arts, specifically, painting. Wollheim served as the president of the British Society of Aesthetics from 1992 onwards until his death in 2003.
http://wn.com/Richard_Wollheim -
Robert Benchley
http://wn.com/Robert_Benchley -
Robert Delaunay
http://wn.com/Robert_Delaunay -
Robert Motherwell
http://wn.com/Robert_Motherwell -
Robert Musil
'Robert Mathias Edler von Musil' (November 6, 1880 - April 15, 1942) was an Austrian writer. His unfinished long novel The Man Without Qualities () is generally considered to be one of the most important modernist novels.
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Robert Rauschenberg
http://wn.com/Robert_Rauschenberg -
Robert Smithson
http://wn.com/Robert_Smithson -
Robert Whitman
Robert Whitman (born 1935 in New York City) is an American artist best known for his seminal theater pieces of the early 1960s combining visual and sound images, actors, film, slides, and evocative props in environments of his own making. Since the late 1960s he has worked with new technologies, and his most recent work incorporates cellphones.
http://wn.com/Robert_Whitman -
Robert Wiene
Robert Wiene (27 April 1873–16 June 1938) was an important film director of the German silent cinema.
http://wn.com/Robert_Wiene -
Roger Fry
http://wn.com/Roger_Fry -
Romanian philosophy
Romanian philosophy is a name covering either a) the philosophy done in Romania or by Romanians, or b) an ethnic philosophy, which expresses at a high level the fundamental features of the Romanian spirituality, or which elevates to a philosophical level the Weltanschauung of the Romanian people, as deposited in language and folklore, traditions, architecture and other linguistic and cultural artifacts.
http://wn.com/Romanian_philosophy -
Ronald Davis
Ronald Davis (a.k.a. Ron Davis), born 1937, is an American painter whose work is associated with Geometric abstraction, Abstract Illusionism, Lyrical Abstraction, Hard-edge painting, Shaped canvas painting, Color field painting, and 3D Computer Graphics. He is a veteran of nearly seventy solo exhibitions and hundreds of group exhibitions.
http://wn.com/Ronald_Davis -
Ronnie Landfield
Ronnie Landfield (born January 9, 1947 in The Bronx, New York) is an American abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction, (related to Postminimalism, Color Field painting, and Abstract expressionism), and he was represented by the David Whitney Gallery and the Andre Emmerich Gallery. A veteran of more than sixty solo exhibitions and nearly two hundred group exhibitions, he is best known for his abstract landscape paintings.
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Ross Bleckner
Ross Bleckner (born May 12, 1949) is an American artist.
http://wn.com/Ross_Bleckner -
Roy Lichtenstein
Roy Lichtenstein (October 27, 1923 – September 29, 1997) was a prominent American pop artist. His work was heavily influenced by both popular advertising and the comic book style. He himself described pop art as, "not 'American' painting but actually industrial painting".
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Russian philosophy
http://wn.com/Russian_philosophy -
Ruth St. Denis
http://wn.com/Ruth_St_Denis -
Salvador Dalí
http://wn.com/Salvador_Dalí -
Sam Gilliam
Sam Gilliam (b. November 30, 1933) is internationally recognized as one of America's foremost Color Field Painter and Lyrical Abstractionist artists.
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Samuel Beckett
Samuel Barclay Beckett (13 April 1906 – 22 December 1989) was an Irish avant-garde writer, dramatist and poet, writing in English and French. Beckett's work offers a bleak outlook on human culture and both formally and philosophically became increasingly minimalist in his later career.
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Schopenhauer
http://wn.com/Schopenhauer -
Sean Scully
Sean Scully (born Dublin, Ireland, 30 June 1945) is an Irish-born American painter and printmaker who has twice been named a Turner Prize nominee. His work is collected in major museums worldwide.
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Serge Gainsbourg
Serge Gainsbourg, born Lucien Ginsburg (; 2 April 1928 – 2 March 1991) was a French singer-songwriter, actor and director. Gainsbourg's extremely varied musical style and individuality make him difficult to categorize. His legacy has been firmly established, and he is often regarded as one of the world's most influential popular musicians.
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Sergei Diaghilev
Sergei Pavlovich Diaghilev ( / Sergei Pavlovich Dyagilev ) (31 March 187219 August 1929), usually referred to outside of Russia as Serge, was a Russian art critic, patron, ballet impresario and founder of the Ballets Russes from which many famous dancers and choreographers would later arise.
http://wn.com/Sergei_Diaghilev -
Sergei Eisenstein
http://wn.com/Sergei_Eisenstein -
Sergei Prokofiev
Sergei Sergeyevich Prokofiev () (5 March 1953) was a Russian composer, pianist and conductor who mastered numerous musical genres and came to be admired as one of the greatest composers of the 20th century.
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Seurat
http://wn.com/Seurat -
Seán O'Casey
http://wn.com/Seán_O'Casey -
Sidney Janis
http://wn.com/Sidney_Janis -
Sigmund Freud
http://wn.com/Sigmund_Freud -
Sir Anthony Caro
http://wn.com/Sir_Anthony_Caro -
Sol LeWitt
Solomon "Sol" LeWitt (September 9, 1928 - April 8, 2007) was an American artist linked to various movements, including Conceptual art and Minimalism.
http://wn.com/Sol_LeWitt -
Stephane Mallarme
http://wn.com/Stephane_Mallarme -
Stephen Pepper
http://wn.com/Stephen_Pepper -
Steve Paxton
http://wn.com/Steve_Paxton -
Steve Reich
http://wn.com/Steve_Reich -
Steven Best
Steven Best (born December 1955) is an American animal rights activist, author, talk-show host, and associate professor of philosophy at the University of Texas at El Paso. He has been described as "one of the leading scholarly voices on animal rights."
http://wn.com/Steven_Best -
Stéphane Mallarmé
http://wn.com/Stéphane_Mallarmé -
Susan Crile
Susan Crile (b. Cleveland, 1942) is an artist, primarily a painter and printmaker. She has had over 50 solo exhibitions, and her work is in the collections of the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, the Denver Art Museum, the Brooklyn Museum, the Hirshhorn Museum, the Phillips Collection, and the Cleveland Museum of Art, among others.
http://wn.com/Susan_Crile -
Susan Glaspell
Susan Keating Glaspell (1 July 1876 – 27 July 1948) was an American Pulitzer Prize-winning playwright, actress, director, and bestselling novelist. She was a founding member of the Provincetown Players, one of the most important collaboratives in the development of modern drama in the United States. She also served in the Works Progress Administration as Midwest Bureau Director of the Federal Theater Project.
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Susanne Langer
http://wn.com/Susanne_Langer -
Syd Barrett
http://wn.com/Syd_Barrett -
Søren Kierkegaard
http://wn.com/Søren_Kierkegaard -
T. S. Eliot
Thomas Stearns Eliot OM (September 26, 1888 – January 4, 1965) was an American-born English poet, playwright, and literary critic, arguably the most important English-language poet of the 20th century. The poem that made his name, The Love Song of J. Alfred Prufrock—started in 1910 and published in Chicago in 1915—is regarded as a masterpiece of the modernist movement, and was followed by some of the best-known poems in the English language, including Gerontion (1920), The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930), and Four Quartets (1945). He is also known for his seven plays, particularly Murder in the Cathedral (1935). He was awarded the Nobel Prize in Literature in 1948.
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Ted Shawn
http://wn.com/Ted_Shawn -
Tennessee Williams
Tennessee Williams (March 26, 1911 – February 25, 1983) born Thomas Lanier Williams, was an American playwright who received many of the top theatrical awards for his works of drama. He moved to New Orleans in 1939 and changed his name to "Tennessee", the Southeastern U.S. state, his father's birthplace.
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Terry Riley
Terrence Mitchell Riley, born June 24, 1935, is an American composer associated with the minimalist school of Western classical music.
http://wn.com/Terry_Riley -
Theodor Adorno
http://wn.com/Theodor_Adorno -
Theodor Lipps
http://wn.com/Theodor_Lipps -
Theodor W. Adorno
http://wn.com/Theodor_W_Adorno -
Thierry de Duve
Thierry de Duve (born 1944) is a Belgian professor of modern art theory and contemporary art theory, and both actively teaches and publishes books in the field. He also curates exhibitions.
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Thomas Mann
Thomas Mann (6 June 1875 – 12 August 1955) was a German novelist, short story writer, social critic, philanthropist, essayist, and 1929 Nobel Prize laureate, known for his series of highly symbolic and ironic epic novels and novellas, noted for their insight into the psychology of the artist and the intellectual. His analysis and critique of the European and German soul used modernized German and Biblical stories, as well as the ideas of Goethe, Nietzsche, and Schopenhauer. His older brother was the radical writer Heinrich Mann, and three of his six children, Erika Mann, Klaus Mann and Golo Mann, also became important German writers. When Hitler came to power in 1933, the anti-fascist Mann fled to Switzerland. When World War II broke out in 1939, he emigrated to the United States, from where he returned to Switzerland in 1952. Thomas Mann is one of the most known exponents of the so called Exilliteratur.
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Thornton Wilder
Thornton Niven Wilder (April 17, 1897 — December 7, 1975) was an American playwright and novelist. He received three Pulitzer Prizes, one for his novel The Bridge of San Luis Rey and two for his plays Our Town and The Skin of Our Teeth, and a National Book Award for his novel The Eighth Day.
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Tom Otterness
http://wn.com/Tom_Otterness -
Tom Wesselmann
Tom Wesselmann (February 23, 1931, Cincinnati - December 17, 2004) was an American pop artist who specialized in found art collages.
http://wn.com/Tom_Wesselmann -
Trisha Brown
Trisha Brown (25 November 1936, Aberdeen, Washington, U.S.) is a postmodernist American choreographer and dancer.
http://wn.com/Trisha_Brown -
Tristan Tzara
Tristan Tzara (; born Samuel or Samy Rosenstock, also known as S. Samyro; –December 25, 1963) was a Romanian and French avant-garde poet, essayist and performance artist. Also active as a journalist, playwright, literary and art critic, composer and film director, he was known best for being one of the founders and central figures of the anti-establishment Dada movement. Under the influence of Adrian Maniu, the adolescent Tzara became interested in Symbolism and co-founded the magazine Simbolul with Ion Vinea (with whom he also wrote experimental poetry) and painter Marcel Janco. During World War I, after briefly collaborating on Vinea's Chemarea, he joined Janco in Switzerland. There, Tzara's shows at the Cabaret Voltaire and Zunfthaus zur Waag, as well as his poetry and art manifestos, became a main feature of early Dadaism. His work represented Dada's nihilistic side, in contrast with the more moderate approach favored by Hugo Ball.
http://wn.com/Tristan_Tzara -
Umberto Boccioni
http://wn.com/Umberto_Boccioni -
Umberto Eco
Umberto Eco (born 5 January 1932) is an Italian medievalist, semiotician, philosopher, literary critic and novelist, best known for his novel The Name of the Rose (Il nome della rosa, 1980), an intellectual mystery combining semiotics in fiction, biblical analysis, medieval studies and literary theory. He has also written academic texts, children's books and many essays.
http://wn.com/Umberto_Eco -
Vaslav Nijinsky
Vaslav (or Vatslav) Nijinsky (French transcription; ; / Vatslav Fomich Nizhinskiy; March 12, 1890 - April 8, 1950) was a Russian ballet dancer and choreographer of Polish descent. He grew to be celebrated for his virtuosity and for the depth and intensity of his characterizations. He could perform en pointe, a rare skill among male dancers at the time (Albright, 2004) and his ability to perform seemingly gravity-defying leaps was also legendary. The choreographer Bronislava Nijinska was his sister.
http://wn.com/Vaslav_Nijinsky -
Victor Horta
http://wn.com/Victor_Horta -
Victor Sjöström
(in the United States sometimes known as Victor Seastrom) (20 September 1879 – 3 January 1960) was a Swedish actor, screenwriter, and film director.
http://wn.com/Victor_Sjöström -
Vincent van Gogh
Vincent Willem van Gogh (Dutch: , or English: ,
http://wn.com/Vincent_van_Gogh -
Virgil Thompson
:For the American composer with a similar name, see Virgil Thomson
http://wn.com/Virgil_Thompson -
Virginia Woolf
http://wn.com/Virginia_Woolf -
Vladimir Tatlin
http://wn.com/Vladimir_Tatlin -
Vsevolod Pudovkin
Vsevolod Illarionovich Pudovkin () (16 February 1893 – 20 June 1953) was a Russian and Soviet film director, screenwriter and actor who developed influential theories of montage. Pudovkin's masterpieces are often contrasted with those of his contemporary Sergei Eisenstein, but whereas Eisenstein utilized montage to glorify the power of the masses, Pudovkin preferred to concentrate on the courage and resilience of individuals.
http://wn.com/Vsevolod_Pudovkin -
W. B. Yeats
http://wn.com/W_B_Yeats -
W. H. Auden
http://wn.com/W_H_Auden -
Wallace Stevens
http://wn.com/Wallace_Stevens -
Walt Whitman
http://wn.com/Walt_Whitman -
Walter Benjamin
http://wn.com/Walter_Benjamin -
Walter Darby Bannard
Walter Darby Bannard (born September 23, 1934 in New Haven, CT), also known as Darby Bannard, is an American abstract painter.
http://wn.com/Walter_Darby_Bannard -
Walter Gropius
http://wn.com/Walter_Gropius -
Wassily Kandinsky
http://wn.com/Wassily_Kandinsky -
Willem de Kooning
http://wn.com/Willem_de_Kooning -
William Faulkner
William Cuthbert Faulkner (September 25, 1897 – July 6, 1962) was a Nobel Prize-winning American novelist and short story writer. One of the most influential writers of the 20th century, his reputation is based mostly on his novels, novellas, and short stories. He was also a published poet and an occasional screenwriter.
http://wn.com/William_Faulkner -
William Inge
http://wn.com/William_Inge -
Wolf Vostell
http://wn.com/Wolf_Vostell -
World War I
World War I was a military conflict centered on Europe that began in the summer of 1914. The fighting ended in late 1918. This conflict involved all of the world's great powers, assembled in two opposing alliances: the Allies (centred around the Triple Entente) and the Central Powers. More than 70 million military personnel, including 60 million Europeans, were mobilized in one of the largest wars in history. More than 9 million combatants were killed, due largely to great technological advances in firepower without corresponding ones in mobility. It was the second deadliest conflict in history.
http://wn.com/World_War_I -
Yayoi Kusama
http://wn.com/Yayoi_Kusama -
Yoko Ono
is a Japanese artist, musician, author and peace activist, known for her work in avant-garde art, music and filmmaking as well as her marriage to John Lennon. Ono brought feminism to the forefront through her music, and is also considered a pioneer and major influence of the 1970s new wave genre. She is a supporter of gay rights and is known for her philanthropic contributions to the arts, peace and AIDS outreach programs.
http://wn.com/Yoko_Ono -
Yves Klein
http://wn.com/Yves_Klein -
Yvonne Rainer
Yvonne Rainer (born November 24, 1934, San Francisco) is an American dancer, choreographer and filmmaker, whose work in these disciplines is frequently challenging and experimental.
http://wn.com/Yvonne_Rainer -
Édouard Manet
http://wn.com/Édouard_Manet -
Édouard Vuillard
http://wn.com/Édouard_Vuillard
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What is Modernism/Postmodernism?
- Order: Reorder
- Duration: 9:34
- Updated: 29 Oct 2012
Understanding the 2 separate movements. I made this about a year ago for my photography course. As a result some of it may be wrong or down to a certain point of view. I do not have any further answers or corrections as I have not studied this movement since I created this video. Hopefully it will simply give a basic understanding to anyone who doesn't know anything about the two movements.
http://wn.com/What_is_Modernism_Postmodernism?
Julian Murphet: Modernism, Now and Then
- Order: Reorder
- Duration: 52:18
- Updated: 24 Sep 2012
So What? Lecture delivered on Thursday 26 May 2011
http://wn.com/Julian_Murphet_Modernism,_Now_and_Then
What Modernism Is, Clip 1
- Order: Reorder
- Duration: 7:40
- Updated: 23 Oct 2012
Dr. Stephen Hicks, Professor of Philosophy at Rockford College and CEE's Executive Director, presents a series of lectures on the philosophy of education. In Part 7, Dr. Hicks covers the last of the seven "isms" — Postmodernism. In this section, he explains the philosophy of Postmodernism.
http://wn.com/What_Modernism_Is,_Clip_1
Tradition Betrayed: The False Prophets of Modernism
- Order: Reorder
- Duration: 39:23
- Updated: 07 Sep 2012
Dr. Oldmeadow speaks on "Tradition Betrayed: The False Prophets of Modernism" at the Sacred Web Conference on "Tradition in the Modern World" held in Edmonton at The University of Alberta, September 2006. He gives a thorough definition of the term "modernism" as used by Tradionalists/Perennialists, and refutes several key modern ideologies opposed to Tradition, those of Darwin, Marx, Freud, and Nietzsche. Oldmeadow also explains these "pseudo-mythologies" in opposition to the "sense of the sacred." mikrotheos.blogspot.com Tradition in the Modern World Sacred Web 2006 Conference - 2 disc DVD set www.worldwisdom.com
http://wn.com/Tradition_Betrayed_The_False_Prophets_of_Modernism
Modernism: Bauhaus
- Order: Reorder
- Duration: 1:40
- Updated: 19 Jun 2012
Coined by the architect Walter Gropius, Bauhaus combines the root of the German verb bauen (to build) with haus (house). It is the name given to the art school founded by Gropius under the original title of the Staatliches Bauhaus Weimar. The Bauhaus, which lasted from 1919-1933, has come to represent the distillation of the Modern movement and the fundamentalist design ethic. Part of the Modernism Web site, featuring objects from the collection of the Minneapolis Institute of Arts and curator David Ryan, this video was originally produced in 1999. www.artsmia.org
http://wn.com/Modernism_Bauhaus
Modernism to Postmodernism, What?
- Order: Reorder
- Duration: 3:28
- Updated: 22 Aug 2012
Connect on FACEBOOK: www.facebook.com An exploration of post-modernism. The mouth segment is adapted from Samuel Beckett's "Not I." This is the first video I ever made, and was created for fun for a philosophy class in college years ago. I am a musician and not a philosopher or scholar. Check out my MUSIC-DEDICATED channel: www.youtube.com Stravinsky's Rite of Spring heard in this video can be purchased here: itunes.apple.com Please comment, rate, favorite, and SUBSCRIBE. If you like the video, share / tweet it! Connect with me: jerryjean.com http twitter.com myspace.com MY NEW SINGLE "GET FREE" AVAILABLE ON iTUNES! itunes.apple.com
http://wn.com/Modernism_to_Postmodernism,_What?
Post-Modernism: Deconstruction and Derrida Pt. 1
- Order: Reorder
- Duration: 10:33
- Updated: 01 Nov 2012
by Eric Czygan through Professor Rev. Dr. James Kenneth Powell II, opensourcebuddhism.org This very imaginative and painstakingly visual project reveals so many valuable core facts concerning the nature of Post-Modernism. We see Modernism and Structuralism contrasted as well. Czygan has taken a very abstruse topic and made it comprehensible, though it may take a few viewings to grasp these subtle points. A multi-level video editing job "deconstructs" the videography itself as Czygan's piece is highly self-aware. Excellent work...jp
http://wn.com/Post-Modernism_Deconstruction_and_Derrida_Pt_1
Modernism Week 2011 Promo (redux)
- Order: Reorder
- Duration: 2:11
- Updated: 09 Apr 2012
Get a peek at Palm Springs Modernism Week 2011. Events, home tours, lectures, film screenings, parties you'll be a part of when you join us in Palm Springs, California, February 17th-27th, 2011!
http://wn.com/Modernism_Week_2011_Promo_redux
Saylor ENGL406: Modernism and Post Modernism
- Order: Reorder
- Duration: 48:38
- Updated: 14 Aug 2012
This video is a lecture used in ENGL406 as part of our English Language area of study on www.saylor.org The above video is reposted from the University of California -- Berkeley's Webcast.Berkeley. This video is released under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License.
http://wn.com/Saylor_ENGL406_Modernism_and_Post_Modernism
Architecture in the Early 20th Century, Modernism, Bauhaus, DeStijl and International Style
- Order: Reorder
- Duration: 27:32
- Updated: 01 Nov 2012
Ohlone College Art 103B (Art History Early Renaissance to Contemporary) Prof. Kenney Mencher Department of Art and Art History Director Louie Meager Art Gallery Ohlone College, 43600 Mission Blvd. Fremont, California 94539 Phone: (510) 979-7916 KMencher@ohlone.edu www.kenney-mencher.com kenney-mencher.blogspot.com www.etsy.com www.youtube.com
http://wn.com/Architecture_in_the_Early_20th_Century,_Modernism,_Bauhaus,_DeStijl_and_International_Style
Let's Talk Post-Modernism and the Emergent Church...
- Order: Reorder
- Duration: 8:55
- Updated: 29 Oct 2012
This clip is posted with permission from Ligonier Ministries. To purchase this message, please visit www.ligonier.org "When the tide is low, every shrimp has its own puddle." - Vance Havner Here RC Sproul, Al Mohler, and Ravi Zacharias discuss post-modernism, modernism, liberalism, and the emergent church. Is there any real difference among the four?
http://wn.com/Let's_Talk_Post-Modernism_and_the_Emergent_Church
Post-Modernism: Deconstruction and Derrida Pt. 2
- Order: Reorder
- Duration: 10:01
- Updated: 29 Oct 2012
by Eric Czygan through Professor Rev. Dr. James Kenneth Powell II, opensourcebuddhism.org This very imaginative and painstakingly visual project reveals so many valuable core facts concerning the nature of Post-Modernism. We see Modernism and Structuralism contrasted as well. Czygan has taken a very abstruse topic and made it comprehensible, though it may take a few viewings to grasp these subtle points. A multi-level video editing job "deconstructs" the videography itself as Czygan's piece is highly self-aware. Excellent work...jp
http://wn.com/Post-Modernism_Deconstruction_and_Derrida_Pt_2
Modernism by Richard Neutra - Dreamspaces - BBC
- Order: Reorder
- Duration: 3:46
- Updated: 14 Sep 2012
Justine Frischmann looks at the leading man in Hollywood homes - Richard Neutra. His elegant Californian architecture from the 1930s and 40s now command huge prices. Yet while some are being lovingly restored, one stunning home was recently flattened. Watch more high quality videos on the BBC Worldwide YouTube channel here: www.youtube.com
http://wn.com/Modernism_by_Richard_Neutra_Dreamspaces_BBC
Pedro The Lion - Letter from a concerned follower
- Order: Reorder
- Duration: 3:44
- Updated: 19 Sep 2012
Also from the solo set...
http://wn.com/Pedro_The_Lion_Letter_from_a_concerned_follower
Helvetica documentary clip - Wim Crouwel
- Order: Reorder
- Duration: 2:06
- Updated: 04 Oct 2012
A clip from the feature-length documentary Helvetica, featuring Dutch design legend Wim Crouwel. DVD OUT NOW www.helveticafilm.com
http://wn.com/Helvetica_documentary_clip_Wim_Crouwel
On the Ashes of Post-Modernism: A New Realism. A Conference with Umberto Eco
- Order: Reorder
- Duration: 35:50
- Updated: 29 Oct 2012
Prof. Umberto Eco lectures about New Realism in Philosophy and the differences with the Post-Modernism at Italian Cultural Institute of New York
http://wn.com/On_the_Ashes_of_Post-Modernism_A_New_Realism_A_Conference_with_Umberto_Eco
Changing the Unchangeable (Modernism) by Abu Mussab Wajdi Akkari
- Order: Reorder
- Duration: 87:02
- Updated: 02 Nov 2012
"This day I have perfected for you your religion and completed My favor upon you and have approved for you Islaam as religion." Sooratul-Maa'idah 5:3 ~~~~~ Visit our website: www.OneWayToParadise.net And our YouTube Channel: www.youtube.com/OneWayToParadise Lecture delivered by Abu Mussab Wajdi Akkari
http://wn.com/Changing_the_Unchangeable_Modernism_by_Abu_Mussab_Wajdi_Akkari
What Modernism Is, Clip 2
- Order: Reorder
- Duration: 5:32
- Updated: 28 Oct 2012
Dr. Stephen Hicks, Professor of Philosophy at Rockford College and CEE's Executive Director, presents a series of lectures on the philosophy of education. In Part 7, Dr. Hicks covers the last of the seven "isms" — Postmodernism. In this section, he explains the philosophy of Postmodernism.
http://wn.com/What_Modernism_Is,_Clip_2
Restoring Modernism
- Order: Reorder
- Duration: 3:27
- Updated: 19 Aug 2012
http://wn.com/Restoring_Modernism
Modernism: De Stijl
- Order: Reorder
- Duration: 2:02
- Updated: 26 Aug 2012
Dutch for The Style (pronounced the same), De Stijl was the name of a group of artists and architects who gathered around the largely theoretical architect Theo van Doesburg. He founded the group in Leyden in 1917 and published the magazine De Stijl, which ran from 1917 to 1928. During the tumultuous decade following World War I, De Stijl artists set out to create a universal style in painting, architecture and design, using rectangles and squares in flat planes of bold primary colors and black, gray and white, all carefully orchestrated with straight lines. Part of the Modernism Web site, featuring objects from the collection of the Minneapolis Institute of Arts and curator David Ryan, this video was originally produced in 1999. www.artsmia.org
http://wn.com/Modernism_De_Stijl
Modernism and Postmodernism
- Order: Reorder
- Duration: 4:01
- Updated: 29 Jun 2012
MCS 333 Final Video Project
http://wn.com/Modernism_and_Postmodernism
PRRT1 - A Fleet of Modernism
- Order: Reorder
- Duration: 2:13
- Updated: 16 Oct 2012
Another fine addition for your Trainz collection. The PRR T1 'A Fleet of Modernism' Addon Pack recreates the striking image of these shark nosed behemoths in their days of speeding the 'Fleet of Modernism' cars to their destination on trains such as 'The Broadway Limited' and 'The General'. Step into the cab and take charge of these mighty horses, relax in the comfort of your roomette, or enjoy the view from the observation lounge. Got to www.trainzportal.com for more information.
http://wn.com/PRRT1_A_Fleet_of_Modernism
Portico West, Mountaintop Modernism
- Order: Reorder
- Duration: 8:55
- Updated: 30 Aug 2012
This 18 acre estate was developed and designed by Portico West Inc is currently available for sale. Located in the Sonoma Valley wine country one hour north of San Francisco, it has sweeping views of vineyards, San Francisco, and the Bay. Completed in 2009 in the international modernist style, the design focuses on energy efficiency, privacy, security and luxury. The main residence, built into the hillside, and the separate guesthouse surround a heated pool and spa. The meticulous fit and finish is in keeping with timeless modernism. Designer Douglas Pinter shares insights about this extraordinary creation in the video. Contact Portico West Inc. at 415-843-1244.
http://wn.com/Portico_West,_Mountaintop_Modernism
Photo: AP / Salisu Rabiu
01 Nov 2012
Nigerian security forces have carried out widespread abuses in their campaign against the Islamist militant group Boko Haram, . The rights group says in a report that abuses include extrajudicial...
Photo: USAF / Master Sgt. Mark C. Olsen
02 Nov 2012
NEW YORK (Reuters) - From New York City's Staten Island to the popular beach towns of the Jersey Shore, rescuers and officials on Friday faced growing evidence of widespread destruction wrought by...
Photo: AP / Mike Groll
31 Oct 2012
TEHRAN — Iranian rescuers and aid workers are on standby to fly to New York City to provide assistance to those affected by Hurricane Sandy, the head of Iran’s Red Crescent Organization...
Photo: AP / Paul White
01 Nov 2012
November 1, 2012 -- Updated 1224 GMT (2024 HKT) Spanish police officers pictured near the entrance of the Madrid Arena on November 1, 2012. (CNN) -- Three young women are dead and two are in serious...
Photo: AP / Shaam News Network via AP video
01 Nov 2012
Syrian warplanes fired missiles at opposition strongholds around Damascus and in the north as Turkey, a key backer of the anti-regime rebels, appeared to distance itself from an earlier call to impose...
Power, gasoline and ferry service bring relief to many hurricane-weary New Yorkers Friday
02 Nov 2012
New York Daily News
Relief was on the way Friday for hurricane-weary New Yorkers, with power returning to Lower Manhattan, gasoline arriving in New York Harbor and the Staten Island...(size: 1.1Kb)
Mercury Prize Goes to Alt-J
02 Nov 2012
The New York Times
This year’s prestigious Barclaycard Mercury Prize went to the indie-pop quartet Alt-J, whose debut album “An Awesome Wave” (Infectious Music) won praise from critics for the idiosyncratic structure of its songs, the BBC reported. The band won out on Thursday over several more...(size: 8.8Kb)
Alabama site considering Wright brothers museum
02 Nov 2012
Dayton Daily News
Unable to get a Wright brothers museum off the ground for years in Dayton, Nick Engler has his sights set to take flight elsewhere with reproductions of early gliders and airplanes. The self-described experimental archaeologist and director of the Dayton-based Wright Brothers Aeroplane Co. met in...(size: 4.5Kb)
Business Insider
Medal of Honor: Warfighter is EA's second attempt to carve out its own slice of Activision's mighty Call of Duty franchise. In this it is not alone. 2007's Call of Duty: Modern Warfare has been one of the most influential games of recent times, to the extent that "contemporary military FPS" is now...(size: 7.0Kb)
Live Entertainment 1102
02 Nov 2012
Hernando Today
Bar Envy 11060 Spring Hill Drive (352) 686-5171 Tonight from 9 p.m. to close – Bob Hope Band Saturday – Hip Hop Sunday – NFL Football Monday – Monday night football Genre: Classic rock, alternative rock, hip hop, modern Top 40 hits Bayport Inn Restaurant & Lounge 4835 Cortez Blvd. (352) 596-1088...(size: 2.1Kb)
City Cafe- Hip Happy Hour
02 Nov 2012
The Examiner
Related topics Bars & Clubs Advertisement Looking for a sheek, trendy place to enjoy a relaxing drink and some nice music after a hard days work? Well, City Cafe may be the place for you. Located in Baltimore's historic Mt. Vernon area, City Cafe is a sophisticated, modern, New York Style...(size: 6.1Kb)
Inhabitat
A kinetic energy-powered robotic “elephant clock” designed in the 13th century by Al-Jazari, the Muslim “father of robotics,” now serves as a centerpiece of the Ibn Battuta Mall in Dubai. According to Atlas Obscura, the robotic clock was commissioned for the 2005 opening of the enormous...(size: 2.9Kb)
The Washington Post
Joshua Bell is never dull. The violinist, a welcome and annual visitor on the Washington Performing Arts Society’s Celebrity Series, gave a trademark performance Thursday before a packed Strathmore Music Center audience. In a program of Schubert, Franck, Prokofiev, Tchaikovsky, and...(size: 2.6Kb)
Brock Beauty's Essentious Hair Care Line Featured on The Balancing Act, Airing on Lifetime Television
02 Nov 2012
Yahoo Daily News
Brock Beauty Ambassador Stephanie Bauer gives tips on how to achieve beautiful, healthy hair on The Balancing Act. Los Angeles, CA (PRWEB) November 02, 2012 The buzz surrounding Brock Beauty’s Essentious natural hair care line has reached a new height, with the line featuring on...(size: 9.0Kb)
Yahoo Daily News
31 Day Fat Loss Cure reviews have been popping up all over the internet due to the success of Vic Magary’s weight loss program. 31DayFatLossCureReviews.org reveals whether this program really works. Houston, TX (PRWEB) November 02, 2012 The 31 Day Fat Loss Cure is based on the program that Vic...(size: 8.5Kb)
Yahoo Daily News
New research report “Cervical Cancer Diagnostic Tests (Pap Smear, Colposcopy And Ecc Procedures) Market - Global Industry Analysis By Test Type And Age Group, Market Size, Share And Forecast, 2012 – 2018” elaborated by Transparency Market Research has been recently published by...(size: 14.8Kb)
Yahoo Daily News
Dr. Scott Zevon , a Board Certified New York , NY physician specializing in Plastic Surgery , has been selected by Castle Connolly Medical Ltd. for inclusion in its authoritative guide to the top primary care and specialty care doctors in the tri-state metropolitan New York area. NEW YORK, Nov. 2,...(size: 9.6Kb)
Yahoo Daily News
Listen Now! WASHINGTON, Nov. 2, 2012 /PRNewswire-USNewswire/ -- Tune in now to AFGE's "Inside Government" for more on the importance of the Hispanic vote in the upcoming elections. The show, which originally aired on Friday, Oct. 26, is now available on demand. Democratic National Committee Senior...(size: 7.8Kb)
For other uses of the word, see Modernism (disambiguation). For the period in sociology beginning with the industrialization, see Modernity.
File:Hans Hofmann's painting 'The Gate', 1959–60.jpg
Hans Hofmann, "The Gate", 1959–1960, collection: Solomon R. Guggenheim Museum. Hofmann was renowned not only as an artist but also as a teacher of art, and a modernist theorist both in his native Germany and later in the U.S. During the 1930s in New York and California he introduced modernism and modernist theories to a new generation of American artists. Through his teaching and his lectures at his art schools in Greenwich Village and Provincetown, Massachusetts, he widened the scope of modernism in the United States.[1]
Modernism, in its broadest definition, is modern thought, character, or practice. More specifically, the term describes the modernist movement in the arts, its set of cultural tendencies and associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th and early 20th centuries. In particular the development of modern industrial societies and the rapid growth of cities, followed then by the horror of World War I, were among the factors that shaped Modernism. Related terms are modern, modernist, contemporary, and postmodern.
In art Modernism explicitly rejects the ideology of realism,[2][3][4] and makes use of the works of the past, through the application of reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5][6][7] Modernism also rejects the lingering certainty of Enlightenment thinking, as well as the idea of a compassionate, all-powerful Creator.[8][9]
In general, the term modernism encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social, and political conditions of an emerging fully industrialized world. The poet Ezra Pound's 1934 injunction to "Make it new!" was paradigmatic of the movement's approach towards the obsolete. Another paradigmatic exhortation was articulated by philosopher and composer Theodor Adorno, who, in the 1940s, challenged conventional surface coherence and appearance of harmony typical of the rationality of Enlightenment thinking.[10] A salient characteristic of modernism is self-consciousness. This self-consciousness often led to experiments with form and work that draws attention to the processes and materials used (and to the further tendency of abstraction).[11]
The modernist movement, at the beginning of the 20th century, marked the first time that the term avant-garde, with which the movement was labeled until the word "modernism" prevailed, was used for the arts (rather than in its original military and political context).[12]
Present-day perspectives[link]
Some commentators define Modernism as a socially progressive trend of thought that affirms the power of human beings to create, improve and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology.[13] From this perspective, Modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was 'holding back' progress, and replacing it with new ways of reaching the same end. Others focus on Modernism as an aesthetic introspection. This facilitates consideration of specific reactions to the use of technology in the First World War, and anti-technological and nihilistic aspects of the works of diverse thinkers and artists spanning the period from Friedrich Nietzsche (1844–1900) to Samuel Beckett (1906–1989).[14]
History[link]
Beginnings: the 19th century[link]
The first half of the 19th century for Europe was marked by a number of wars and revolutions, which contributed to a turning from the realities of the political and social fragmentation that were taking place, and a further trend towards Romanticism.[citation needed] Romanticism had been, in the late 18th and early 19th centuries, a revolt against the effects of the Industrial Revolution and bourgeois values,[2][3][4] while emphasizing individual, subjective experience, the sublime, and the supremacy of "Nature", as subjects for art, and revolutionary, or radical extensions of expression, and individual liberty.
By mid-century, however, a synthesis of the ideas of Romanticism with more stable political ideas had emerged,[citation needed] partly in reaction to the failed Romantic and democratic Revolutions of 1848. It was exemplified by Otto von Bismarck's Realpolitik and by the "practical" philosophical ideas of Auguste Comte's positivism.[citation needed] This stabilizing synthesis of the Realist political and Romantic aesthetic ideology, was called by various names: in Great Britain it is the Victorian era. Central to this synthesis were common assumptions and institutional frames of reference, including the religious norms found in Christianity, scientific norms found in classical physics, as well as the idea that the depiction of external reality from an objective standpoint was not only possible but desirable.[citation needed] Cultural critics and historians called this ideology, realism, although this term is not universal. In philosophy, the rationalist, materialist and positivist movements established the primacy of reason.
Against this current, however, ran another series of ideas, some of which were a direct continuation of Romantic schools of thought. Amongst those who followed these ideas were the English poets and painters that constituted the Pre-Raphaelite Brotherhood, who, from about 1850, opposed the dominant trend of industrial Victorian England, because of their "opposition to technical skill without inspiration"[15] They were influenced by the writings of the art critic John Ruskin (1819–1900), who had strong feelings about the role of art in helping to improve the lives of the urban working classes, in the rapidly expanding industrial cities of Britain.[16] Rationalism was also had other opponents. In particular, reaction to the philosopher Hegel's (1770–1831) ) dialectic view of civilization and history from Friedrich Nietzsche and Søren Kierkegaard. Together these different reactions, challenged the comforting ideas of certainty derived from a belief in civilization, history, or pure reason.[citation needed]
Indeed from the 1870s onward, the idea that history and civilization were inherently progressive, and that progress was always good (and had no sharp breaks), came under increasing attack. The composer Richard Wagner (1813–83) (Der Ring des Nibelungen, 1853–70) and playwright Henrik Ibsen (1828–1906) were prominent in their critiques of contemporary civilization and for warnings that accelerating "progress" would lead to the creation of individuals detached from social values and isolated from their fellow men.[citation needed] Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, and could not move forward in its present form. In addition the philosopher Schopenhauer (1788–1860) (The World as Will and Idea, 1819) called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche.
Two of the most significant thinkers of the period were biologist Charles Darwin (1809–82), author of On Origin of Species by Means of Natural Selection (1859), and political scientist Karl Marx (1818–83), author of Capital (1867). Darwin's theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness. In particular, the notion that human beings were driven by the same impulses as "lower animals" proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, and that the workers were anything but free. Both thinkers were major influences on the development of modernism.[citation needed] This is not to say that all modernists, or modernist movements rejected either religion, or all aspects of Enlightenment thought, rather that modernism questioned the axioms of the previous age.[citation needed]
Historians, and writers in different disciplines, have suggested various dates as starting points for modernism. William Everdell, for example, has argued that modernism began in the 1870s, when metaphorical (or ontological) continuity began to yield to the discrete with mathematician Richard Dedekind's (1831–1916) Dedekind cut, and Ludwig Boltzmann's (1844–1906) statistical thermodynamics.[17] Everdell also thinks modernism in painting began in 1885-86 with Seurat's Divisionism, the "dots" used to paint "A Sunday Afternoon on the Island of La Grande Jatte." On the other hand Clement Greenberg called Immanuel Kant (1724–1804) "the first real Modernist",[18] though he also wrote, "What can be safely called Modernism emerged in the middle of the last century—and rather locally, in France, with Baudelaire in literature and Manet in painting, and perhaps with Flaubert, too, in prose fiction. (It was a while later, and not so locally, that Modernism appeared in music and architecture)."[19] And cabaret, which gave birth to so many of the arts of modernism, may be said to have begun in France in 1881 with the opening of the Black Cat in Montmartre, the beginning of the ironic monologue, and the founding of the Society of Incoherent Arts.[20]
The beginning of the 20th century marked the first time a movement in the arts was described as "avant-garde"—a term previously used in military and political contexts,[12] which remained to describe movements which identify themselves as attempting to overthrow some aspect of tradition or the status quo.[citation needed] Much later Surrealism gained the fame among the public of being the most extreme form of modernism, or "the avant-garde of modernism".[21]
Separately, in the arts and letters, two ideas originating in France would have particular impact. The first was impressionism, a school of painting that initially focused on work done, not in studios, but outdoors (en plein air). Impressionist paintings demonstrated that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored Paris Salon, the Impressionists organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by inferior artists, the work of Manet attracted tremendous attention, and opened commercial doors to the movement.
The second French school was Symbolism, which literary historians see beginning with the poet Charles Baudelaire (1861–67) (Fleur du mal, 1857), and including the later poets, Arthur Rimbaud (1854–91), Paul Verlaine (1844–96), Stephane Mallarme (1842–98), and Paul Valery (1871–1945). The symbolists "stressed the priority of suggestion and evocation over direct description and explicit analogy," and were especially interested in "the musical properties of language."[22]
At the same time social, political, and economic forces were at work that would become the basis to argue for a radically different kind of art and thinking. Among these was steam-powered industrialization, and especially the development of railways, starting in Britain in the 1830s, and the subsequent advancements in physics, engineering and architecture associated with this. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron and plate glass exhibition hall built for The Great Exhibition of 1851 in London. Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station (1854) and King's Cross Station (1852). These technological advances led to the building of later structures like the Brooklyn Bridge (1883) and the Eiffel Tower (1889). The latter broke all previous limitations on how tall man-made objects could be. These engineering marvels[citation needed] radically altered the 19th-century urban environment and the daily lives of people.
The human misery of crowded industrial cities, as well as, on the other hand, the new possibilities created by science, brought changes that would shake European civilization, which had, until then, regarded itself as having a continuous and progressive line of development from the Renaissance.[citation needed] Furthermore the human experience of time itself was altered, with the development of electric telegraph from 1837, and the adoption of Standard Time by British railway companies from 1845, and in the rest of the world over the next fifty years.
The changes that took place at the beginning of the 20th-century are emphasized by the fact that many modern disciplines, including sciences such as physics, mathematics, neuroscience and economics, and arts such as ballet and architecture, call their pre-20th century forms classical.
Late 19th to early 20th centuries[link]
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File:Bonheur Matisse.jpg
Henri Matisse, Le bonheur de vivre, 1905-6, Barnes Foundation, Merion, PA. An early Fauvist masterpiece
In the 1880s a strand of thinking began to assert that it was necessary to push aside previous norms entirely, instead of merely revising past knowledge in light of contemporary techniques. The growing movement in art paralleled developments in physics, such as Einstein's Special Theory of Relativity (1905); innovations in industry, such as the development of the internal combustion engine; and the increased role of the social sciences in public policy. Indeed it was argued that, if the nature of reality itself was in question, and if previous restrictions which had been in place around human activity were dissolving, then art, too, would have to radically change. Thus, in the first twenty years of the 20th century many writers, thinkers, and artists broke with the traditional means of organizing literature, painting, and music; the results were abstract art, atonal music, and the stream of consciousness technique in the novel.[citation needed]
File:Les Demoiselles d'Avignon.jpg
Pablo Picasso, Les Demoiselles d'Avignon (1907), is considered to have re-invented the art of painting. Many of Picasso's friends and colleagues, even fellow painters Henri Matisse and Georges Braque, were upset when they saw this painting.
Influential in the early days of Modernism were the theories of Sigmund Freud (1856–1939), and Ernst Mach (1838–1916). Mach argued, beginning in the 1880s with The Science of Mechanics (1883), that the mind had a fundamental structure, and that subjective experience was based on the interplay of parts of the mind. Freud's first major work was Studies on Hysteria (with Josef Breuer) (1895). According to Freud's ideas, all subjective reality was based on the play of basic drives and instincts, through which the outside world was perceived. As a philosopher of science Ernst Mach was a major influence on logical positivism, and through his criticism of Isaac Newton, a forerunner of Einstein's theory of relativity. According to these ideas of Mach, the relations of objects in nature were not guaranteed but known only through a sort of mental shorthand.[citation needed] This represented a break with the past, in that previously it was believed that external and absolute reality could impress itself, as it was, on an individual, as, for example, in John Locke's (1632–1704) empiricism, which saw the mind beginning as a tabula rasa (Essay concerning Human Understanding, 1690).[citation needed] Freud's description of subjective states, involving an unconscious mind full of primal impulses, and counterbalancing self-imposed restrictions, was combined by Carl Jung (1875–1961) with the idea of the collective unconscious, with which the conscious mind fought or embraced. While Charles Darwin's work remade the aristotelian concept of "man, the animal" in the public mind, Jung suggested that human impulses toward breaking social norms were not the product of childishness, or ignorance, but rather derived from the essential nature of the human animal.[citation needed]
Friedrich Nietzsche was another major precursor of modernism[Need quotation to verify] with a philosophy in which psychological drives, specifically the 'Will to power', were more important than facts, or things. Henri Bergson (1859–1941), on the other hand, emphasized the difference between scientific, clock time and the direct, subjective, human experience of time[23] His work on time and consciousness "had a great influence on twentieth-century novelists," especially those modernists who used the stream of consciousness technique, such as Dorothy Richardson, Pointed Roofs, (1915), James Joyce, Ulysses (1922) and Virginia Woolf (1882–1941) Mrs Dalloway (1925), To the Lighthouse (1927).[24] Also important in Bergson's philosophy was the idea of élan vital, the life force, which "brings about the creative evolution of everything"[25] His philosophy also placed a high value on intuition, though without rejecting the importance of the intellect.[25] These various thinkers were united by a distrust of Victorian[citation needed] positivism and certainty.
Out of this collision of ideals derived from Romanticism, and an attempt to find a way for knowledge to explain that which was as yet unknown, came the first wave of works, which, while their authors considered them extensions of existing trends in art, broke the implicit contract with the general public that artists were the interpreters and representatives of bourgeois culture and ideas. These "modernist" landmarks include the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the expressionist paintings of Wassily Kandinsky starting in 1903 and culminating with his first abstract painting and the founding of the Blue Rider group in Munich in 1911, and the rise of fauvism and the inventions of cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque and others in the years between 1900 and 1910.
Important literary precursors of Modernism were: Fyodor Dostoevsky (1821–81) (Crime and Punishment (1866), The Brothers Karamazov (1880);[citation needed] Walt Whitman (1819–92) (Leaves of Grass) (1855–91); Charles Baudelaire (1821–67) (Les Fleurs du mal) , Rimbaud (1854–91) (Illuminations, 1874); August Strindberg (1849–1912), especially his later plays, including, the trilogy To Damascus 1898–1901, A Dream Play (1902), The Ghost Sonata (1907).
This modern movement broke with the past in the first three decades of the 20th century, and radically redefined various art forms. The following is list of significant literary figures between 1900-1930 (though it includes a number whose careers extended beyond 1930):
- Anna Akhmatova (1889-1966)
- Gabriele d'Annunzio (1863-1938)
- Guillaume Apollinaire (1880-1918)
- Andrei Bely (1880-1934)
- Gottfried Benn (1886-1956)
- Ivan Cankar (1876-1918)
- Constantine P. Cavafy (1863-1933)
- Joseph Conrad (1857-1924)
- Alfred Döblin (1878-1957)
- H.D. (Hilda Doolittle) (1886-1961)
- T. S. Eliot (1888-1965)
- William Faulkner (1897-1962)
- E. M. Forster (1879-1971)
- Ernest Hemingway (1891-1961)
- Hugo von Hofmannsthal (1874-1929)
- Max Jacob (1876-1944)
- James Joyce (1882-1941)[26]
- Franz Kafka (1883-1924)
- Georg Kaiser (1878-1945)
- D. H. Lawrence (1885-1930)
- Wyndham Lewis (1882-1957)
- Thomas Mann (1875-1955)
- Eugene O'Neill (1888-1953)
- Fernando Pessoa (1888-1935)
- Mário de Sá-Carneiro (1890-1916)
- Ezra Pound (1885-1972)
- Marcel Proust (1871-1922)
- Dorothy Richardson (1873-1957)
- Rainer Marie Rilke (1875-1926)
- Gertrude Stein (1874-1946)
- Wallace Stevens (1875-1955)
- Italo Svevo (1861-1928)
- Ernst Toller (1893-1939)
- George Trakl (1887-1914)
- Paul Valéry (1871-1945)
- Robert Walser (1878-1956)
- William Carlos Williams (1883-1963)
- Frank Wedekind (1864-1918)
- Virginia Woolf (1882-1941)
- W. B. Yeats (1865-1939)
Explosion, 1910–1930[link]
On the eve of the First World War a growing tension and unease with the social order, already seen in the Russian Revolution of 1905 and the agitation of "radical" parties, also manifested itself in artistic works in every medium which radically simplified or rejected previous practice. Young painters such as Pablo Picasso and Henri Matisse were causing a shock with their rejection of traditional perspective as the means of structuring paintings—a step that none of the impressionists, not even Cézanne, had taken. In 1907, as Picasso was painting Demoiselles d'Avignon, Oskar Kokoschka was writing Mörder, Hoffnung der Frauen (Murderer, Hope of Women), the first Expressionist play (produced with scandal in 1909), and Arnold Schoenberg was composing his String Quartet No.2 in F-sharp minor, his first composition "without a tonal center". In 1911, Kandinsky painted Bild mit Kreis (Picture With a Circle) which he later called the first abstract painting. In 1913—the year of Edmund Husserl's Ideas, Niels Bohr's quantized atom, Ezra Pound's founding of imagism, the Armory Show in New York, and, in Saint Petersburg, the "first futurist opera," Victory Over the Sun—another Russian composer Igor Stravinsky, working in Paris for Sergei Diaghilev and the Ballets Russes, composed The Rite of Spring for a ballet, choreographed by Vaslav Nijinsky, that depicted human sacrifice.
These developments began to give a new meaning to what was termed "modernism": It embraced discontinuity, rejecting smooth change in everything from biology to fictional character development and filmmaking. It approved disruption, rejecting or moving beyond simple realism in literature and art, and rejecting or dramatically altering tonality in music. This set modernists apart from 19th-century artists, who had tended to believe not only in smooth change ("evolutionary" rather than "revolutionary") but also in the progressiveness of such change—"progress". Writers like Dickens and Tolstoy, painters like Turner, and musicians like Brahms were not radicals or "Bohemians", but were instead valued members of society who produced art that added to society, even when critiquing its less desirable aspects. Modernism, while still "progressive", increasingly saw traditional forms and traditional social arrangements as hindering progress, and therefore recast the artist as a revolutionary, overthrowing rather than enlightening.
Futurism exemplifies this trend. In 1909, the Parisian newspaper Le Figaro published F.T. Marinetti's first manifesto. Soon afterward a group of painters (Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, and Gino Severini) co-signed the Futurist Manifesto. Modeled on the famous "Communist Manifesto" of the previous century, such manifestoes put forward ideas that were meant to provoke and to gather followers. Strongly influenced by Bergson and Nietzsche, Futurism was part of the general trend of Modernist rationalization of disruption.
Modernist philosophy and art were still viewed as only a part of the larger social movement. Artists such as Klimt and Cézanne, and composers such as Mahler and Richard Strauss were "the terrible moderns"—those more avant-garde were more heard of than heard. Polemics in favor of geometric or purely abstract painting were largely confined to "little magazines" (like The New Age in the UK) with tiny circulations. Modernist primitivism and pessimism were controversial, but were not seen as representative of the Edwardian mainstream, which was more inclined towards a Victorian faith in progress and liberal optimism.
However, the Great War and its subsequent events were the cataclysmic upheavals that late 19th-century artists such as Brahms had worried about, and avant-gardists had embraced. First, the failure of the previous status quo seemed self-evident to a generation that had seen millions die fighting over scraps of earth—prior to the war, it had been argued that no one would fight such a war, since the cost was too high. Second, the birth of a machine age changed the conditions of life—machine warfare became a touchstone of the ultimate reality. Finally, the immensely traumatic nature of the experience dashed basic assumptions: realism seemed bankrupt when faced with the fundamentally fantastic nature of trench warfare, as exemplified by books such as Erich Maria Remarque's All Quiet on the Western Front (1929). Moreover, the view that mankind was making slow and steady moral progress came to seem ridiculous in the face of the senseless slaughter. The First World War fused the harshly mechanical geometric rationality of technology with the nightmarish irrationality of myth.
File:Pedestal Table in the Studio.jpg
André Masson, Pedestal Table in the Studio 1922, early example of Surrealism
Thus modernism, which had been a minority taste before the war, came to define the 1920s. It appeared in Europe in such critical movements as Dada and then in constructive movements such as surrealism, as well as in smaller movements such as the Bloomsbury Group. Again, impressionism was a precursor: breaking with the idea of national schools, artists and writers adopted ideas of international movements. Surrealism, cubism, Bauhaus, and Leninism are all examples of movements that rapidly found adopters far beyond their geographic origins.
Each of these "modernisms," as some observers labelled them at the time, stressed new methods to produce new results. The poet Ezra Pound's 1934 injunction to "Make it new!" was paradigmatic of the movement's approach towards the obsolete.[citation needed]
Exhibitions, theatre, cinema, books and buildings all served to cement in the public view the perception that the world was changing. Hostile reaction often followed, as paintings were spat upon, riots organized at the opening of works, and political figures denounced modernism as unwholesome and immoral. At the same time, the 1920s were known as the "Jazz Age", and the public showed considerable enthusiasm for cars, air travel, the telephone and other technological advances.
By 1930, modernism had won a place in the establishment, including the political and artistic establishment, although by this time modernism itself had changed. There was a general reaction in the 1920s against the pre-1918 modernism, which emphasized its continuity with a past while rebelling against it, and against the aspects of that period which seemed excessively mannered, irrational, and emotionalistic. The post-World War period, at first, veered either to systematization or nihilism and had, as perhaps its most paradigmatic movement, Dada.
While some writers attacked the madness of the new modernism, others described it as soulless and mechanistic. Among modernists there were disputes about the importance of the public, the relationship of art to audience, and the role of art in society. Modernism comprised a series of sometimes contradictory responses to the situation as it was understood, and the attempt to wrestle universal principles from it. In the end science and scientific rationality, often taking models from the 18th-century Enlightenment, came to be seen as the source of logic and stability, while the basic primitive sexual and unconscious drives, along with the seemingly counter-intuitive workings of the new machine age, were taken as the basic emotional substance. From these two seemingly incompatible poles, modernists began to fashion a complete weltanschauung that could encompass every aspect of life.
Modernism: 1930–1945[link]
File:Mondrian Comp10.jpg
Piet Mondrian, Composition No. 10, 1939–42, oil on canvas, 80 x 73 cm, private collection
By 1930, Modernism had entered popular culture. With the increasing urbanization of populations, it was beginning to be looked to as the source for ideas to deal with the challenges of the day. As modernism gained traction in academia, it was developing a self-conscious theory of its own importance. Popular culture, which was not derived from high culture but instead from its own realities (particularly mass production) fueled much modernist innovation. By 1930 The New Yorker magazine began publishing new and modern ideas by young writers and humorists like Dorothy Parker, Robert Benchley, E.B. White, S.J. Perelman, and James Thurber, amongst others. Modern ideas in art appeared in commercials and logos, the famous London Underground logo, designed by Edward Johnston in 1919, being an early example of the need for clear, easily recognizable and memorable visual symbols.
Another strong influence at this time was Marxism. After the generally primitivistic/irrationalist aspect of pre-World War I Modernism, which for many modernists precluded any attachment to merely political solutions, and the neoclassicism of the 1920s, as represented most famously by T. S. Eliot and Igor Stravinsky—which rejected popular solutions to modern problems—the rise of Fascism, the Great Depression, and the march to war helped to radicalise a generation. The Russian Revolution catalyzed the fusion of political radicalism and utopianism,[citation needed] with more expressly political stances. Bertolt Brecht, W. H. Auden, André Breton, Louis Aragon and the philosophers Antonio Gramsci and Walter Benjamin are perhaps the most famous exemplars of this modernist Marxism. This move to the radical[citation needed] left, however, was neither universal, nor definitional, and there is no particular reason to associate modernism, fundamentally, with 'the left'. Modernists explicitly of 'the right' include Salvador Dalí, Wyndham Lewis, T. S. Eliot, Ezra Pound, the Dutch author Menno ter Braak and many others.[citation needed]
One of the most visible changes of this period was the adoption of objects of modern production into daily life. Electricity, the telephone, the automobile—and the need to work with them, repair them and live with them—created the need for new forms of manners and social life. The kind of disruptive moment that only a few knew in the 1880s became a common occurrence. For example, the speed of communication reserved for the stock brokers of 1890 became part of family life.
Modernism as leading to social organization would produce inquiries into sex and the basic bondings of the nuclear, rather than extended, family. The Freudian tensions of infantile sexuality and the raising of children became more intense, because people had fewer children, and therefore a more specific relationship with each child: the theoretical, again, became the practical and even popular.
After World War II (visual and performing arts)[link]
In Britain and America, modernism as a literary movement is considered by some scholars to be relevant only up to the early 1930s[citation needed], and "modernist" is less frequently used to describe authors prominent after 1945. For example, The Oxford Encyclopedia of British Literature sees modernism ending by c.1939.[27] This is somewhat true for all areas of culture, with the exception of the visual and performing arts,[28] though, with regard to music, Paul Griffiths notes that, while modernism "seemed to be a spent force" by the late 1920s, after World War II, "a new generation of composers - Boulez, Barraqué, Babbitt, Nono, Stockhausen, Xenakis" revived modernism.[29]
All the same, with regard to British and American literature, "When (if) modernism petered out and postmodernism began has been contested almost as hotly as when the transition from Victorianism to modernism occurred".[30]
The post-war period left the capitals of Europe in upheaval with an urgency to economically and physically rebuild and to politically regroup. In Paris (the former center of European culture and the former capital of the art world) the climate for art was a disaster. Important collectors, dealers, and modernist artists, writers, and poets had fled Europe for New York and America. The surrealists and modern artists from every cultural center of Europe had fled the onslaught of the Nazis for safe haven in the United States. Many of those who didn't flee perished. A few artists, notably Pablo Picasso, Henri Matisse, and Pierre Bonnard, remained in France and survived.
The 1940s in New York City heralded the triumph of American abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, surrealism, Joan Miró, cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham. American artists benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, as well as other factors.
Pollock and abstract influences[link]
During the late 1940s Jackson Pollock's radical approach to painting revolutionized the potential for all contemporary art that followed him. To some extent Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture in the early 20th century via cubism and constructed sculpture, Pollock redefined the way art gets made. His move away from easel painting and conventionality was a liberating signal to the artists of his era and to all who came after. Artists realized that Jackson Pollock's process—placing unstretched raw canvas on the floor where it could be attacked from all four sides using artistic and industrial materials; dripping and throwing linear skeins of paint; drawing, staining, and brushing; using imagery and non-imagery—essentially blasted artmaking beyond any prior boundary. Abstract expressionism generally expanded and developed the definitions and possibilities available to artists for the creation of new works of art.
File:Newman-Who's Afraid of Red, Yellow and Blue.jpg
Barnett Newman, Who's Afraid of Red, Yellow and Blue?, 1966. Typical of Newman's later work, with the use of pure and vibrant color
The other abstract expressionists followed Pollock's breakthrough with new breakthroughs of their own. In a sense the innovations of Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt, Robert Motherwell, Peter Voulkos and others opened the floodgates to the diversity and scope of all the art that followed them. Rereadings into abstract art by art historians such as Linda Nochlin,[31] Griselda Pollock[32] and Catherine de Zegher[33] critically show, however, that pioneering women artists who produced major innovations in modern art had been ignored by official accounts of its history.
In the 1960s after abstract expressionism[link]
Main articles: Post-painterly abstraction, Color field painting, Lyrical abstraction, Arte Povera, Process art, and Western painting
In abstract painting during the 1950s and 1960s several new directions like hard-edge painting and other forms of geometric abstraction began to appear in artist studios and in radical avant-garde circles as a reaction against the subjectivism of abstract expressionism. Clement Greenberg became the voice of post-painterly abstraction when he curated an influential exhibition of new painting that toured important art museums throughout the United States in 1964. Color field painting, hard-edge painting and lyrical abstraction[34] emerged as radical new directions.
By the late 1960s however, postminimalism, process art and Arte Povera[35] also emerged as revolutionary concepts and movements that encompassed both painting and sculpture, via lyrical abstraction and the postminimalist movement, and in early conceptual art.[35] Process art as inspired by Pollock enabled artists to experiment with and make use of a diverse encyclopedia of style, content, material, placement, sense of time, and plastic and real space. Nancy Graves, Ronald Davis, Howard Hodgkin, Larry Poons, Jannis Kounellis, Brice Marden, Bruce Nauman, Richard Tuttle, Alan Saret, Walter Darby Bannard, Lynda Benglis, Dan Christensen, Larry Zox, Ronnie Landfield, Eva Hesse, Keith Sonnier, Richard Serra, Sam Gilliam, Mario Merz and Peter Reginato were some of the younger artists who emerged during the era of late modernism that spawned the heyday of the art of the late 1960s.[36]
Pop art[link]
Main articles: Pop art and Western painting
In 1962 the Sidney Janis Gallery mounted The New Realists, the first major pop art group exhibition in an uptown art gallery in New York City. Janis mounted the exhibition in a 57th Street storefront near his gallery at 15 E. 57th Street. The show sent shockwaves through the New York School and reverberated worldwide. Earlier in England in 1958 the term "Pop Art" was used by Lawrence Alloway to describe paintings that celebrated consumerism of the post World War II era. This movement rejected abstract expressionism and its focus on the hermeneutic and psychological interior in favor of art that depicted and often celebrated material consumer culture, advertising, and iconography of the mass production age. The early works of David Hockney and the works of Richard Hamilton and Eduardo Paolozzi were considered seminal examples in the movement. Meanwhile in the downtown scene in New York's East Village 10th Street galleries, artists were formulating an American version of pop art. Claes Oldenburg had his storefront, and the Green Gallery on 57th Street began to show the works of Tom Wesselmann and James Rosenquist. Later Leo Castelli exhibited the works of other American artists, including those of Andy Warhol and Roy Lichtenstein for most of their careers. There is a connection between the radical works of Marcel Duchamp and Man Ray, the rebellious Dadaists with a sense of humor, and pop artists like Claes Oldenburg, Andy Warhol, and Roy Lichtenstein, whose paintings reproduce the look of Benday dots, a technique used in commercial reproduction.
Minimalism[link]
By the early 1960s minimalism emerged as an abstract movement in art (with roots in geometric abstraction of Kazimir Malevich, the Bauhaus and Piet Mondrian) that rejected the idea of relational and subjective painting, the complexity of abstract expressionist surfaces, and the emotional zeitgeist and polemics present in the arena of action painting. Minimalism argued that extreme simplicity could capture all of the sublime representation needed in art. Associated with painters such as Frank Stella, minimalism in painting, as opposed to other areas, is a modernist movement. Minimalism is variously construed either as a precursor to postmodernism, or as a postmodern movement itself. In the latter perspective, early minimalism yielded advanced modernist works, but the movement partially abandoned this direction when some artists like Robert Morris changed direction in favor of the anti-form movement.
Hal Foster, in his essay The Crux of Minimalism,[37] examines the extent to which Donald Judd and Robert Morris both acknowledge and exceed Greenbergian modernism in their published definitions of minimalism.[37] He argues that minimalism is not a "dead end" of modernism, but a "paradigm shift toward postmodern practices that continue to be elaborated today."[37]
Postminimalism[link]
In the late 1960s Robert Pincus-Witten[35] coined the term postminimalism to describe minimalist-derived art which had content and contextual overtones that minimalism rejected. The term was applied by Pincus-Whitten to the work of Eva Hesse, Keith Sonnier, Richard Serra and new work by former minimalists Robert Smithson, Robert Morris, and Sol LeWitt, and Barry Le Va, and others. Other minimalists including Donald Judd, Dan Flavin, Carl Andre, Agnes Martin, John McCracken and others continued to produce late modernist paintings and sculpture for the remainders of their careers.
In the 1960s the work of the avant-garde minimalist composers La Monte Young, Philip Glass, Steve Reich, and Terry Riley also achieved prominence in the New York art world.
Since then, many artists have embraced minimal or postminimal styles and the label "postmodern" has been attached to them.
Collage, assemblage, installations[link]
File:Robert Rauschenberg's untitled 'combine', 1963.jpg
Robert Rauschenberg, Untitled Combine, 1963
Related to abstract expressionism was the emergence of combining manufactured items with artist materials, moving away from previous conventions of painting and sculpture. The work of Robert Rauschenberg exemplifies this trend. His "combines" of the 1950s were forerunners of pop art and installation art, and used assemblages of large physical objects, including stuffed animals, birds and commercial photographs. Rauschenberg, Jasper Johns, Larry Rivers, John Chamberlain, Claes Oldenburg, George Segal, Jim Dine, and Edward Kienholz were among important pioneers of both abstraction and pop art. Creating new conventions of art-making, they made acceptable in serious contemporary art circles the radical inclusion in their works of unlikely materials. Another pioneer of collage was Joseph Cornell, whose more intimately scaled works were seen as radical because of both his personal iconography and his use of found objects.
Neo-Dada[link]
Main article: Neo-Dada
In the early 20th century Marcel Duchamp exhibited a urinal as a sculpture. He professed his intent that people look at the urinal as if it were a work of art because he said it was a work of art. He referred to his work as "readymades". Fountain was a urinal signed with the pseudonym R. Mutt, the exhibition of which shocked the art world in 1917. This and Duchamp's other works are generally labelled as Dada. Duchamp can be seen as a precursor to conceptual art, other famous examples being John Cage's 4'33", which is four minutes and thirty three seconds of silence, and Rauschenberg's Erased de Kooning. Many conceptual works take the position that art is the result of the viewer viewing an object or act as art, not of the intrinsic qualities of the work itself. Thus, because Fountain was exhibited, it was a sculpture.
Marcel Duchamp famously gave up "art" in favor of chess. Avant-garde composer David Tudor created a piece, Reunion (1968), written jointly with Lowell Cross, that features a chess game in which each move triggers a lighting effect or projection. Duchamp and Cage played the game at the work's premier.[38]
Steven Best and Douglas Kellner identify Rauschenberg and Jasper Johns as part of the transitional phase, influenced by Marcel Duchamp, between modernism and postmodernism. Both used images of ordinary objects, or the objects themselves, in their work, while retaining the abstraction and painterly gestures of high modernism.[39]
Another trend in art associated with neo-Dada is the use of a number of different media together. Intermedia, a term coined by Dick Higgins and meant to convey new art forms along the lines of Fluxus, concrete poetry, found objects, performance art, and computer art. Higgins was publisher of the Something Else Press, a concrete poet, husband of artist Alison Knowles and an admirer of Marcel Duchamp.
Performance and happenings[link]
Main articles: Performance art and Happenings
During the late 1950s and 1960s artists with a wide range of interests began to push the boundaries of contemporary art. Yves Klein in France, and in New York City, Carolee Schneemann, Yayoi Kusama, Charlotte Moorman and Yoko Ono and in Germany Joseph Beuys, Wolf Vostell and Nam June Paik were pioneers of performance-based works of art. Groups like The Living Theater with Julian Beck and Judith Malina collaborated with sculptors and painters creating environments, radically changing the relationship between audience and performer especially in their piece Paradise Now. The Judson Dance Theater, located at the Judson Memorial Church, New York; and the Judson dancers, notably Yvonne Rainer, Trisha Brown, Elaine Summers, Sally Gross, Simonne Forti, Deborah Hay, Lucinda Childs, Steve Paxton and others; collaborated with artists Robert Morris, Robert Whitman, John Cage, Robert Rauschenberg, and engineers like Billy Klüver. Park Place Gallery was a center for musical performances by electronic composers Steve Reich, Philip Glass and other notable performance artists including Joan Jonas. These performances were intended as works of a new art form combining sculpture, dance, and music or sound, often with audience participation. They were characterized by the reductive philosophies of minimalism and the spontaneous improvisation and expressivity of abstract expressionism.
During the same period, various avant-garde artists created Happenings. Happenings were mysterious and often spontaneous and unscripted gatherings of artists and their friends and relatives in various specified locations, often incorporating exercises in absurdity, physicality, costuming, spontaneous nudity, and various random or seemingly disconnected acts. Notable creators of happenings included Allan Kaprow—who first used the term in 1958,[40] Claes Oldenburg, Jim Dine, Red Grooms, and Robert Whitman.[41]
Intermedia, multi-media[link]
Main article: Intermedia
Another trend in art which has been associated with the term postmodern is the use of a number of different media together. Intermedia, a term coined by Dick Higgins and meant to convey new art forms along the lines of Fluxus, concrete poetry, found objects, performance art, and computer art. Higgins was the publisher of the Something Else Press, a concrete poet married to artist Alison Knowles and an admirer of Marcel Duchamp. Ihab Hassan includes, "Intermedia, the fusion of forms, the confusion of realms," in his list of the characteristics of postmodern art.[42] One of the most common forms of "multi-media art" is the use of video-tape and CRT monitors, termed video art. While the theory of combining multiple arts into one art is quite old, and has been revived periodically, the postmodern manifestation is often in combination with performance art, where the dramatic subtext is removed, and what is left is the specific statements of the artist in question or the conceptual statement of their action.
Fluxus[link]
Main article: Fluxus
Fluxus was named and loosely organized in 1962 by George Maciunas (1931–78), a Lithuanian-born American artist. Fluxus traces its beginnings to John Cage's 1957 to 1959 Experimental Composition classes at the New School for Social Research in New York City. Many of his students were artists working in other media with little or no background in music. Cage's students included Fluxus founding members Jackson Mac Low, Al Hansen, George Brecht and Dick Higgins.
Fluxus encouraged a do-it-yourself aesthetic and valued simplicity over complexity. Like Dada before it, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists preferred to work with whatever materials were at hand, and either created their own work or collaborated in the creation process with their colleagues.
Andreas Huyssen criticises attempts to claim Fluxus for postmodernism as "either the master-code of postmodernism or the ultimately unrepresentable art movement – as it were, postmodernism's sublime."[43] Instead he sees Fluxus as a major Neo-Dadaist phenomena within the avant-garde tradition. It did not represent a major advance in the development of artistic strategies, though it did express a rebellion against, "the administered culture of the 1950s, in which a moderate, domesticated modernism served as ideological prop to the Cold War."[44]
Late period[link]
Main article: Late modernism
File:Brice Marden Vine.jpg
Brice Marden, Vine, 1992–93, oil on linen, 8 x 8.5 feet, Museum of Modern Art, New York
The continuation of abstract expressionism, color field painting, lyrical abstraction, geometric abstraction, minimalism, abstract illusionism, process art, pop art, postminimalism, and other late 20th-century modernist movements in both painting and sculpture continue through the first decade of the 21st century and constitute radical new directions in those mediums.[45][46][47]
At the turn of the 21st century, well-established artists such as Sir Anthony Caro, Lucian Freud, Cy Twombly, Robert Rauschenberg, Jasper Johns, Agnes Martin, Al Held, Ellsworth Kelly, Helen Frankenthaler, Frank Stella, Kenneth Noland, Jules Olitski, Claes Oldenburg, Jim Dine, James Rosenquist, Alex Katz, Philip Pearlstein, and younger artists including Brice Marden, Chuck Close, Sam Gilliam, Isaac Witkin, Sean Scully, Mahirwan Mamtani, Joseph Nechvatal, Elizabeth Murray, Larry Poons, Richard Serra, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Joel Shapiro, Tom Otterness, Joan Snyder, Ross Bleckner, Archie Rand, Susan Crile, and dozens of others continued to produce vital and influential paintings and sculpture.
Differences between modernism and postmodernism[link]
By the early 1980s the postmodern movement in art and architecture began to establish its position through various conceptual and intermedia formats. Postmodernism in music and literature began to take hold earlier. In music postmodernism is described in one reference work, as a "term introduced in the 1970s".[48] while in British literature, The Oxford Encyclopedia of British Literature sees modernism "ceding its predominance to postmodernism" as early as 1939.[49] However dates are highly debatable, especially as according to Andreas Huyssen: "one critic's postmodernism is another critic's modernism".[50] This includes those who are critical of the division between the two and see them as two aspects of the same movement, and believe that late modernism continues.[51]
Modernism is an encompassing label for a wide variety of cultural movements. Postmodernism is essentially a centralized movement that named itself, based on socio-political theory, although the term is now used in a wider sense to refer to activities from the 20th Century onwards which exhibit awareness of and reinterpret the modern.[52][53][54]
Postmodern theory asserts that the attempt to canonise modernism "after the fact" is doomed to undisambiguable contradictions.[55]
In a narrower sense, what was modernist was not necessarily also postmodern. Those elements of modernism which accentuated the benefits of rationality and socio-technological progress were only modernist.[56]
Goals of the movement[link]
Rejection and detournement of tradition[link]
Many modernists believed that by rejecting tradition they could discover radically new ways of making art.[citation needed] Arguably the most paradigmatic motive of modernism is the rejection of the obsolescence of tradition and its reprise, incorporation, rewriting, recapitulation, revision and parody in new forms.[5][6]
T. S. Eliot's emphasis on the relation of the artist to tradition. Eliot wrote the following:
-
- "[W]e shall often find that not only the best, but the most individual parts of [a poet's] work, may be those in which the dead poets, his ancestors, assert their immortality most vigorously."[57]
Literary scholar Peter Childs sums up the complexity:
-
- "There were paradoxical if not 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."[7]
These oppositions are inherent to modernism: it is in its broadest cultural sense the assessment of the past as different to the modern age, the recognition that the world was becoming more complex, and that the old "final authorities" (God, government, science, and reason) were subject to intense critical scrutiny.[citation needed]
Challenge to false harmony and coherence[link]
A paradigmatic modernist exhortation was articulated by philosopher and composer Theodor Adorno, which in the 1940s, invited to challenge conventional surface coherence and appearance of harmony:[10]
-
- "Modernity is a qualitative, not a chronological, category. Just as it cannot be reduced to abstract form, with equal necessity it must turn its back on conventional surface coherence, the appearance of harmony, the order corroborated merely by replication."[10]
Adorno would have us understand modernity as the rejection of the false rationality, harmony, and coherence of Enlightenment thinking, art, and music.[citation needed] Arnold Schoenberg rejected traditional tonal harmony, the hierarchical system of organizing works of music that had guided music making 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.
Abstract artists, taking as their examples the impressionists, as well as Paul Cézanne and Edvard Munch, began with the assumption that color and shape, not the depiction of the natural world, formed the essential characteristics of art. Wassily Kandinsky, Piet Mondrian, and Kazimir Malevich all believed in redefining art as the arrangement of pure color. The use of photography, which had rendered much of the representational function of visual art obsolete, strongly affected this 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.
Pragmatic modernist architecture[link]
Main article: International style (architecture)
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 thought that buildings should function as "machines for living in", analogous to cars, which he saw as machines for traveling 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. In some cases form superseded function. Following this machine aesthetic, modernist designers typically rejected decorative motifs in design, preferring to emphasize the materials used and pure geometrical forms. The skyscraper, such as Ludwig Mies van der Rohe's Seagram Building in New York (1956–1958), became the archetypal modernist building. Modernist design of houses and furniture also typically emphasized simplicity and clarity of form, open-plan interiors, and the absence of clutter.
Modernism reversed the 19th-century relationship of public and private: in the 19th century, public buildings were horizontally expansive for a variety of technical reasons, and private buildings emphasized verticality—to fit more private space on increasingly limited land. Conversely, in the 20th century, public buildings became vertically oriented and private buildings became organized horizontally. Many aspects of modernist design still persist within the mainstream of contemporary architecture today, though its previous dogmatism has given way to a more playful use of decoration, historical quotation, and spatial drama.In other arts such pragmatic considerations were less important.
Counter consumerism and mass culture[link]
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 question their own preconceptions. This aspect of modernism has often seemed 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 preferences and prejudices, high modernists rejected such consumerist attitudes in order to undermine conventional thinking. The art critic Clement Greenberg expounded this theory of modernism in his essay Avant-Garde and Kitsch.[58] Greenberg labelled the products of consumer culture "kitsch", because their design aimed simply to have maximum appeal, with any difficult features removed. For Greenberg, modernism thus formed a reaction against the development of such examples of modern consumer culture as commercial popular music, Hollywood, and advertising. Greenberg associated this with the revolutionary rejection of capitalism.
Some modernists did see themselves as part of a revolutionary culture—one that included political revolution. Others rejected conventional politics as well as artistic conventions, believing that a revolution of political consciousness had greater importance than a change in political structures. Many modernists saw themselves as apolitical. Others, such as T. S. Eliot, rejected mass popular culture from a conservative position. Some[58] even argue that modernism in literature and art functioned to sustain an elite culture which excluded the majority of the population.
Criticism and hostility[link]
The most controversial aspect of the modern movement was, and remains, its rejection of tradition.[citation needed] Modernism's stress on freedom of expression, experimentation, radicalism, and primitivism disregards conventional expectations. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects, as in the strange and disturbing combinations of motifs in surrealism or the use of extreme dissonance and atonality in modernist music. In literature this often involved the rejection of intelligible plots or characterization in novels, or the creation of poetry that defied clear interpretation.
After the rise of Joseph Stalin, the Soviet Communist government rejected modernism on the grounds of alleged elitism, although it had previously endorsed futurism and constructivism. The Nazi government of Germany deemed modernism narcissistic and nonsensical, as well as "Jewish" and "Negro" (see Anti-semitism). The Nazis exhibited modernist paintings alongside works by the mentally ill in an exhibition entitled Degenerate Art. Accusations of "formalism" could lead to the end of a career, or worse. For this reason many modernists of the post-war generation felt that they were the most important bulwark against totalitarianism, the "canary in the coal mine", whose repression by a government or other group with supposed authority represented a warning that individual liberties were being threatened. Louis A. Sass compared madness, specifically schizophrenia, and modernism in a less fascist manner by noting their shared disjunctive narratives, surreal images, and incoherence.[59]
In fact, modernism flourished mainly in consumer/capitalist societies, despite the fact that its proponents often rejected consumerism itself. However, high modernism began to merge with consumer culture after World War II, especially during the 1960s. In Britain, a youth sub-culture emerged calling itself "modernist" (usually shortened to Mod), following such representative music groups as The Who and The Kinks. The likes of Bob Dylan, Serge Gainsbourg and The Rolling Stones combined popular musical traditions with modernist verse, adopting literary devices derived from James Joyce, Samuel Beckett, James Thurber, T. S. Eliot, Guillaume Apollinaire, Allen Ginsberg, and others. The Beatles developed along similar lines, creating various modernist musical effects on several albums, while musicians such as Frank Zappa, Syd Barrett and Captain Beefheart proved 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 stylized forms became popular, often associated with dreams of a space age high-tech future.
This merging of consumer and high versions of modernist culture led to a radical transformation of the meaning of "modernism". First, it implied that a movement based on the rejection of tradition had become a tradition of its own. Second, it demonstrated that the distinction between elite modernist and mass consumerist culture had lost its precision. Some writers[who?] declared that modernism had become so institutionalized that it was now "post avant-garde", indicating that it had lost its power as a revolutionary movement. Many have interpreted this transformation as the beginning of the phase that became known as postmodernism. For others, such as art critic Robert Hughes, postmodernism represents an extension of modernism.
"Anti-modern" or "counter-modern" movements seek to emphasize holism, connection and spirituality as remedies or antidotes to modernism. Such movements see modernism as reductionist, and therefore subject to an inability to see systemic and emergent effects. Many modernists came to this viewpoint, for example Paul Hindemith in his late turn towards mysticism. Writers such as Paul H. Ray and Sherry Ruth Anderson, in The Cultural Creatives: How 50 Million People Are Changing the World (2000), Fredrick Turner in A Culture of Hope and Lester Brown in Plan B, have articulated a critique of the basic idea of modernism itself – that individual creative expression should conform to the realities of technology. Instead, they argue, individual creativity should make everyday life more emotionally acceptable.
Some traditionalist artists like Alexander Stoddart reject modernism generally as the product of "an epoch of false money allied with false culture".[60]
In some fields the effects of modernism have remained stronger and more persistent than in others. Visual art has made the most complete break with its past. Most major capital cities have museums devoted to Modern Art as distinct from post-Renaissance art (circa 1400 to circa 1900). Examples include the Museum of Modern Art in New York, the Tate Modern in London, and the Centre Pompidou in Paris. These galleries make no distinction between modernist and postmodernist phases, seeing both as developments within Modern Art.
See also[link]
- Late Modernism
- American modernism
- Modernismo
- Remodernism
- Avant garde
- Russian avant-garde
- Anti-art
- Modern architecture
- Contemporary architecture
- Modern art
- Contemporary art
- Postmodern art
- Sculpture
- Experimental film
- Modernism (music)
- 20th-century classical music
- History of classical music traditions(section 20th century music)
- Contemporary classical music
- Experimental music
- Contemporary literature
- Contemporary French literature
- Modern literature
- Modernist literature
- Experimental literature
- Modernist poetry
- Modernist poetry in English
- History of theatre
- Theatre of the absurd
Notes[link]
- ^ Hans Hofmann biography, retrieved 30 January 2009
- ^ a b Barth (1979) quotation:
The ground motive of modernism, Graff asserts, was criticism of the nineteenth-century bourgeois social order and its world view. Its artistic strategy was the self-conscious overturning of the conventions of bourgeois realism [...] the antirationalist, antirealist, antibourgeois program of modernism [...] the modernists, carrying the torch of romanticism, taught us that linearity, rationality, consciousness, cause and effect, naïve illusionism, transparent language, innocent anecdote, and middle-class moral conventions are not the whole story
- ^ a b Graff (1973)
- ^ a b Graff (1975).
- ^ a b Eco (1990) p.95 quote:
Each of the types of repetition that we have examined is not limited to the mass media but belongs by right to the entire history of artistic creativity; plagiarism, quotation, parody, the ironic retake are typical of the entire artistic-literary tradition.
Much art has been and is repetitive. The concept of absolute originality is a contemporary one, born with Romanticism; classical art was in vast measure serial, and the "modern" avant-garde (at the beginning of this century) challenged the Romantic idea of "creation from nothingness," with its techniques of collage, mustachios on the Mona Lisa, art about art, and so on. - ^ a b Steiner (1998) pp.489–90 quote:
(pp.489–90) The modernist movement which dominated art, music, letters during the first half of the century was, at critical points, a strategy of conservation, of custodianship. Stravinsky's genius developed through phases of recapitulation. He took from Machaut, Gesualdo, Monteverdi. He mimed Tchaikovsky and Gounod, the Beethoven piano sonatas, the symphonies of Haydn, the operas of Pergolesi and Glinks. He incorporated Debussy and Webern into his own idiom. In each instance the listener was meant to recognize the source, to grasp the intent of a transformation which left salient aspects of the original intact. The history of Picasso is marked by retrospection. The explicit variations on classical pastoral themes, the citations from and pastiches of Rembrandt, Goya, Velazquez, Manet, are external products of a constant revision, a 'seeing again' in the light of technical and cultural shifts. Had we only Picasso's sculptures, graphics, and paintings, we could reconstruct a fair portion of the development of the arts from the Minoan to Cezanne. In twentieth-century literature, the elements of reprise have been obsessive, and they have organized precisely those texts which at first seemed most revolutionary. 'The Waste Land', Ulysses, Pound's Cantos are deliberate assemblages, in-gatherings of a cultural past felt to be in danger of dissolution. The long sequence of imitations, translations, masked quotations, and explicit historical paintings in Robert Lowell's History has carried the same technique into the 1970s. [...] In modernism collage has been the representative device. The new, even at its most scandalous, has been set against an informing background and framework of tradition. Stravinsky, Picasso, Braque, Eliot, Joyce, Pound—the 'makers of the new'-- have been neo-classics, often as observant of canonic precedent as their seventeenth-century forbears.
- ^ a b Childs, Peter Modernism (Routledge, 2000). ISBN 0-415-19647-7. p. 17. Accessed on 8 February 2009.
- ^ Pericles Lewis, Modernism, Nationalism, and the Novel (Cambridge University Press, 2000). pp 38–39.
- ^ "[James] Joyce's Ulysses is a comedy not divine, ending, like Dante's, in the vision of a God whose will is our peace, but human all-too-human...." Peter Faulkner, Modernism (Taylor & Francis, 1990). p 60.
- ^ a b c Adorno, Theodor. Minima Moralia. Verso 2005, p. 218.
- ^ Gardner, Helen, Horst De la Croix, Richard G. Tansey, and Diane Kirkpatrick. Gardner's Art Through the Ages (San Diego: Harcourt Brace Jovanovich, 1991). ISBN 0-15-503770-6. p. 953.
- ^ a b Orton and Pollock (1996) p.141 quote:
The term avant-garde had a shorter provenance in the language and literature of art. It was not until the 20th century that its military or naval meaning (the foremost division or detachment of an advancing force) or the political usage (an elite party to lead the masses) was appropriated by art criticism. Modernist art history has evacuated the term's historical meanings, using it to signify an idea about the way in which art develops and artists function in relation to society.
- ^ "In the twentieth century, the social processes that bring this maelstrom into being, and keep it in a state of perpetual becoming, have come to be called 'modernization'. These world-historical processes have nourished an amazing variety of visions and ideas that aim to make men and women the subjects as well as the objects of modernization, to give them the power to change the world that is changing them, to make their way through the maelstrom and make it their own. Over the past century, these visions and values have come to be loosely grouped together under the name of 'modernism'" (Berman 1988, 16).
- ^ Lee Oser, The Ethics of Modernism: Moral ideas in Yeats, Eliot, Joyce, Woolf and Beckett (Cambridge University Press, 2007); F.J. Marker & C.D. Innes, Modernism in European Drama: Ibsen, Stringdberg, Pirandello, Beckett; Morag Shiach, "Situating Samuel Beckett" pp234-247 in The Cambridge Companion to the Modernist Novel, (Cambridge University Press, 2007); Kathryne V. Lindberg, Reading Pound Reading: Modernism After Nietzsche (Oxford University Press, 1987); Pericles Lewis, The Cambridge Introduction to Modernism (Cambridge University Press, 2007). pp21.
- ^ The Bloomsbury Guide to English Literature, ed. Marion Wynnne-Davies. New York: Prentice Hall, 1990, p.815.
- ^ The Bloomsbury Guide, p.816.
- ^ The First Moderns: Profiles in the Origin of Twentieth-Century Thought. Chicago: University of Chicago Press, 1997, Chapters 3 & 4.
- ^ Frascina and Harrison 1982, p. 5.
- ^ Clement Greenberg: Modernism and Postmodernism, seventh paragraph of the essay. Accessed on 15 June 2006
- ^ Phillip Dennis Cate and Mary Shaw, eds., The Spirit of Montmartre: Cabarets, Humor, and the Avant-Garde, 1875-1905. New Brunswick, NJ: Rutgers University, 1996.
- ^ Guy Debord, 18 November 1958, as quoted in Supreme Height of the Defenders of Surrealism in Paris and the Revelation of their Real Value, Situationist International #2
- ^ The Oxford Companion to English Literature, ed. Margaret Drabble, Oxford: Oxford University Press, 1996, p. 966.
- ^ Diané Collinson, Fifty Major Philosophers: A Reference Guide, p.131.
- ^ The Bloomsbury Guides to English Literature: The Twentith Century, ed. Linda R. Williams. London: Bloomsbury, 1992, pp. 108-9.
- ^ a b Collinson, 132.
- ^ Ulysses, has been called "a demonstration and summation of the entire [Modernist] movement". Beebe, Maurice (Fall 1972). "Ulysses and the Age of Modernism". James Joyce Quarterly (University of Tulsa) 10 (1): p. 176.
- ^ Kevin J. H. Dettmar "Modernism". David Scott Kastan. Oxford University Press 2005. <http://www.oxfordreference.com 27 October 2011
- ^ Clement Greenberg: Modernism and Postmodernism, William Dobell Memorial Lecture, Sydney, Australia, Oct 31, 1979, Arts 54, No.6 (February 1980). His final essay on modernism] Retrieved October 26, 2011
- ^ Paul Griffiths "modernism" The Oxford Companion to Music. Ed. Alison Latham. Oxford University Press, 2002. Oxford Reference Online. Oxford University Press. <http://www.oxfordreference.com> 27 October 2011
- ^ "modernism", The Oxford Companion to English Literature. Edited by Dinah Birch. Oxford University Press Inc. Oxford Reference Online. Oxford University Press. <http://www.oxfordreference.com> 27 October 2011
- ^ Nochlin, Linda, Ch.1 in: Women Artists at the Millennium (edited by C. Armstrong and C. de Zegher) MIT Press, 2006.
- ^ Pollock, Griselda, Encounters in the Virtual Feminist Museum: Time, Space and the Archive. Routledge, 2007.
- ^ De Zegher, Catherine, and Teicher, Hendel (eds.), 3 X Abstraction. New Haven: Yale University Press. 2005.
- ^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp.104–113.
- ^ a b c Movers and Shakers, New York, "Leaving C&M", by Sarah Douglas, Art+Auction, March 2007, V.XXXNo7.
- ^ Martin, Ann Ray, and Howard Junker. The New Art: It's Way, Way Out, Newsweek 29 July 1968: pp.3,55–63.
- ^ a b c Hal Foster, The Return of the Real: The Avant-garde at the End of the Century, MIT Press, 1996, pp44-53. ISBN 0-262-56107-7
- ^ Craig Owens, Beyond Recognition: Representation, Power, and Culture, London and Berkeley: University of California Press (1992), pp74-75.
- ^ Steven Best, Douglas Kellner, The Postmodern Turn, Guilford Press, 1997, p174. ISBN 1-57230-221-6
- ^ "Fluxus & Happening – Allan Kaprow". http://members.chello.nl/j.seegers1/flux_files/kaprow_chronology.html. Retrieved 4 May 2010.
- ^ Finkel, Jori (13 April 2008). "Happenings Are Happening Again". The New York Times. http://www.nytimes.com/2008/04/13/arts/design/13fink.html. Retrieved 23 April 2010.
- ^ Ihab Hassan in Lawrence E. Cahoone, From Modernism to Postmodernism: An Anthology, Blackwell Publishing, 2003. p13. ISBN 0-631-23213-3
- ^ Andreas Huyssen, Twilight Memories: Marking Time in a Culture of Amnesia, Routledge, 1995. p192. ISBN 0-415-90934-1
- ^ Andreas Huyssen, Twilight Memories: Marking Time in a Culture of Amnesia, Routledge, 1995. p196. ISBN 0-415-90934-1
- ^ Ratcliff, Carter. The New Informalists, Art News, v. 68, n. 8, December 1969, p.72.
- ^ Barbara Rose. American Painting. Part Two: The Twentieth Century. Published by Skira – Rizzoli, New York, 1969
- ^ Walter Darby Bannard. "Notes on American Painting of the Sixties." Artforum, January 1970, vol. 8, no. 5, pp.40–45.
- ^ "postmodernism", The Penguin Companion to Classical Music, ed. Paul Griffiths. London: Penguin, 2004.
- ^ J. H. Dettmar "Modernism", The Oxford Encyclopedia of British Literature. David Scott Kastan. Oxford University Press 2005. <http://www.oxfordreference.com> 27 October 2011.
- ^ After the Great Divide: Modernism, Mass Culture and Postmodernism. London: Macmillan, 1988, p.59. Quoted in Hawthorn, Studying the Novel, p.63; Simon Malpas, Postmodern Debates, [1]
- ^ Simon Malpas, Postmodern Debates
- ^ Askoxford.com
- ^ Merriam-Webster's definition of postmodernism
- ^ Ruth Reichl, Cook's November 1989; American Heritage Dictionary's definition of the postmodern
- ^ Postmodernism. Georgetown university
- ^ Wagner, British, Irish and American Literature, Trier 2002, p. 210-2
- ^ T. S. Eliot Tradition and the individual talent" (1919), in Selected Essays. Paperback Edition. (Faber & Faber, 1999).
- ^ a b Clement Greenberg, Art and Culture, Beacon Press, 1961
- ^ Sass, Louis A. (1992). Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought. New York: Basic Books. Cited in Bauer, Amy (2004). "Cognition, Constraints, and Conceptual Blends in Modernist Music", in The Pleasure of Modernist Music. ISBN 1-58046-143-3.
- ^ Jack, Ian (6 June 2009), "Set In Stone", Guardian, http://www.guardian.co.uk/artanddesign/2009/jun/06/alexander-stoddart-interview
References[link]
- John Barth (1979) The Literature of Replenishment, later republished in The Friday Book'(1984)'.
- Eco, Umberto (1990) Interpreting Serials in The limits of interpretation, pp. 83–100, excerpt
- Gerald Graff (1973) The Myth of the Postmodernist Breakthrough, TriQuarterly, 26 (Winter, 1973) 383–417; rept in The Novel Today: Contemporary Writers on Modern Fiction Malcolm Bradbury, ed., (London: Fontana, 1977); reprinted in Proza Nowa Amerykanska, ed., Szice Krytyczne (Warsaw, Poland, 1984); reprinted in Postmodernism in American Literature: A Critical Anthology, Manfred Putz and Peter Freese, eds., (Darmstadt: Thesen Verlag, 1984), 58–81.
- Gerald Graff (1975) Babbitt at the Abyss: The Social Context of Postmodern. American Fiction, TriQuarterly, No. 33 (Spring 1975), pp. 307–37; reprinted in Putz and Freese, eds., Postmodernism and American Literature.
- Orton, Fred and Pollock, Griselda (1996) Avant-Gardes and Partisans Reviewed, Manchester University.
- Steiner, George (1998) After Babel, ch.6 Topologies of culture, 3rd revised edition
Further reading[link]
- Armstrong, Carol and de Zegher, Catherine (eds.), Women Artists as the Millennium, Cambridge, MA: October Books, MIT Press, 2006. ISBN 978-0-262-01226-3.
- Aspray, William & Philip Kitcher, eds., History and Philosophy of Modern Mathematics, Minnesota Studies in the Philosophy of Science vol XI, Minneapolis: University of Minnesota Press, 1988
- Baker, Houston A., Jr., Modernism and the Harlem Renaissance, Chicago: University of Chicago Press, 1987
- Berman, Marshall, All That Is Solid Melts Into Air: The Experience of Modernity. Second ed. London: Penguin, 1988. ISBN 0-14-010962-5.
- Bradbury, Malcolm, & James McFarlane (eds.), Modernism: A Guide to European Literature 1890–1930 (Penguin "Penguin Literary Criticism" series, 1978, ISBN 0-14-013832-3).
- Brush, Stephen G., The History of Modern Science: A Guide to the Second Scientific Revolution, 1800–1950, Ames, IA: Iowa State University Press, 1988
- Centre George Pompidou, Face a l'Histoire, 1933–1996. Flammarion, 1996. ISBN 2-85850-898-4.
- Crouch, Christopher, Modernism in art design and architecture, New York: St. Martins Press, 2000
- Everdell, William R., The First Moderns: Profiles in the Origins of Twentieth Century Thought, Chicago: University of Chicago Press, 1997
- Eysteinsson, Astradur, The Concept of Modernism, Ithaca, NY: Cornell University Press, 1992
- Friedman, Julia. Beyond Symbolism and Surrealism: Alexei Remizov's Synthetic Art, Northwestern University Press, 2010. ISBN 0-8101-2617-6 (Trade Cloth)
- Frascina, Francis, and Charles Harrison (eds.). Modern Art and Modernism: A Critical Anthology. Published in association with The Open University. London: Harper and Row, Ltd. Reprinted, London: Paul Chapman Publishing, Ltd., 1982.
- Gates, Henry Louis. "The Norton Anthology of African American Literature. W.W. Norton & Company, Inc., 2004.
- Hughes, Robert, The Shock of the New: Art and the Century of Change (Gardners Books, 1991, ISBN 0-500-27582-3).
- Kenner, Hugh, The Pound Era (1971), Berkeley, CA: University of California Press, 1973
- Kern, Stephen, The Culture of Time and Space, Cambridge, MA: Harvard University Press, 1983
- Kolocotroni, Vassiliki et al., ed.,Modernism: An Anthology of Sources and Documents (Edinburgh: Edinburgh University Press, 1998).
- Levenson, Michael (ed.), The Cambridge Companion to Modernism (Cambridge University Press, "Cambridge Companions to Literature" series, 1999, ISBN 0-521-49866-X).
- Lewis, Pericles. The Cambridge Introduction to Modernism (Cambridge: Cambridge University Press, 2007).
- Nicholls, Peter, Modernisms: A Literary Guide (Hampshire and London: Macmillan, 1995).
- Pevsner, Nikolaus, Pioneers of Modern Design: From William Morris to Walter Gropius (New Haven, CT: Yale University Press, 2005, ISBN 0-300-10571-1).
- —, The Sources of Modern Architecture and Design (Thames & Hudson, "World of Art" series, 1985, ISBN 0-500-20072-6).
- Pollock, Griselda, Generations and Geographies in the Visual Arts. (Routledge, London, 1996. ISBN 0-415-14128-1)
- Pollock, Griselda, and Florence, Penny, Looking Back to the Future: Essays by Griselda Pollock from the 1990s. (New York: G&B New Arts Press, 2001. ISBN 90-5701-132-8)
- Potter, Rachael (January 2009). "Obscene Modernism and the Trade in Salacious Books". Modernism/modernity (The Johns Hopkins University Press) 16 (1). ISSN 1071-6068. http://muse.jhu.edu/journals/modernism-modernity/v016/16.1.potter.html.
- Sass, Louis A. (1992). Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought. New York: Basic Books. Cited in Bauer, Amy (2004). "Cognition, Constraints, and Conceptual Blends in Modernist Music", in The Pleasure of Modernist Music. ISBN 1-58046-143-3.
- Schorske, Carl. Fin-de-Siècle Vienna: Politics and Culture. Vintage, 1980. 978-0394744780.
- Schwartz, Sanford, The Matrix of Modernism: Pound, Eliot, and Early Twentieth Century Thought, Princeton, NJ: Princeton University Press, 1985
- Van Loo, Sofie (ed.), Gorge(l). Royal Museum of Fine Arts, Antwerp, 2006. ISBN 90-76979-35-9; ISBN 978-90-76979-35-9.
- Weston, Richard, Modernism (Phaidon Press, 2001, ISBN 0-7148-4099-8).
- de Zegher, Catherine, Inside the Visible. (Cambridge, MA: MIT Press, 1996).
External links[link]
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Look up modernism in Wiktionary, the free dictionary. |
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Wikimedia Commons has media related to: Modernism |
- Ballard, J.G., on Modernism.
- Denzer, Anthony S., PhD, Masters of Modernism.
- Hoppé, E.O., photographer, Edwardian Modernists.
- Malady of Writing. Modernism you can dance to An online radio show that presents a humorous version of modernism
- Modernism Lab @ Yale University
- Modernism/Modernity, official publication of the Modernist Studies Association
- Modernism vs. Postmodernism
- Pope St. Pius X's encyclical Pascendi, in which he defines Modernism as "the synthesis of all heresies".
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Modernism
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Natsume Sōseki | |
|---|---|
 Natsume Sōseki in 1912 |
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| Born | (1867-02-09)9 February 1867 Tokyo, Japan |
| Died | 9 December 1916(1916-12-09) (aged 49) Tokyo, Japan |
| Occupation | Writer |
| Genres | novels, short stories, poetry |
| Notable work(s) | Kokoro, Botchan, I Am a Cat |
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Influenced
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In this Japanese name, the family name is "Natsume".
Natsume Sōseki (夏目 漱石?, February 9, 1867 – December 9, 1916), born Natsume Kinnosuke (夏目 金之助?), is widely considered to be the foremost Japanese novelist of the Meiji period (1868–1912). He is best known for his novels Kokoro, Botchan, I Am a Cat and his unfinished work Light and Darkness. He was also a scholar of British literature and composer of haiku, Chinese-style poetry, and fairy tales. From 1984 until 2004, his portrait appeared on the front of the Japanese 1000 yen note.
Contents |
Early years[link]
Born as Natsume Kinnosuke in the town of Babashita in the Edo region of Ushigome (present Kikui, Shinjuku), Natsume began his life as an unwanted child, born to his mother late in her life, forty years old and his father then fifty-three.[1] When he was born, he already had five siblings. Having five children and a toddler had created family insecurity and was in some ways a disgrace to the Natsume family.[1] In 1868, a childless couple, Shiobara Masanosuke and his wife, adopted him until the age of nine, when the couple divorced.[1] He returned to his family and was welcomed by his mother although regarded as a nuisance by his father. His mother died when he was fourteen, and his two eldest brothers died in 1887, intensifying his sense of insecurity.[citation needed]
Natsume attended the First Tokyo Middle School (now Hibiya High School),[2] where he became enamored with Chinese literature, and fancied that he might someday become a writer. His desire to become an author arose when he was about fifteen when he told his older brother about his interest in literature.[1] However, his family disapproved strongly of this course of action, and when Natsume entered the Tokyo Imperial University in September 1884, it was with the intention of becoming an architect. Although he preferred Chinese classics, he began studying English at that time, feeling that it might prove useful to him in his future career, as English was a necessity in Japanese college.[1]
In 1887, Natsume met Masaoka Shiki, a friend who would give him encouragement on the path to becoming a writer, which would ultimately be his career. Shiki tutored him in the art of composing haiku. From this point on, he began signing his poems with the name Sōseki, which is a Chinese idiom meaning "stubborn". In 1890, he entered the English Literature department, and quickly mastered the English language. Natsume graduated in 1893, and enrolled for some time as a graduate student and part-time teacher at the Tokyo Normal School.[citation needed]
In 1895, Natsume began teaching at Matsuyama Middle School in Shikoku, which became the setting of his novel Botchan. Along with fulfilling his teaching duties, Natsume published haiku and Chinese poetry in a number of newspapers and periodicals. He resigned his post in 1896, and began teaching at the Fifth High School in Kumamoto. On June 10 of that year, he married Nakane Kyoko.[citation needed]
In the United Kingdom, 1901–1903[link]
In 1900, the Japanese government sent Natsume to study in Great Britain as "Japan's first Japanese English literary scholar".[3] He visited Cambridge and stayed a night there, but gave up the idea of studying at the university because he could not afford it on his government scholarship.[4] He studied instead at University College, London (UCL). He had a miserable time of it in London, spending most of his days indoors buried in books, and his friends feared that he might be losing his mind.[5] He also visited Pitlochry in Scotland.
He lived in four different lodgings, only the last of which, lodging with Priscilla and her sister Elizabeth Leale in Clapham (see the photograph), proved satisfactory. Five years later, in his preface to Bungakuron (The Criticism of Literature), he wrote about the period:
- The two years I spent in London were the most unpleasant years in my life. Among English gentlemen I lived in misery, like a poor dog that had strayed among a pack of wolves.[6]
He got along well with the one Leale sister, who shared his love of literature (notably Shakespeare—his tutor at UCL was the Shakespeare scholar W. J. Craig[7]—and Milton) and spoke fluent French, much to his admiration. The Leales were a Channel Island family, and Priscilla had been born in France. The sisters worried about Natsume's incipient paranoia and successfully urged him to get out more and take up cycling.
Despite his poverty, loneliness, and mental problems, he solidified his knowledge of English literature during this period and returned to Japan in 1903.
After his return to the Empire of Japan, he replaced Koizumi Yakumo (Lafcadio Hearn) at the First Higher School, and subsequently became a professor of English literature at Tokyo Imperial University, where he taught literary theory and literary criticism.[citation needed]
Literary career[link]
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This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2009) |
Natsume's literary career began in 1903, when he began to contribute haiku, renku (haiku-style linked verse), haitaishi (linked verse on a set theme) and literary sketches to literary magazines, such as the prominent Hototogisu, edited by his former mentor Masaoka Shiki, and later by Takahama Kyoshi. However, it was the public success of his satirical novel I Am a Cat in 1905 that won him wide public admiration as well as critical acclaim.[8]
He followed on this success with short stories, such as Rondon tō ("Tower of London") in 1905 and the novels Botchan ("Little Master"), and Kusamakura ("Grass Pillow") in 1906, which established his reputation, and which enabled him to leave his post at the university for a position with Asahi Shimbun in 1907, and to begin writing full-time. Much of his work deals with the relation between Japanese culture and Western culture. Especially his early works are influenced by his studies in London; his novel Kairo-kō was the earliest and only major prose treatment of the Arthurian legend in Japanese.[9] He began writing one novel a year until his death from a stomach ulcer in 1916.
Major themes in Natsume's works include ordinary people fighting against economic hardship, the conflict between duty and desire (a traditional Japanese theme; see giri), loyalty and group mentality versus freedom and individuality, personal isolation and estrangement, the rapid industrialization of Japan and its social consequences, contempt of Japan's aping of Western culture, and a pessimistic view of human nature. Natsume took a strong interest in the writers of the Shirakaba (White Birch) literary group. In his final years, authors such as Akutagawa Ryūnosuke and Kume Masao became close followers of his literary style.[citation needed]
Major works[link]
Natsume's major works include:
| Year | Japanese title | English title | Comments | |
|---|---|---|---|---|
| 1905 | 吾輩は猫である | Wagahai wa Neko dearu | I Am a Cat | |
| 倫敦塔 | Rondon Tō | The Tower of London | ||
| 薤露行 | Kairo-kō | Kairo-kō | ||
| 1906 | 坊っちゃん | Botchan | Botchan | |
| 草枕 | Kusamakura | The Three Cornered World (lit. The Grass Pillow) |
latest translation uses Japanese title | |
| 趣味の遺伝 | Shumi no Iden | The Heredity of Taste | ||
| 二百十日 | Nihyaku-tōka | The 210th Day | ||
| 1907 | 虞美人草 | Gubijinsō | The Poppy | |
| 野分 | Nowaki | The Autumn Wind | ||
| 1908 | 坑夫 | Kōfu | The Miner | |
| 夢十夜 | Yume Jū-ya | Ten Nights of Dreams | ||
| 三四郎 | Sanshirō | Sanshiro | ||
| 1909 | それから | Sorekara | And Then | |
| 1910 | 門 | Mon | The Gate | |
| 思い出す事など | Omoidasu Koto nado | Spring Miscellany | ||
| 1912 | 彼岸過迄 | Higan Sugi Made | To the Spring Equinox and Beyond | |
| 行人 | Kōjin | The Wayfarer | ||
| 1914 | こころ | Kokoro | Kokoro | |
| 私の個人主義 | Watakushi no Kojin Shugi | My Individualism | A famous speech | |
| 1915 | 道草 | Michi Kusa | Grass on the Wayside | |
| 硝子戸の中 | Garasu Do no Uchi | Inside My Glass Doors | English translation, 2002 | |
| 1916 | 明暗 | Mei An | Light and Darkness, a novel | Unfinished |
See also[link]
- Anglo-Japanese relations
- Japanese literature
- List of Japanese authors
- Fusanosuke Natsume – Natsume's grandson
- Minae Mizumura – finished Natsume's last, unfinished novel, Light and Darkness
Sources[link]
- Bargen, Doris D. Suicidal Honor: General Nogi and the Writings of Mori Ogai and Natsume Sōseki. University of Hawaii Press (2006). ISBN 0-8248-2998-0
- Brodey, I. S. and S. I. Tsunematsu, Rediscovering Natsume Sōseki, (Kent: Global Oriental, 2000)
- Doi, Takeo, trans. by W. J. Tyler, The Psychological World of Natsume Sōseki. Harvard University Asia Center (1976). ISBN 0-674-72116-0
- Gessel, Van C. Three Modern Novelists: Soseki, Tanizaki, Kawabata. Kodansha International, 1993
- Keene, Donald. Dawn to the West: Japanese Literature of the Modern Era: Fiction, Chapter 12. 2nd Revised Edition, Columbia University Press, 1998.
- Milward, Peter. The Heart of Natsume Sōseki: First Impressions of His Novels. Azuma Shobo (1981). ASIN: B000IK2690
- Olson, Lawrence. Ambivalent Moderns: Portraits of Japanese Cultural Identity. Savage, Maryland: Rowman & Littlefield (1992). ISBN 0-8476-7739-7
- Ridgeway, William N. A Critical Study of The Novels of Natsume Sōseki, 1867–1916. Edwin Mellen Press (January 28, 2005). ISBN 0-7734-6230-9
- Yu, Beongchoeon. Natsume Sōseki. Macmillan Publishing Company (1984). ISBN 0-8057-2850-3
References[link]
- ^ a b c d e McClellan, Edwin (2004). Two Japanese Novelists: Sōseki & Tōson. Tuttle Publishing. ISBN 0-8048-3340-0.
- ^ Takahashi, Akio (2006). 新書で入門 漱石と鴎外 (A pocket paperback == introduction: Natsume and Ōgai). Shinchosha. ISBN 4-10-610179-3.
- ^ Brodey and Tsunematsu p.7
- ^ Brodey and Tsunematsu p.8
- ^ Introduction, p.V Natsume Soseki (2002). I Am A Cat. Tuttle Publishing. ISBN 978-0-8048-3265-6.
- ^ Theory of Literature, May 1907, introduction
- ^ Natsume, Sōseki; Tsunematsu, Ikuo (2002). Spring miscellany and London essays. Rutland, VT: Tuttle. p. 80. ISBN 0-8048-3326-5.
- ^ Mostow, Joshua S. The Columbia Companion to modern East Asian literature, Columbia University Press, 2003. ISBN 978-0-231-11314-4 p88
- ^ Takamiya, Toshiyuki (1991). "Natsume Sōseki". In Norris J. Lacy, The New Arthurian Encyclopedia, p. 424. (New York: Garland, 1991). ISBN 0-8240-4377-4.
External links[link]
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Wikisource has original text related to this article: |
- natsumesoseki.com
- Natsume Sōseki at かまくら GreenNet, the website of Kamakura City
- Natsume Souseki at Meisaku Live
- Video: House of Ogai Mori & Soseki Natsume
- Natsume Souseki at Amazon Kindle Store
- Works by Natsume Sōseki at Project Gutenberg
- Sōseki page including links to the entire text of Kokoro
- Natsume Sōseki on aozora.gr.jp (complete texts with furigana)
- Tohoku University: Natsume Soseki Library
- Natsume Sōseki's grave
| Persondata | |
|---|---|
| Name | Natsume Sōseki |
| Alternative names | |
| Short description | |
| Date of birth | February 9, 1867 |
| Place of birth | Tokyo, Japan |
| Date of death | December 9, 1916 |
| Place of death | Tokyo, Japan |
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Natsume_Sōseki
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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This article may be expanded with text translated from the corresponding article in the German Wikipedia. (August 2011) Don't speak German? Click here to read a machine-translated version of the German article. Click [show] on the right to review important translation instructions before translating.
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| Richard Neutra | |
|---|---|
| File:Richard Neutra.jpg | |
| Born | April 8, 1892 Leopoldstadt, Vienna |
| Died | April 16, 1970 Wuppertal, Germany |
Richard Joseph Neutra (April 8, 1892 – April 16, 1970) is considered to have been one of modernism's most significant architects.
Contents |
Biography[link]
Neutra was born in Leopoldstadt, the 2nd district of Vienna, Austria Hungary, on April 8, 1892. The future architect was born into a wealthy Jewish family. His Jewish-Hungarian father Samuel Neutra (1844, Hungary – 1920)[1] was a proprietor of a metal foundry, and his mother, Elizabeth "Betty" Glaser[2] Neutra (1851, Leopoldstadt – 1905) was a member of the IKG Wien. Richard has 2 brothers who also emigrated to the USA, and a sister who married in Vienna.
Neutra attended to the Sophiengymnasium in Vienna until 1910, and he studied under Adolf Loos at the Vienna University of Technology (1910–1918). He was a student of Max Fabiani and Karl Mayreder. In 1912 he undertook to study trip to Italy and Balkans with Ernst Ludwig Freud (son of Sigmund Freud).
After World War I Neutra went to Switzerland where he worked with the landscape architect Gustav Ammann. In 1921 he served briefly as city architect in the German town of Luckenwalde, and later in the same year he joined the office of Erich Mendelsohn in Berlin. Neutra contributed to the firm’s competition entry for a new commercial centre for Haifa, Palestine (1922), and to the Zehlendorf housing project in Berlin (1923).[3] He married Dione Niedermann, the daughter of an architect, in 1922.
Neutra moved to the United States by 1923 and became a naturalized citizen in 1929. Neutra worked briefly for Frank Lloyd Wright before accepting an invitation from his close friend and university companion Rudolf Schindler to work and live communally in Schindler's Kings Road House in California. Neutra’s first work in Los Angeles was in landscape architecture, where he provided the design for the garden of Schindler’s beach house (1922–5), designed for Philip Lovell, Newport Beach, and for a pergola and wading pool for Wright and Schindler’s complex for Aline Barnsdall on Olive Hill (1925), Hollywood. Schindler and Neutra collaborated on an entry for the League of Nations Competition of 1926–7; in the same year they formed a firm with the planner Carol Aronovici (1881–1957) called the Architectural Group for Industry and Commerce (AGIC). He subsequently developed his own practice and went on to design numerous buildings embodying the International Style, twelve of which are designated as Historic Cultural Monuments (HCM), including the Lovell Heath House (HCM #123; 1929) and the Richard and Dion Neutra VDL Research House (HCM #640; 1966).[4] In California, he became celebrated for rigorously geometric but airy structures that symbolized a West Coast variation on the mid-century modern residence. Clients included Edgar J. Kaufmann, Galka Scheyer, and Walter Conrad Arensberg. In the early 1930s, Neutra's Los Angeles practice trained several young architects who went on to independent success, including Gregory Ain, Harwell Hamilton Harris, and Raphael Soriano.
In 1932, Neutra was included in the seminal MoMA exhibition on modern architecture, curated by Philip Johnson and Henry-Russell Hitchcock. In 1949 Neutra formed a partnership with Robert E. Alexander that lasted until 1958, which finally gave him the opportunity to design larger commercial and institutional buildings. In 1955, the US State Department commissioned Neutra to design a new embassy in Karachi. Neutra's appointment was part of an ambitious program of architectural commissions to renowned architects, which included embassies by Walter Gropius in Athens, Edward Durrell Stone in New Delhi, Marcel Breuer in The Hague, Josep Lluis Sert in Baghdad, and Eero Saarinen in London. In 1965 Neutra formed a partnership with his son Dion Neutra.[5] Between 1960 and 1970, Neutra created eight villas in Europe, four in Switzerland, three in Germany and one in France. Prominent clients in this period included publisher of the ZEIT newspaper Gerd Bucerius but also figures from commerce and science.
Neutra died in Wuppertal, Germany, on April 16, 1970, at the age of 78.
Architectural style[link]
He was famous for the attention he gave to defining the real needs of his clients, regardless of the size of the project, in contrast to other architects eager to impose their artistic vision on a client. Neutra sometimes used detailed questionnaires to discover his client's needs, much to their surprise. His domestic architecture was a blend of art, landscape and practical comfort.
Neutra had a sharp sense of irony. In his autobiography, Life and Shape, he included a playful anecdote about an anonymous movie producer-client who electrified the moat around the house that Neutra designed for him and had his Persian butler fish out the bodies in the morning and dispose of them in a specially designed incinerator. This was a much-embellished account of an actual client, Josef von Sternberg, who indeed had a moated house but not an electrified one.
The novelist/philosopher Ayn Rand was the second owner of the Von Sternberg House in the San Fernando Valley (now destroyed). A photo of Neutra and Rand at the home was famously captured by Julius Shulman.
Neutra's early watercolors and drawings, most of them of places he traveled (particularly his trips to the Balkans in WWI) and portrait sketches, showed influence from artists such as Gustav Klimt, Egon Schiele etc. Neutra's sister Josefine, who could draw, is cited as developing Neutra's inclination towards drawing (ref: Thomas Hines) .
Legacy[link]
Neutra's son Dion has kept the Silver Lake offices designed and built by his father open as "Richard and Dion Neutra Architecture" in Los Angeles. The Neutra Office Building is itself listed on the National Register of Historic Places.
In 1980, Neutra's widow donated the Van der Leeuw House (VDL Research House), then valued at $207,500, to California State Polytechnic University, Pomona (Cal Poly Pomona) to be used by the university's College of Environmental Design faculty and students.[6][7] In 2011, the Neutra-designed Kronish House (1954) on 9439 Sunset Boulevard in Beverly Hills sold for $12.8 million.[8]
In 2009, the exhibition "Richard Neutra, Architect: Sketches and Drawings" at the Los Angeles Central Library featured a selection of Neutra's travel sketches, figure drawings and building renderings. An exhibition on the architect's work in Europe between 1960 and 1979 was mounted by the MARTa Herford, Germany.
The revival in the late 90s of mid-century modernism has given new cachet to his work, as with homes and public structures built by the architects John Lautner and Rudolf Schindler. The Kaufmann Desert House was restored by Marmol Radziner + Associates in the mid 90s.
The typeface family Neutraface, designed by Christian Schwartz for House Industries, was based on Richard Neutra's architecture and design principles.
Lost Works[link]
One of the most famous and most photographed Neutra-designed structures was the Maslon House of Rancho Mirage California, which was infamously demolished in 2002. See Brad Dunning, "A Destruction Site", New York Times, April 21, 2002.
Selected works[link]
- See also: Category: Richard Neutra buildings
- Jardinette Apartments, 1928, Hollywood, California
- Lovell House, 1929, Los Angeles, California
- Mosk House, 1933, 2742 Hollyridge Drive, Hollywood
- Nathan and Malve Koblick House, 1933, 98 Fairview Avenue, Atherton, California
- Universal-International Building (Laemmle Building), 1933, Hollywood
- Scheyer House, 1934, Blue Heights Drive, Hollywood Hills, Los Angeles
- William and Melba Beard House (with Gregory Ain), 1935, 1981 Meadowbrook, Altadena
- California Military Academy, 1935, Culver City
- Corona Avenue Elementary School, 1935, 3835 Bell Avenue, Bell, California
- Largent House, 1935, corner of Hopkins and Burnett Avenues, San Francisco
- Von Sternberg House, 1935, San Fernando Valley
- Neutra VDL Studio and Residences (also known as Van der Leeuw House or VDL Research House), 1932, Los Angeles, California
- Sten and Frenke House (Los Angeles Historic-Cultural Monument #647), 1934, 126 Mabery Road, Santa Monica
- The Neutra House Project, 1935, Restoration of the Neutra "Orchard House" in Los Altos, California
- Josef Kun House, 1936, 7960 Fareholm Drive, Hollywood Hills, Los Angeles, California
- Landfair Apartments, 1937, Westwood, Los Angeles, California
- Strathmore Apartments, 1937, Westwood, Los Angeles, California
- Aquino Duplex, 1937, 2430 Leavenworth Street, San Francisco
- Leon Barsha House (with P. Pfisterer), 1937, 302 Mesa Road, Pacific Palisades, California
- Miller House,[9] 1937, Palm Springs, California
- Windshield House,[10] 1938, Fisher's Island, New York
- Lewin House, 1938, 512 Ocean Front Walk, Santa Monica, Los Angeles
- Emerson Junior High School, 1938, 1650 Selby Avenue, West Los Angeles, California
- Ward-Berger House, 1939, 3156 North Lake Hollywood Drive, Hollywood Hills, Los Angeles, California
- Kelton Apartments, Westwood, Los Angeles
- Beckstrand House, 1940, 1400 Via Montemar, Palos Verdes Estates, Los Angeles
- Bonnet House, 1941, Hollywood Hills, Los Angeles, California
- Van Cleef Residence, 1942, 651 Warner Ave, Westwood, Los Angeles
- Channel Heights Housing Projects, 1942, San Pedro, California
- John Nesbitt House, 1942, 414 Avondale, Brentwood, Los Angeles
- Kaufmann Desert House,[11][12] 1946, Palm Springs, California
- Bailey House, 1946, Santa Monica, California
- Case Study Houses #6 and #13
- Schmidt House, 1948, 1460 Chamberlain Road, Linda Vista, Pasadena, California
- Joseph Tuta House, 1948, 1800 Via Visalia, Palos Verdes, California
- Holiday House Motel, 1948, 27400 Pacific Coast Highway, Malibu, California
- Elkay Apartments, 1948, 638-642 Kelton Avenue, Westwood, Los Angeles
- Gordon Wilkins House, 1949, 528 South Hermosa Place, South Pasadena, California[13][14]
- Hines House, 1949, 760 Via Somonte, Palos Verdes, California
- Atwell House, 1950, 1411 Atwell Road, El Cerrito, California
- Nick Helburn House, 1950, Sourdough Road, Bozeman, Montana
- Neutra Office Building — Neutra's design studio from 1950 to 1970
- Moore House, 1952, Ojai, California (received AIA award)
- Perkins House,1952–55, 1540 Poppypeak Drive, Pasadena, California
- Schaarman House, 1953, 7850 Torreyson Drive, Hollywood Hills
- Kester Avenue Elementary School (with R. E. Alexander), 1953, 5353 Kester Avenue, Los Angeles
- Sidney R. Troxell House,[15] 1956, 766 Paseo Miramar, Pacific Palisades, California
- Kronish House, 1955, Beverly Hills, California[16]
- Clark House, 1957, Pasadena, California
- Airman's Memorial Chapel, 1957, 45549 Bauer Street, Miramar, California
- Ferro Chemical Company Building, 1957, Cleveland, Ohio
- Mellon Hall and Francis Scott Key Auditorium, 1958, St. John's College, Annapolis, Maryland
- Riviera United Methodist Church, 1958, 375 Palos Verdes Boulevard, Redondo Beach
- Singleton House, 1959, 15000 Mulholland Drive, Hollywood Hills
- Garden Grove Community Church, 1959 (Fellowship Hall and Offices), 1961 (Sanctuary), 1968 (Tower of Hope), Garden Grove, California
- Three senior officer's quarters on Mountain Home Air Force Base, Idaho, 1959
- Julian Bond House, 1960, 4449 Yerba Santa, San Diego, California
- R.J. Neutra Elementary School, 1960, Naval Air Station Lemoore, in Lemoore, California (designed in 1929)
- Palos Verdes High School, 1961, 600 Cloyden Road, Palos Verdes, California
- Haus Rang, 1961, Königstein im Taunus, Germany
- Hans Grelling House/Casa Tuia on Monte Verità, 1961, Strada del Roccolo 11, Ascona, Tessin, Switzerland
- Los Angeles County Hall of Records, 1962, Los Angeles, California.
- Gettysburg Cyclorama, 1962, Gettysburg National Military Park, Pennsylvania
- Bewobau Residences, 1963, Quickborn near Hamburg, Germany
- Mariners Medical Arts, 1963, Newport Beach, California
- Painted Desert Visitor Center, 1963, Petrified Forest National Park, Arizona
- United States Embassy, (later US Consulate General until 2011), 1959, Karachi, Pakistan[17]
- Swirbul Library, 1963, Adelphi University, Garden City, New York
- Kuhns House, 1964, Woodland Hills, Los Angeles, California
- Rice House (National Register of Historic Places), 1964, 1000 Old Locke Lane, Richmond, Virginia
- VDL II Research House,[18][19][20] 1964, (rebuilt with son Dion Neutra) Los Angeles, California
- Rentsch House, 1965, Wengen near Berne in Switzerland; Landscape architect: Ernst Cramer
- Bucerius House, 1965, Brione sopra Minusio in Switzerland; Landscape architect: Ernst Cramer
- Haus Kemper, 1965, Wuppertal, Germany
- Sports and Congress Center, 1965, Reno, Nevada
- Delcourt House, 1968–69, Croix, Nord, France
- Haus Pescher, 1969, Wuppertal, Germany
- Haus Jürgen Tillmanns, 1970, Stettfurt, Thurgau, Switzerland
-
Gettysburg Cyclorama Building.jpg
Cyclorama Building, Gettysburg, Pennsylvania
-
Jardinette Apartments, Hollywood
-
Kaufmann House, Palm Springs, California.
-
Garden Grove Community Church, Garden Grove, CA
,_Hollywood.JPG)
Publications by Neutra[link]
- 1927: Wie Baut Amerika? (How America Builds) (Julius Hoffman)
- 1930: Amerika: Die Stilbildung des neuen Bauens in den Vereiningten Staaten (Anton Schroll Verlag)
- 1935: "New Elementary Schools for America". Architectural Forum 65 (1): 25–36. January 1935.
- 1948: Architecture of Social Concern in Regions of Mild Climate (Gerth Todtman)
- 1951: Mysteries and Realities of the Site (Morgan & Morgan)
- 1954: Survival Through Design (Oxford University Press)
- 1956: Life and Human Habitat (Alexander Koch Verlag).
- 1961: Welt und Wohnung (Alexander Kock Verlag)
- 1962: Life and Shape: an Autobiography (Appleton-Century-Crofts), reprinted 2009 (Atara Press)
- 1962: Auftrag für morgen (Claassen Verlag)
- 1962: World and Dwelling (Universe Books)
- 1970: Naturnahes Bauen (Alexander Koch Verlag)
- 1971: Building With Nature (Universe Books)
- 1974: Wasser Steine Licht (Parey Verlag)
- 1977: Bauen und die Sinneswelt (Verlag der Kunst)
- 1989: Nature Near: The Late Essays of Richard Neutra (Capra Press)
Notes[link]
- ^ http://dl.lib.brown.edu/pdfs/1224698121953125.pdf, http://www3.sympatico.ca/thidas/Hungarian-history/1837L.html
- ^ or Glazer
- ^ Richard Neutra Museum of Modern Art, New York.
- ^ Richard Neutra Museum of Modern Art, New York.
- ^ Richard Neutra Museum of Modern Art, New York.
- ^ "Cal Poly Pomona Given Neutra Research House". Los Angeles Times. 1980-03-02.
- ^ "Architect's Home Given To Cal Poly". Los Angeles Times. 1980-05-18.
- ^ Lauren Beale (October 14, 2011), Richard Neutra-designed Kronish house sells for $12.8 million Los Angeles Times.
- ^ Leet, Stephen (2004). Richard Neutra's Miller House. Princeton Architectural Press. ISBN 1-56898-274-7.
- ^ Neumann, Dietrich, ed. (2001). Richard Neutra's Windshield House. Yale University Press. ISBN 0-300-09203-2.
- ^ Wyatt, Edward (October 31, 2007). "A Landmark Modernist House Heads to Auction". New York Times. http://www.nytimes.com/2007/10/31/arts/design/31hous.html?_r=1&oref=slogin. Retrieved 2008-05-24.
- ^ Judith Gura (May 1, 2008). Richard Neutra's Kaufmann House. ARTINFO. http://www.artinfo.com/news/story/27440/richard-neutras-kaufmann-house/. Retrieved 2008-05-14
- ^ http://www.trianglemodernisthouses.com/neutra.htm
- ^ http://www.allbusiness.com/construction/4360438-1.html
- ^ Troxell Residence at LandLiving.com
- ^ "Transitions". Preservation (National Trust for Historic Preservation) 64 (1): 6. January 2012.
- ^ Obituary For A Consulate Office Building 19 January 2011 Retrieved 31 March 2011
- ^ Eastman, Janet (April 17, 2008). "The clock is ticking for Richard Neutra's VDL Research House II". Los Angeles Times. Archived from the original on 2008-04-21. http://web.archive.org/web/20080421231330/http://www.latimes.com/features/home/la-hm-neutra17apr17,1,5038364.story. Retrieved 2008-05-24.
- ^ Ayyüce, Orhan (March 17, 2008). "Neutra's VDL House; v. Hard Times". archinect.com. http://archinect.com/features/article.php?id=72721_0_23_0_C. Retrieved 2008-05-24.
- ^ VDL House website by Cal Poly Pomona College of Environmental Design
Other sources[link]
- McCoy, Esther (1960). Five California Architects. Reinhold Publishing. ISBN 0-275-71720-8.
- * reprinted in 1975 by Praeger
- Hines, Thomas (1982). Richard Neutra and the Search for Modern Architecture. Oxford University Press. ISBN 0-19-503028-1.
- * reprinted in 1994 by the University of California Press
- * reprinted in 2006 by Rizzoli Publications
- Lavin, Sylvia (December 1999). "Open the Box: Richard Neutra and the Psychology of the Domestic Environment". Assemblage (The MIT Press) 40 (40): 6–25. DOI:10.2307/3171369. JSTOR 3171369.
- Lamprecht, Barbara (2000). Richard Neutra: Complete Works. Taschen. ISBN 3-8228-6622-9.
- Lamprecht, Barbara (2004). Richard Neutra, 1892–1970: Survival Through Design. Taschen. ISBN 3-8228-2773-8.
- Lavin, Sylvia (2005). Form Follows Libido: Architecture and Richard Neutra in a Psychoanalytic Culture. MIT Press. ISBN 0-262-12268-5.
- Cronan, Todd (July 2011). "Danger in the Smallest Dose: Richard Neutra's Design Theory". Design and Culture (Berg Publishers) 3 (2): 165–191. DOI:10.2752/175470811X13002771867806.
External links[link]
|
Wikimedia Commons has media related to: Richard Neutra |
- Finding Aid for the Richard and Dion Neutra Papers, Special Collections, Young Research Library, UCLA.
- Neutra Institute for Survival Through Design
- Neutra at GreatBuildings.com
- Neutra at modernsandiego.com
- Neutra biography at r20thcentury.com
- info and photos from Winkens.ie
- History, plans and photographs of the VDL I & VDL II Research Houses
- Neutra VDL Studio and Residences iPad App
See also: Neutra (disambiguation)
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||||||||
| Persondata | |
|---|---|
| Name | Neutra, Richard |
| Alternative names | |
| Short description | |
| Date of birth | April 8, 1892 |
| Place of birth | Vienna |
| Date of death | April 16, 1970 |
| Place of death | Wuppertal, Germany |
http://wn.com/Richard_Neutra
Related pages:
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http://pt.wn.com/Richard Neutra
http://ru.wn.com/Нойтра, Рихард
http://de.wn.com/Richard Neutra
http://fr.wn.com/Richard Neutra
http://it.wn.com/Richard Neutra
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This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Richard_Neutra
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
| Pedro the Lion | |
|---|---|
 Pedro the Lion performing |
|
| Background information | |
| Origin | Seattle, Washington, United States |
| Genres | Indie rock Slowcore |
| Years active | 1995–2006 |
| Labels | Jade Tree Suicide Squeeze Architecture Label Tooth & Nail Made in Mexico |
| Website | pedrothelion.com |
| Members | |
| David Bazan, various backing musicians | |
Pedro the Lion was an indie rock band from Seattle, Washington. Singer-songwriter David Bazan formed the band in 1995 and represented its main creative force, backed by a varying rotation of collaborating musicians. T. W. Walsh is considered to be the sole official band member besides Bazan. In 2006, Bazan and Walsh split amicably and Pedro the Lion was dissolved as Bazan went solo. Releasing four full-length albums and five EPs over 11 years, the band was known for its first person narrative lyrics with political and religious themes. Pedro The Lion was managed by Bob Andrews at Undertow Music Collective.
Contents |
Biography[link]
Pedro the Lion was formed by David Bazan in 1995[1] and released its debut EP Whole in April 1997. Bazan played nearly every instrument on the band's first two full-length albums, It's Hard to Find a Friend (1998) and Winners Never Quit (2000).
Winners marked Pedro the Lion's first concept album.[2] After its completion, Bazan has claimed he initially decided not to continue writing concept albums.[2] However, in the process of writing his next full-length Control, he realized he had inadvertently created a narrative link "about 70% of the way through [the album]" and decided to finish it in the same vein.[2] The album's thematic content criticizes American capitalism, which Bazan notes was largely inspired by the sentiments surrounding the World Trade Organization protests in 1999.[2]
Control also saw Casey Foubert of Seattle-based Seldom join Pedro the Lion to play the drums and keyboard. He additionally co-wrote "Penetration" and "Second Best", the third and eighth tracks, respectively, on the album, which was released in 2002.
Achilles Heel followed, released on May 24, 2004, and marked the beginning of Bazan's partnership with T.W. Walsh as the band's primary writers and musicians.[3] Bazan described the tracks in the third full-length from Pedro the Lion as a return to the songwriting characterized by Friend and the Secure EP in the sense that there was no "pretense of anything bigger", an allusion to his previous concept albums.[2]
In early January 2006, Pedro the Lion formally announced that they had split. The split was amicable; Bazan and Walsh continue to be good friends. Bazan said that their friendship has even been strengthened by the breakup.[4] Bazan toured in support of Fewer Moving Parts, his solo debut EP. Walsh returned to his career as a Web application developer[5] and is busy with his band, The Soft Drugs, and their debut release, In Moderation. David Bazan released his debut solo LP, Curse Your Branches, on Seattle-based Barsuk Records in 2009.
Discography[link]
Albums[link]
- It's Hard to Find a Friend - Made In Mexico/Jade Tree - 1998
- Winners Never Quit - Jade Tree - 2000
- Control - Jade Tree - 2002
- Achilles Heel - Jade Tree - 2004
EPs[link]
- Whole EP - Tooth & Nail - 1997
- The Only Reason I Feel Secure - Made In Mexico / Jade Tree - 1999
- Progress - Suicide Squeeze - 2000
- Tour EP '04 - Self-released / Jade Tree - 2004
- Stations - 2004
Compilations[link]
- "The Longer I Lay Here" (live) - Exploitation of Sound Vol. 1 - Hero Music - 1999
- "Breadwinner You" - The Unaccompanied Voice : An A Capella Compilation - Secretly Canadian - 1998
- "Rapture", "Backwoods Nation" - Location Is Everything Vol. 1 - Jade Tree - 2002
- "I Do" (live) - Location Is Everything Vol. 2 - Jade Tree - 2004
- "I Heard the Bells On Christmas Day" (new rendition) - Maybe This Christmas Tree - Nettwerk - 2004
Singles[link]
The band released various 45 rpm singles in limited quantities:
| Title | Year | Label | Pressings |
| "Big Trucks" | 1998 | Made In Mexico | 1,000 |
| "Song A" / "Song B" (Sub Pop Singles Club) | 1999 | Sub Pop | 1,300 |
| "Helicopter" | 1999 | Homemade Recordings *Not an official PTL release | 1,000: 250 on red vinyl, 750 on black vinyl |
| "Progress" / A Guitar for Janie | 2000 | Suicide Squeeze | 2,000: black vinyl + story book |
| "I Heard the Bells on Christmas Day" | 2002 | Suicide Squeeze | 1,500: 500 on green vinyl, 1,000 on red vinyl |
| "The Poison Makes" / "Walk Slow" (Pedro the Lion / Seldom split) | 2003 | Bedside Recordings | 500: hand-numbered |
| "The First Noel" | 2003 | Suicide Squeeze | 3,000: white vinyl |
| "God Rest Ye Merry Gentlemen" | 2005 | Suicide Squeeze | 2,000: marbled vinyl |
See also: David Bazan discography, Headphones discography
Personnel[link]
| Member | Contribution | Tenure | Associated acts |
| David Bazan | vocals, guitar, bass, drums, synthesizer, percussion | 1997–2005 | Headphones, The Undertow Orchestra, Unwed Sailor, others |
| Benjamin Brubaker | drums | 1998, 2003 | |
| Jeremy Dybash | drums | 1998 | Velour 100 |
| Johnathon Ford | bass | 1998 | Unwed Sailor |
| Casey Foubert | drums, keyboards | 2001–2004 | Seldom, Crystal Skulls, Sufjan Stevens |
| Ben Gibbard | bass | 2000 | Death Cab For Cutie, The Postal Service, ¡All-Time Quarterback! |
| Josh Golden | bass | 1998–2000 | Damien Jurado |
| Frank Lenz | drums | 2004–2005 | Starflyer 59, Headphones, Fold Zandura, The Lassie Foundation, others |
| Ken Maiuri | bass | 2004–2005 | The Mammals, The Soft Drugs, Mark Mulcahy |
| Trey Many | drums, bass, guitar | 1998, 2000–2001, 2005 | Velour 100, Starflyer 59, His Name Is Alive |
| Yuuki Matthews | keyboards | 2000–2001 | Seldom, Crystal Skulls, Sufjan Stevens, The Shins |
| James McAlister | keys, percussion, drums | 2004 | Ester Drang, Sufjan Stevens, Denison Witmer |
| Paul Mumaw | drums | 1998 | Rose Blossom Punch |
| Brian Olson | drums | 1997 | |
| Nick Peterson | guitar | 1997–1999 | Fleet Foxes, Headphones |
| Tim Schiefer | guitar | 1997 | |
| Travis Smith | bass | 1997 | |
| Tim Walsh | bass, guitar, keys, drums | 2000, 2002, 2003–2005 | The Soft Drugs, Headphones |
| Christian Wargo | guitar | 2003 | Fleet Foxes, Crystal Skulls, Scientific |
| Blake Wescott | drums | 1998 | Seldom, Crystal Skulls, Damien Jurado, Denison Witmer, others |
| Casey Wescott | 2001 | Fleet Foxes, The Vogue, Seldom, Crystal Skulls |
Soundtracks[link]
- The band is featured in the 2004 Christian music documentary Why Should the Devil Have All the Good Music?[6]
Notes and references[link]
- ^ "David Bazan". DavidBazan.com. Archived from the original on 2006-12-08. http://web.archive.org/web/20061208204658/http://www.davidbazan.com/pedro-the-lion.php. Retrieved 2006-12-07.
- ^ a b c d e Josh Holden (2004-01-12). "An interview with David Bazan". The Other Journal at Mars Hill Graduate School. http://www.theotherjournal.com/article.php?id=32. Retrieved 2010-03-29.
- ^ "Pedro the Lion: Sharing the Lion's Den". TimMcMahan.com. http://www.timmcmahan.com/pedro2.htm. Retrieved 2006-06-09.
- ^ Brundage, Matthew (February 11, 2006). "Interview with David Bazan". Iota Club and Cafe, Arlington, VA.
- ^ "A Conversation with TW Walsh". http://hardtofindafriend.com. http://hardtofindafriend.blogspot.com/2006/11/conversation-with-tw-walsh_20.html. Retrieved 2007-10-27.
- ^ "DVD Review: Why Should the Devil Have All the Good Music?". Entertainment Weekly. http://www.ew.com/ew/article/review/dvd/0,6115,1154498_2_0_,00.html. Retrieved 2006-05-04.
External links[link]
|
Wikimedia Commons has media related to: Pedro the Lion |
http://wn.com/Pedro_the_Lion
Related pages:
http://pt.wn.com/Pedro the Lion
This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Pedro_the_Lion
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
For the currency, see Eco (currency).
 |
|
| Born | (1932-01-05) 5 January 1932 (age 80) Alessandria, Piedmont, Italy |
|---|---|
| Era | 20th / 21st-century philosophy |
| Region | Western Philosophy |
| School | Semiotics |
| Notable ideas | The "open work" ("opera aperta") |
| Signature |  |
| Semiotics |
|---|
| General concepts |
| Methods |
| Semioticians |
|
Mikhail Bakhtin · Roland Barthes |
| Related topics |
Umberto Eco Knight Grand Cross (born 5 January 1932) is an Italian semiotician, essayist, philosopher, literary critic, and novelist. He is best known for his groundbreaking 1980 novel Il nome della rosa (The Name of the Rose), an intellectual mystery combining semiotics in fiction, biblical analysis, medieval studies and literary theory. He has since written further novels, including Il pendolo di Foucault (Foucault's Pendulum) and L'isola del giorno prima (The Island of the Day Before). His most recent novel Il cimitero di Praga (The Prague Cemetery), released in 2010, was a best-seller.
Eco has also written academic texts, children's books and many essays. He is founder of the Dipartimento di Comunicazione at the University of San Marino, President of the Scuola Superiore di Studi Umanistici, University of Bologna, member of the Accademia dei Lincei (since November 2010) and an Honorary Fellow of Kellogg College, University of Oxford.
Contents |
Biography[link]
Eco was born in the city of Alessandria in the region of Piedmont in northern Italy. His father, Giulio, was an accountant before the government called upon him to serve in three wars. During World War II, Umberto and his mother, Giovanna, moved to a small village in the Piedmontese mountainside. Eco received a Salesian education, and he has made references to the order and its founder in his works and interviews.[1] His family name is supposedly an acronym of ex caelis oblatus (Latin: a gift from the heavens), which was given to his grandfather (a foundling) by a city official.[2]
His father was the son of a family with thirteen children, and urged Umberto to become a lawyer, but he entered the University of Turin in order to take up medieval philosophy and literature, writing his thesis on Thomas Aquinas and earning his Laurea in philosophy in 1954. During his university studies, Eco stopped believing in God and left the Roman Catholic Church.[3][4] After this, Eco worked as a cultural editor for the state broadcasting station Radiotelevisione Italiana (RAI) and also lectured at the University of Turin (1956–1964). A group of avant-garde artists, painters, musicians, writers, whom he had befriended at RAI (Gruppo 63), became an important and influential component in Eco's future writing career. This was especially true after the publication of his first book in 1956, Il problema estetico in San Tommaso, which was an extension of his doctoral thesis. This also marked the beginning of his lecturing career at his alma mater.
In September 1962, he married Renate Ramge, a German art teacher with whom he has a son and a daughter. He divides his time between an apartment in Milan and a vacation house near Urbino. He has a 30,000 volume library in the former and a 20,000 volume library in the latter.[5] In 1992–1993 Eco was the Norton professor at Harvard University. On May 23, 2002, Eco received an honorary Doctor of Letters from Rutgers University in New Brunswick, New Jersey. Eco is a member of the Italian skeptic organization CICAP.[6]
Works[link]
Studies on medieval aesthetics[link]
In 1959, he published his second book, Sviluppo dell'estetica medievale (The Development of Medieval Aesthetics), which established Eco as a formidable thinker in medieval philosophy and proved his literary worth to his father. After 18 months' military service in the Italian Army, he left RAI in 1959 to become the senior non-fiction editor of the Bompiani publishing house in Milan, a position he occupied until 1975. Eco's work on medieval aesthetics stressed the distinction between theory and practice.[citation needed] About the Middle Ages, he wrote that there was "a geometrically rational schema of what beauty ought to be, and on the other [hand] the unmediated life of art with its dialectic of forms and intentions", the two cut off from one another as if by a pane of glass. Eco's work in literary theory has changed focus over time. Initially, he was one of the pioneers of "Reader Response".[citation needed]
Literary criticism[link]
During these years,[which?] Eco began seriously developing his ideas on the "open" text and on semiotics, writing many essays on these subjects, and in 1962 he published Opera aperta (translated into English as "The Open Work"). In it, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. Literature which limits one's potential understanding to a single, unequivocal line, the closed text, remains the least rewarding, while texts that are the most active between mind and society and life (open texts) are the most lively and best—although valuation terminology is not his primary area of focus. Eco emphasizes the fact that words do not have meanings that are simply lexical, but rather, they operate in the context of utterance.[citation needed] I. A. Richards and others said as much, but Eco draws out the implications for literature from this idea.[citation needed] He also extended the axis of meaning from the continually deferred meanings of words in an utterance to a play between expectation and fulfilment of meaning.[citation needed] Eco comes to these positions through study of language and from semiotics, rather than from psychology or historical analysis (as did theorists such as Wolfgang Iser, on the one hand, and Hans-Robert Jauss, on the other).
Studies on mass media and mass culture[link]
From the late '50s till the late '60s, before his semiotic turn, Eco engaged in studies on mass media and mass culture, which were published in various newspapers and journals.[7] According to some[who?] these studies were influential although he did not develop a full-scale theory in this field.[citation needed]
His short 1961 essay Fenomenologia di Mike Bongiorno (Phenomenology of Mike Bongiorno, on the most popular quiz show host, Mike Bongiorno), received much notoriety among the general public, and has drawn endless questions by journalists in every public appearance by Eco; it was later included in the collection Diario minimo (1963). His book Apocalittici e integrati (1964) analyzes the phenomenon of mass communication from a sociological perspective.
In 1967 he gave the influential lecture Towards a Semiological Guerrilla Warfare,[8] which coined the influential term "semiological guerrilla," and influenced the theorization of guerrilla tactics against mainstream mass media culture, such as guerrilla television and culture jamming.[citation needed] Among the expressions used in the essay, are "communications guerrilla warfare" and "cultural guerrilla."[9][10] The essay was later included in Eco's book Faith in Fakes.
Semiotics[link]
Eco co-founded Versus: Quaderni di studi semiotici (known as VS among Italian academics), an influential semiotic journal. VS has become an important publication platform for many scholars whose work is related to signs and signification. The journal's foundation and activities have contributed to the growing influence of semiotics as an academic field in its own right, both in Italy and in the rest of Europe. Most of the well-known European semioticians, among them Eco, A.J. Greimas, Jean-Marie Floch, Paolo Fabbri, Jacques Fontanille, Claude Zilberberg, Ugo Volli and Patrizia Violi, have published original articles in VS. Articles by younger, less famous scholars dealing with new research perspectives in semiotics also find place in almost every issue of VS.
Action in anthropology[link]
In 1988, at the University of Bologna, Eco created an unusual program called Anthropology of the West from the perspective of non-Westerners (African and Chinese scholars), as defined by their own criteria. Eco developed this transcultural international network based on the idea of Alain Le Pichon in West Africa. The Bologna program resulted in a first conference in Guangzhou, China, in 1991 entitled "Frontiers of Knowledge." The first event was soon followed by an Itinerant Euro-Chinese seminar on "Misunderstandings in the Quest for the Universal" along the silk trade route from Canton to Beijing. The latter culminated in a book entitled The Unicorn and the Dragon, which discussed the question of the creation of knowledge in China and in Europe. Scholars contributing to this volume were from China, including Tang Yijie, Wang Bin and Yue Dayun, as well as from Europe: (Furio Colombo, Antoine Danchin, Jacques Le Goff, Paolo Fabbri, Alain Rey)[11]
In 2000 a seminar in Timbuktu (Mali), was followed by another gathering in Bologna to reflect on the conditions of reciprocal knowledge between East and West. This in turn gave rise to a series of conferences in Brussels, Paris, and Goa, culminating in Beijing in 2007. The topics of the Beijing conference were "Order and Disorder","New Concepts of War and Peace", "Human Rights" and "Social Justice and Harmony". Eco presented the opening lecture. The following anthropologists gave presentations: from India (Balveer Arora, Varun Sahni, Rukmini Bhaya Nair); from Africa (Moussa Sow); from Europe (Roland Marti, Maurice Olender); from Korea (Cha Insuk); from China (Huang Ping, Zhao Tinyang). Also on the program were scholars from the domains of law or science: (Antoine Danchin, Ahmed Djebbar, Dieter Grimm).[12] Eco's interest in East/West dialogue to facilitate international communication and understanding also correlates with his related interest in the international auxiliary language Esperanto.
Novels[link]
Eco's fiction has enjoyed a wide audience around the world, with many translations. His novels are full of subtle, often multilingual, references to literature and history and his dense, intricate plots tend to take dizzying turns. Eco's work illustrates the concept of intertextuality, or the inter-connectedness of all literary works. Eco cites James Joyce and Jorge Luis Borges as the two modern authors who have influenced his work the most.[13]
Eco employed his education as a medievalist in his first novel The Name of the Rose (1980), a historical mystery set in a 14th century monastery. Franciscan friar William of Baskerville, aided by his assistant Adso, a Benedictine novice, investigates a series of murders at a monastery that is to host an important religious debate. The novel contains many direct or indirect metatextual references to other sources, requiring the detective work of the reader to 'solve'. The title is unexplained in the book. As a symbol, the rose is ubiquitous enough to not confer any single meaning.[14] There is a tribute to Jorge Luis Borges, a major influence on Eco, in the blind monk and librarian Jorge of Burgos: Borges, like Jorge, lived a celibate life consecrated to his passion for books, and also went blind in later life. William of Baskerville is a logically-minded Englishman who is a monk and a detective, and his name evokes both William of Ockham and Sherlock Holmes (by way of The Hound of the Baskervilles). Several passages describing him are strongly reminiscent of Sir Arthur Conan Doyle's description of Sherlock Holmes[15][16] . The underlying mystery of the murder is borrowed from the "Arabian Nights". The Name of the Rose was later made into a motion picture starring Sean Connery, F. Murray Abraham, Christian Slater and Ron Perlman which employs the plot rather than the philosophical and historical themes from the novel.
In Foucault's Pendulum (1988), three under-employed editors who work for a minor publishing house decide to amuse themselves by inventing a conspiracy theory. Their conspiracy, which they call "The Plan", is about an immense and intricate plot to take over the world by a secret order descended from the Knights Templar. As the game goes on, the three slowly become obsessed with the details of this plan. The game turns dangerous when outsiders learn of The Plan, and believe that the men have really discovered the secret to regaining the lost treasure of the Templars.
The Island of the Day Before (1994) was Eco's third novel. The book, set in the seventeenth century, is about a man marooned on a ship within sight of an island which he believes is on the other side of the international date-line. The main character is trapped by his inability to swim and instead spends the bulk of the book reminiscing on his life and the adventures that brought him to be marooned.
Baudolino was published in 2000. Baudolino is a knight who saves the Byzantine historian Niketas Choniates during the sack of Constantinople in the Fourth Crusade. Claiming to be an accomplished liar, he confides his history, from his childhood as a peasant lad endowed with a vivid imagination, through his role as adopted son of Emperor Frederic Barbarossa, to his mission to visit the mythical realm of Prester John. Throughout his retelling, Baudolino brags of his ability to swindle and tell tall tales, leaving the historian (and the reader) unsure of just how much of his story was a lie.
The Mysterious Flame of Queen Loana (2005) is about Giambattista Bodoni, an old bookseller specializing in antiques who emerges from a coma with only some memories to recover his past.
The Prague Cemetery, Eco's 6th novel, was published in 2010. It is the story of a secret agent who "weaves plots, conspiracies, intrigues and attacks, and helps determine the historical and political fate of the European Continent." The book is a narrative of the rise of Modern-day antisemitism, by way of the Dreyfus Affair, The Protocols of the Elders of Zion and other important 19th century events which gave rise to hatred and hostility toward the Jewish people.
Selected bibliography[link]
Main article: Bibliography of Umberto Eco
Novels[link]
- Il nome della rosa (1980; English translation: The Name of the Rose, 1983)
- Il pendolo di Foucault (1988; English translation: Foucault's Pendulum, 1989)
- L'isola del giorno prima (1994; English translation: The Island of the Day Before, 1995)
- Baudolino (2000; English translation: Baudolino, 2001)
- La misteriosa fiamma della regina Loana (2004; English translation: The Mysterious Flame of Queen Loana, 2005)
- Il cimitero di Praga (2010; English translation: The Prague Cemetery, 2011)
Non-fiction books[link]
- Il problema estetico in San Tommaso (1956 – English translation: The Aesthetics of Thomas Aquinas, 1988, revised)
- "Sviluppo dell'estetica medievale", in Momenti e problemi di storia dell'estetica (1959 – Art and Beauty in the Middle Ages, 1985)
- Opera aperta (1962, rev. 1976 – English translation: The Open Work (1989)
- Diario Minimo (1963 – English translation: Misreadings, 1993)
- Apocalittici e integrati (1964 – Partial English translation: Apocalypse Postponed, 1994)
- Le poetiche di Joyce (1965 – English translations: The Middle Ages of James Joyce, The Aesthetics of Chaosmos, 1989)
- La Struttura Assente (1968 – The Absent Structure)
- Il costume di casa (1973 – English translation: Faith in Fakes: Travels in Hyperreality, 1986)
- Trattato di semiotica generale (1975 – English translation: A Theory of Semiotics, 1976)
- Il Superuomo di massa (1976)
- Dalla periferia dell'impero (1977)
- Lector in fabula (1979)
- The Role of the Reader: Explorations in the Semiotics of Texts (1979 – English edition containing essays from Opera aperta, Apocalittici e integrati, Forme del contenuto (1971), Il Superuomo di massa, Lector in Fabula).
- Sette anni di desiderio (1983)
- Postille al nome della rosa (1983 – English translation: Postscript to The Name of the Rose, 1984)
- Semiotica e filosofia del linguaggio (1984 – English translation: Semiotics and the Philosophy of Language, 1984)
- De Bibliotheca (1986 – in Italian and French)
- I limiti dell'interpretazione (1990 – The Limits of Interpretation, 1990)
- Interpretation and Overinterpretation (1992 – with R. Rorty, J. Culler, C. Brooke-Rose; edited by S. Collini)
- La ricerca della lingua perfetta nella cultura europea (1993 – English translation: The Search for the Perfect Language (The Making of Europe), 1995)
- Six Walks in the Fictional Woods (1994)
- Incontro – Encounter – Rencontre (1996 – in Italian, English, French)
- In cosa crede chi non crede? (with Carlo Maria Martini), 1996 – English translation: Belief or Nonbelief?: A Dialogue, 2000)
- Cinque scritti morali (1997 – English translation: Five Moral Pieces, 2001)
- Kant e l'ornitorinco (1997 – English translation: Kant and the Platypus: Essays on Language and Cognition, 1999)
- Serendipities: Language and Lunacy (1998)
- How to Travel with a Salmon & Other Essays (1998 – Partial English translation of Il secondo diario minimo, 1994)
- Experiences in Translation, University of Toronto Press (2000)
- Sulla letteratura, (2003 – English translation by Martin McLaughlin: On Literature, 2004)
- Mouse or Rat?: Translation as negotiation (2003)
- Storia della bellezza (2004, co-edited with Girolamo de Michele – English translation: History of Beauty/On Beauty, 2004)
- A passo di gambero. Guerre calde e populismo mediatico (Bompiani, 2006 – English translation: Turning Back the Clock: Hot Wars and Media Populism, 2007, Alastair McEwen)
- Storia della bruttezza (Bompiani, 2007 – English translation: On Ugliness, 2007)
- Dall'albero al labirinto: studi storici sul segno e l'interpretazione (Bompiani, 2007)
- La Vertigine della Lista (Rizzoli, 2009) - English translation: The Infinity of Lists
- Costruire il nemico e altri scritti occasionali (Bompiani, 2011)
Anthologies[link]
- Eco, Umberto; Sebeok, Thomas A., eds. (1984), The Sign of Three: Dupin, Holmes, Peirce, Bloomington, IN: History Workshop, Indiana University Press, ISBN 978-0-253-35235-4
Ten essays on methods of abductive inference in Poe's Dupin, Doyle's Holmes, Peirce and many others, 236 pages..
Books for children[link]
(Art by Eugenio Carmi)
- La bomba e il generale (1966, Rev. 1988 – English translation: The Bomb and the General)
- I tre cosmonauti (1966 – English translation: The Three Astronauts)
- Gli gnomi di Gnu (1992 – English translation: The Gnomes of Gnu)
References[link]
- ^ Don Bosco in Umberto Eco's latest book N7: News publication for the Salesian community p.4 June 2004
- ^ A Short Biography of Umberto Eco 22 March 2004
- ^ A Resounding Eco in Time, June 13, 2005 quote: "His new book touches on politics, but also on faith. Raised Catholic, Eco has long since left the church. "Even though I'm still in love with that world, I stopped believing in God in my 20s after my doctoral studies on St. Thomas Aquinas. You could say he miraculously cured me of my faith,"
- ^ Liukkonen, Petri (2003) Umberto Eco (1932–) – Pseudonym: Dedalus
- ^ Farndale, Nigel (2005-05-24). "Heavyweight champion". Telegraph.co.uk. The Daily Telegraph. http://www.telegraph.co.uk/culture/books/3642577/Heavyweight-champion.html. Retrieved 2009-10-23.
- ^ McMahon, Barbara (October 6, 2005). "No blood, sweat or tears". The Guardian. http://www.guardian.co.uk/world/2005/oct/06/worlddispatch.italy. Retrieved July 28, 2009.
- ^ Capozzi (2008)
- ^ Strangelove (2005) pp.104-5 quote: "oft-quoted article"
- ^ Eco (1967)
- ^ Bondanella (2005) pp.53, 88–9
- ^ "A Conversation on Information" Interview with Umberto Eco by Patrick Coppock, February, 1995
- ^ "Vegetal and mineral memory", November 2003. Considers, among other things, encyclopedias
- ^ Eco (2006) On Literature Vintage
- ^ Eco, Umberto; Translator: W. Weaver. (1985) (in English, translated from Italian.). Reflections on The Name of the Rose. London: Martin Secker & Warburg Limited.
- ^ Eco, Umberto (1986). The Name of the Rose. New York: Warner Books. pp. 10. ISBN 0-446-34410-9.
- ^ Doyle, Arthur Conan (2003). Sherlock Holmes: The Complete Novels and Stories Vol 1. New York: Bantam Books. pp. 11. ISBN 0-553-21241-9.
External links[link]
 |
Wikiquote has a collection of quotations related to: Umberto Eco |
- Official Website from the Scuola superiore di studi umanistici
- Porta Ludovica: An extensive Umberto Eco resource.
- Umberto Eco Wiki - wiki annotation guide to Eco's works
- Lila Azam Zanganeh (Summer 2008). "Umberto Eco, The Art of Fiction No. 197". Paris Review. http://www.theparisreview.org/interviews/5856/the-art-of-fiction-no-197-umberto-eco.
- Website on Umberto Eco
- Audio: Eco talk at UC Berkeley (1982): "From Aristotle to Sherlock Holmes" (online audio recording)
- "We Like Lists Because We Don't Want to Die" interview by Susanne Beyer and Lothar Gorris.
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| Persondata | |
|---|---|
| Name | Eco, Umberto |
| Alternative names | |
| Short description | Writer and philosopher |
| Date of birth | 1932-01-05 |
| Place of birth | Alessandria |
| Date of death | |
| Place of death | |
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