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Art History- 20th Century Modern Art

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Perhaps the most solid background to the creation of abstract art can be dated back to the
modernism abstraction which occurred during the early 20th Century. At the time, abstract art
coded modernism because of its nature to deviate from the mainstream developed and
established forms of art. During the 1960s there was more emergence of abstract expressionism
and this subsequently led to its boom in comparison to the contemporary painting of a hard edge
design. Color field paintings as well as certain sculptures of abstract nature also came into the
picture and were mainly pioneered by critics like Greenberg (Press). Elements like Manet
attracted tremendous contributions at the time to portray the various nuances of pictures and
paintings during that period of time.
According to certain scholars, the effect of modernism in the form of abstract expressions was
borrowed from the 1920s when various emotions and the impacts of the First World War had
taken a toll on many people (Herskovic 127). The US in particular experienced transcendence
that was associated with the new markets that were accompanied by stifling developments and
anxiety. The artists also underwent numerous changes that affected their art and affiliations at
that time. They thus took a new approach to needle the sake of fitting into a new paradigm that
would reveal the present. For these artists, the present was a repletion element of blinding
patently apparent value in line with anachronism.

Pollock is known to portray an artist as a critical being with regard to the art of anachronism. As
depicted during his time, the philosophy of modernism and its intricate ideologies display an
element of free art that quite differ from the traditional conventions that had been established
during the Precambrian times (Pollock 65). The Pollock painting is regarded as an antagonism of
the natural nuances of freehand movement in handiwork. Many questions emanate from the
painting with a subtle link to mosaic creations and these include: What do we see from the
painting by Pollock? How do we interpret the crucial factors that make up its intricacies?
Although the painting is an imitation of a societal object, several elements of abstractions
become evident.
As earlier stated, the true role of an artist is embedded and relative to the feelings and emotions
of expressions therein which is often wrought with periodical events or happenings. In the
making of an artist from the painting, an element of real literariness is cohered from its precipice
and in line with the period, such paintings often depicted the environment in a surreal manner
that amalgamated with idiosyncratic nuances of the artist quite outstanding to the styles as well
as attitude of everyday life as it is in the modern era.
Warhol on the other hand is more explicate in producing replicas without personal attachments.
Essentially, the elements of true art varieties of the society become questionable from such high
art of common stances. In his perspective based on the painting, everyday tin cans, an element of
mass produced, commonly known object, truly portray high art with a sense of abstract realities.
Conjugated in an onion soup painting is the quintessential ideal of an artist because it is quite
different and programmed to the orthodox forces of the society. It is common to find elements of
indespicable replications in such modernistic artifacts. Ideally, an artist in Warhol deviates or
rather escapes from the identity of high art creations. The controversial fact is that a more
dependable and believable trait in the painting is an all-together awareness of its drive, hence the
relics of the painting would speak for themselves.
Therefore, this begs the question whether an artist is a critical performer in the society they form.
And if so, how reliable is the artist if he conforms to the realia of true modernism? Such
questions tend to be realistic and free of any generalizations. In essence, a true artist is a unique
inventor who takes care to reveal the abstract in an artistic and expressionistic manner that can
only be comprehended by the intended concerned audience (Economist Report).
Pollock, being the freehand manipulator he is, relied on emotions and observations wrought with
beauty as well as emotional drives. By using the liquid paint technique, Pollocks painting
defines an artist as a societal scientist using empirical evidences to create experimental nuances
that inform the society. Usage of paint pouring, which was a later art technique by Pollock
defines his ability to adapt and relate to the society he belongs. The unique picture portrays his
capability to transition to a more realistic household paint with the aim of describing nature in
such a freehand technique (Press).
Ideally, a true artist has to adjust and play to the tunes of a myriad of factors. Becoming
universally inclined to one element has the effect of making ones work incomplete. Therefore,
as Pollock displays, an artist is charged with the responsibility of using the whole of his body,
including mind and consciousness to create a painting. Andy Warhol incorporates many media in

his painting to differentiate an artist as a dynamic imitator of the society he lives. His painting
reveals a subtle eminent of exponential beauty that can help outsiders and audiences to define
him.
The Campbell painting creates a question of what art form really should display in the society, in
addition to the true nature of an artist in meeting societal affiliations (Angell 38). The ability to
combine both pop art and the potentiality of art became more evident through the painting. The
question may be made unclear or abstract by the insinuations that the artist offers an economic
paradigm and its eventualities of realistic melodrama. Ideally, an artist of the modern abstract art
is obliged to portray society in absolute embodiment of totality.

Reference
A special report on the art market: The Pop masters highs and lows. The Economist.
November 26, 2009. Web. 19 October 2013.
Angell, Callie. Andy Warhol screen tests: the films of Andy Warhol: catalogue raisonn. New
York City: Harry N. Abrams, Inc. (2006). p. 38. ISBN 0-8109-5539-3.OCLC 61162132.
Herskovic, Marika. American Abstract and Figurative Expressionism Style Is Timely Art Is
Timeless An Illustrated Survey With Artists Statements, Artwork and Biographies. New York
School Press. (2009) pp. 127; 1969. ISBN 978-0-9677994-2-1. OCLC 298188260
Jackson Pollock, My Painting, in Pollock: Painting (edited by Barbara Rose), Agrinde
Publications Ltd: New York (1980), page 65; originally published in Possibilities I, New York,
Winter 1947-8
Press, Oxford University. Grove Art Online. 2009. Web. 19 October 2013.
<http://www.moma.org/collection/theme.php?theme_id=10122>.

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