Summary of a text

The turn of the 20^th century saw the emergence of a new art driven by Avant-garde artists who were inspired by expression. This ‘art’ was to encapsulate modern vision and be understood and accepted by the masses but the unwillingness to completely move forward from the traditional arts saw French art still drawing inspiration from classical French architecture.

Through social advance, the ‘modern’ era led to Modernisation, modernity and modernism. Modernisation; the evolution of science and technology transformed the world more vastly than any war could and at a pace unprecedented in social advancement. Modernity; the social impact and influence of Modernisation and Modernism. With new technologies and social advancement, classic art was out dated thus needed developing. Expressionism and Futurism carried this notion and expanded across Europe and the World bearing the flag of modernity and expressing prosperity and optimism.

Although the philosophies of modern society had spread worldwide there was still a resistance to such a mammoth change with Sociologist ‘Max Weber’ coining the phrase “iron cage’ when describing its effect on humanity, rubbishing philosophies that recognised modernity as a commanding tool for society. With the changing of society came the change in the ‘class’ system, aristocracy was beginning its demise now that capitalisism no longer served them. The Social hierarchy was affected from the bottom to the very top, poverty-ridden working class to the social elite.

Although art was developing with modern ideology some saw it as an encumbrance to the natural flow and evolution in art. Unlike the Expressionists and futurists, Cubists developed from the avant-garde, with their technical attributes and natural fundamentals cubists were impervious to the modern.

Harrison, G. and Wood, P. (eds.) (1997) ‘Art In Theory: 1900-1990’, Oxford, Blackwell. pp 125-9.