Find two paintings and one sculpture, each of which appears concerned with modernity, modernism and modernization. Indicate the relevant features on annotated reproductions.

The following questions should help. • Does the subject seem to be of its time? • Does the work or its subject matter appear mechanical? • Does the artist exploit the look of the medium?

Having done some background reading on Modernism in terms of Art, I would like to answer this question based solely on my understanding on Modern Art, rather than addressing the helpful questions above.

My understanding of Modern Art is that it is firstly different from other “periods” of art history in that it does not apply to specific dates. The term Modernist/Modernism rather applies to a style and approach to art that was evident across wide ranging time periods, depending on how one classifies an artwork (course text). The Museum of Modern Art describes modern art as “work made after 1880, when the atmosphere was ripe for avant-garde artists to take their work in new, unexpected and ‘modern’ directions” (MoMA, Powerpoint). Artists who undertook this new ‘modern’ approach were more influenced by their own thoughts, emotions and experiences than traditional artists, who would focus on the theme of the painting, it’s “realness” or it’s subject. The techniques and mediums that were used also became much more free and non-typical, with brushstrokes, depth perception, colours, materials and textures coming to the fore of the work.

Find two paintings and one sculpture, each of which appears concerned with modernity, modernism and modernization. Indicate the relevant features on annotated reproductions:

1. Experimentation with line: spots of colour made with repeating, quick brushstrokes categorise this painting as Modernist, which rejected conservative, historical methods and form. Matisse uses small lines to suggest features of the landscape rather than paint it realistically as seen.
2. Form: Matisse used simplistic lines and strokes of colour to create human figures, trees, landscape. Most importantly for the Modernist period is the move away from historical “realistic” painting of the human form, which would capture the subject as realistic to life as possible. Using blue line forms such as these was a clear break from this tradition, and brought the human form to an impression rather than a realistic image.
3. Abstraction: the scene is portrayed in abstraction as opposed to conservative forms of painting where every detail was laid out clearly for the observer. The figures not only don’t represent a realistic depiction of the subject, they also are not positioned as they would have traditionally. None of the figures appear to be looking “at” the observer, but are engaged in their own activities. In historical painting, the subject was often “gazing” at the observer, to draw the observer in, without being engaged in any of the activity in the rest of the painting. Similarly, the picnic blanket holds only the vague impression of crockery, as opposed to realistic interpretations.
4. Use of expressive Colour: the colour palette in this piece is comprised of primary colours and extremely bright. There is little shade evident. The colours of the painting are being used to express an emotion, a feeling of the scene from the artists perspective, rather than an identical depiction of people on the beach. The scene itself seems to be Utopian; the lack of shade, the bright colours, the expressive brushstrokes, the ideal landscape, all produce a feeling of calm and tranquillity that perhaps would not have been communicated, had the painting been done in traditional form.

1. Exploring traditional subject matter, in new ways: Although the subject matter of Still Life is definitely traditional, Modernist artists often approached these traditional subject matters in ways that were unconventional, pushing the boundaries of what art should be. The inclusion of the puppies in this Still Life would have been unusual, since puppies are not “still” objects that can be captured over time. Their form is unusual in that it does not depict a realistic image of a puppies but rather a “still moment” that the artist experienced while they were feeding. None of the puppies are complete or in proportion, giving the impression that their image was “captured” momentarily, almost as though taken by a camera, which would have been a new technology at the time. One of the aims of Modern Art was to try to capture the now rapidly changing environment in which the artists lived. The puppies and their dish are almost equal size to the fruit and goblets which would be “closer” to the artist on the table, the focal point of the painting appears to be the goblets in the centre as though you were looking down on to the scene, rather than straight at it from ground level. Again, this evokes a sense of photography rather than traditional painting.
2. Painted for the Artist: the goblets are drawn quickly, almost childlike, with little regard to realism or their depth. They are not intended to provide the observer with an identical copy of what the goblets looked like, rather they are painted for the benefit of the artist who wanted to capture objects or moments that were meaningful to him. Traditionally, paintings were commissioned by a “Someone” – usually a wealthy person or institution – and often depicted religious themes or scenes which told a story for the benefit of the patron (or the observer). Modern Painting was based upon the artists own feelings, experiences and emotions. I find the use of these goblets quite interesting, as I would associate them with a church or religious scene, but here they are portrayed in such a different scene that it is unusual.
3. Outlining: each of the objects on the table is outlined in a thick, blue line. This is in opposition to traditional painting techniques which tried to conceal lines through shading and colour. The lines within this painting are bold and strong, intentional. This change in technique identifies the painting as Modern.
4. Perspective: the perspective of the painting is not traditional and emphasises the surface and material of the painting. Rather than attempt to make the scene seem realistic and to scale, the table appears to be at an upturned angle, while the objects on it remain at a normal angle. This adds to the confusing perspective of the painting as something which is almost dreamlike in it’s composition.
5. Brushstrokes: the use of short, sharp, repetitive brushstrokes in impressionist painting challenged the rules of depiction in painting of the past. Rather than make the fruit look like realistic pieces of fruit, the focus is more on the colour and the form. Short, blurred brushstrokes and a vivid colour palette were some of the hallmarks of modern art.

1. Mobility: Alexander Calder was one of the first artists to introduce actual movement into his sculpture. Traditional sculpture was considered static, made from solid natural materials like wood or stone and was immoveable, even when the subject matter was considered to be a scene of movement (For example, Laocoön and His Sons )
2. Subject Matter: traditional sculpture was made to represent something, or someone, and was generally commissioned for a particular reason. The subject matter of the work would often be very obvious, which made it useful when dealing with illiterate populations in ancient cultures. This modern sculpture has no obvious “meaning”. What it represents is personal to the artists, rather than obvious to the nation. The title provides little context, and perhaps deliberately, as it simply describes what the sculpture is; a crinkly form with a red disc. The meaning of the work is left for the viewer to decipher.
3. Colour: traditionally, sculpture that was made of bronze or stone material remained its natural colour – or has since lost it’s painted surface. The use of vivid colour in this sculpture against the dark, muted background of it’s setting, makes it a striking example of modern sculpture
4. Material: Calder used common construction materials for his sculpture. This was a break away from traditional sculpture materials such as stone, wood, bronze.