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Abstract expressionism presented a broad range of stylistic diversity withinits largely, though not exclusively, nonrepresentational framework. Forexample, the expressive violence and activity in paintings by de Kooning orPollock marked the opposite end of the pole from the simple, quiescent
images of Mark Rothko. Basic to most abstract expressionist painting werethe attention paid to surface qualities, i.e., qualities of brushstroke andtexture; the use of huge canvases; the adoption of an approach to space inwhich all parts of the canvas played an equally vital role in the total work; theharnessing of accidents that occurred during the process of painting; theglorification of the act of painting itself as a means of visual communication;and the attempt to transfer pure emotion directly onto the canvas. Themovement had an inestimable influence on the many varieties of work thatfollowed it, especially in the way its proponents used color and materials. Itsessential energy transmitted an enduring excitement to the American artscene. In painting the several sources of cubist inspiration included the later work ofC zanne; the geometric forms and compressed picture space in his paintingsappealed especially to Braque, who developed them in his own works.African sculpture, particularly mask carvings, had enormous influence in theearly years of the movement. Picassos Demoiselles dAvignon (107; Mus.of Modern Art, New York City) is one of the most significant examples ofthis influence. Within this revolutionary composition lay much of the basicmaterial of cubism. The cubist break with the tradition of imitation of nature was completed inthe works of Picasso, Braque, and their many groups of followers. While fewpainters remained faithful to cubisms rigorous tenets, many profited from itsdiscipline. Although the cubist groups were largely dispersed after WorldWar I, their collective break from visual realism had an enriching anddecisive influence on the development of 0th-century art. It provided a newstylistic vocabulary and a technical idiom that remain forceful today. Italian school of painting, sculpture, and literature that flourished from10, when Filippo Tommaso Marinettis first manifesto of futurismappeared, until the end of World War I. Carlo Carrà, Gino Severini, andGiacomo Balla were the leading painters and Umberto Boccioni the chiefsculptor of the group. The architect Antonio Sant Elia also belonged to thisschool. The futurists strove to portray the dynamic character of 0th-centurylife; their works glorified danger, war, and the machine age, attackedacademies, museums, and other establishment bastions, and, in theory atleast, favored the growth of fascism. The group had a major Paris exhibitionin 11 that showed the relationship of their work to . Their approach to therendering of movement by simultaneously representing several aspects offorms in motion influenced many painters, including Duchamp andDelaunay. Futurist principles and techniques strongly influenced Russian . (dä dä) or Dadaism , international nihilistic movement amongEuropean artists and writers that lasted from 116 to 1. Born of thewidespread disillusionment engendered by World War I, it originated inZürich with the poetry of the Romanian Tristan Tzara. Dada attackedconventional standards of aesthetics and behavior and stressed absurdity andthe role of the unpredictable in artistic creation. In Berlin, Dada had politicalovertones, exemplified by the caricatures of George Grosz. The Frenchmovement was more literary in emphasis; it centered around Tristan Tzara,AndrBreton, Louis Aragon, Jean Arp, Marcel Duchamp, Francis Picabia,and Man Ray. The latter three artists carried the spirit of Dada to New YorkCity. Typical were the elegant collages devised by Arp, Kurt Schwitters, andMax Ernst from refuse and scraps of paper, and Duchamps celebrated MonaLisa adorned with a mustache and a goatee. Dada principles were eventuallymodified to become the basis of in 14. The literary manifestations of Dadawere mostly nonsense poems meaningless random combinations ofwords which were read in public. (sere elizem) , literary and art movement influenced by Freudianismand dedicated to the expression of imagination as revealed in dreams, free ofthe conscious control of reason and free of convention. The movement wasfounded (14) in Paris by Andr , with his Manifeste du surr alisme, butits ancestry is traced to the French poets Baudelaire, Rimbaud, Apollinaire,and to the Italian painter, Giorgio de Chirico. Many of its adherents hadbelonged to the movement. In literature, surrealism was confined almostexclusively to France. Surrealist writers were interested in the associationsand implications of words rather than their literal meanings; their works arethus extraordinarily difficult to read. Among the leading surrealist writerswere Louis Aragon, Paul Eluard, Robert , and Jean , the last notedparticularly for his surreal films. In art the movement became dominant in the10s and 0s and was internationally practiced with many and varied formsof expression. Salvador Dalí and Yves Tanguy used dreamlike perception ofspace and dream-inspired symbols such as melting watches and hugemetronomes. Max Ernst and RenMagritte constructed fantastic imageryfrom startling combinations of incongruous elements of reality painted withphotographic attention to detail. These artists have been labeled as veristsbecause their paintings involve transformations of the real world. "Absolute"surrealism depends upon images derived from psychic automatism, thesubconscious, or spontaneous thought. Works by Joan Miró and Andr Masson are in this vein. The movement survived but was greatly diminishedafter World War II. Russian art movement founded c.11 by Vladimir Tatlin(1885-156), related to the movement known as . After 116 the brothersNaum (Pevsner) Gabo and Antoine Pevsner gave new impetus to Tatlins artof purely abstract constructions. Their sculptural works derived from cubismand futurism, but had a more architectonic emphasis related to the technologyof the society in which they were created. The Soviet regime at firstencouraged this new style. However, beginning in 11, constructivism (andall modern art movements) were officially disparaged as unsuitable for masspropaganda purposes. Gabo and Pevsner went into exile, while Tatlinremained in Russia. In theatrical scene design constructivism spread beyondRussia through the efforts of Vsevolod . Please note that this sample paper on early 20th century art is for your review only. In order to eliminate any of the plagiarism issues, it is highly recommended that you do not use it for you own writing purposes. 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