Chip Taylor Communications

Subject: Arts: Art & Artists

Art: Transatlantic Modernism Series

Art historian and author Wanda Corn (The Color of Mood; The Art of Andrew Wyeth; Grant Wood) examines the cultural dynamics that linked art circles in Paris and New York in the opening decades of the 20th century, focusing on painting, sculpture, art films, literature and the decorative arts. Produced Click for more

7. Paris: Cubism and Futurism

07. Paris: Cubism and Futurism

Marsley Hartley, an American artist of Alfred Stieglitz's Circle, traveled in Europe, primarily Germany, between 1912 and 1914 and again in the '20s and was influenced by the experimental work being done at that time, most notably intuitive abstraction, an early type of cubism. Iron Cross of 1914 is a good example of his art, with its symbolic messages and modernist portrayal in bright colors, patterns, strong lines, and overlapping forms. But the true avant-garde artists in Europe before WW I were found in Paris. Between 1907 and 1915 a group led by Pablo Picasso and Georges Braque created a new pictorial language, Cubism, that challenged traditional views of art. Influenced by such industrial inventions as the airplane, Cubism turned objects into intellectual exercises, creating mental gymnastics for the viewer and the artist. This new art alluded to figures, but also used texture and color to became an investigation of modern reality. In Italy this new way of experiencing reality focused on a new tomorrow, and artists there came to be known as the Futurists. These artists glorified speed, motion, violence - "dynamism." They were more aggressive and political than the French Cubists, but the two movements, Cubo/Futurism, created a new pictorial language that transformed art for the rest of the twentieth century. 98/09DE SCA 60 min.

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