Timeline of ArtThe Thread:
The thread which joins all the isms in the twentieth century are itsslow evolution from one period to another. As artists from one conceptswere exploring a certain idea that led to another either just for the sakeof the curiosity or by sheer boredom. Therefore my paper deals with theevolution of different isms in this century. Fauvism:
From 1904-7, for a very brief period, a few Paris painters evolved astyle of painting that earned the name Les Fauves (wild beasts). HenriMatisse, Andre Derain and Maurice Vlaminck were the major contributors tothis style of painting which gained popularity due to its apparent freedomof expression with the use of pure colors and exaggeration of drawing.Among all of the twentieth century art movements, this was the mosttransient and least definable. The three major painters’ work was highlyindividual and shared only for brief periods. The momentary excitementthat held these painters aloft and allowed them the maximum of freedom,deserted them as their work developed and matured. The hangover from thismovement led to new means of expression. It was never a movement with aimsthat could be realized such as successive movements as Cubism was, but wasa erratic process of experiments with possibilities suggested by the post-impressionist painters.
Cubism, which began very shortly after Fauvism, is exemplified byPablo Picasso. In this movement the flattened space including backgroundand foreground are related in a new and more abrupt manner. The firsteffect is of a camera in motion, a kaleidoscopic impression of the solidportions of the figure. This certain feature can be contrasted to theimpressionist movements’ works. Added to this kaleidoscopic quality isanother new element. Picasso and his Cubist colleagues disintegrated theform into a series of simultaneously viewed but different aspects of thesame subject. A cubist painter, to achieve a greater understanding, walkedabout the subject, observing it from significant various angles andrecording them as his impressions of form. But this procedure led toactual destruction of form and its reduction to a series of decorativeelements. Negro art and sculpture had a profound effect and it was quiteextensively used by Picasso. Negro sculpture approved his subject in amore conceptual way than a naturalistic depiction, mostly by a western view.This resulted in forms that were more abstract and stylized and in a sense