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Literature & Language
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Topic:
Modernist Painting. Literature & Language Assignment
Essay Instructions:
Using Clement Greenberg's essays "Avant-Garde and Kitsch" and "Modernist Painting", along
with your class notes, discuss the progression of formal innovations in modernist painting from
the mid 19th century through the mid 20th century according to Greenberg. Include specific
examples.
The essay should be 6-9 pages, double spaced and 1-inch margin on all sides. The ideas and opinions of other authors and any quoted materials must be referenced in standard MLA citation format and include a works cited list at the end of the paper. Note: the title of an artwork is treated like the title of a book. It should be either underlined or italicized. Grading will be based on overall quality and content as well as spelling, grammar, punctuation and sentence structure. Establish a question and attempt to provide an answer. Support your argument with information from the artwork and texts at hand.
Essay Sample Content Preview:
Student’s Name
Professors Name
Course Code and Name
Date
Modernist Painting
Greensburg argued out that painting should be self-critical and that is why not every human being is able to paint. He used the various properties of painting such as color to bring out the formal innovations that have been taking place in regard to the modernist painting. These aspects have been existence through the 19th and the 20th century and faced various challenges.
In regard to the modernist painting article written by Greenberg, modernism uses various method to criticize itself especially in the progression of enlightening, philosophy and renaissance. Art has been a medium for establishing critical analysis with the aim of avoiding its sole purpose, which is entertainment. This means that the satisfaction that a person can get from art is unique and cannot be gotten from any other activity. The field of art is broad, but it has been segmented down to enhance individual professionalism. For instance, painting is a part of art whereby the talent of the painter cannot be compared to that of a poet. The modernists considered the different limitations in the world of painting as a challenge that motivated them into producing better work as compared to a case whereby they were not challenged. On the other hand, the masters had a difficult time dealing with the limitations of art. Therefore, I agree with Greenberg in the fact that the critique of art comes within oneself. The manner in which a person handles that critique plays a substantial role in motivating or demoralizing them in their work. For instance, the creation of a two-dimensional image on a flat surface was a challenging aspect to new painters. However, once used, painters found it the easiest thing to do. All they needed was an inspiration to motivate them into creating an image. The challenges of painting were in existence throughout the 19th and the 20th century. New challenges keep emerging every day in the world of painting because the painter has adopted means of dealing with the old challenges.
In regard to the flatness aspect of paintings, modernism acknowledges a two dimensional surface of the picture. This view allows the viewer to recognize the work of art as a painted picture and only with a keen observation; they are able to see the picture in the painting. Greenberg points out that this is the best way possible that a human being can see a picture. However, throughout the years, painters have been able to adopt the three-dimensional aspect. In addition, there is still some resistance to the various sculptural effects especially in the traditional way of painting in the west. This resistance is an indication of the manner in which the modernist painting is strongly attached to its traditional aspects. The western painting got its influence from sculptures which taught the artists on how to shade as well as the creation of relief illusions. Also, they learned how to dispose of the illusion and create the view of deep space that a person could travel into using the eyes. However, over the last four centuries, the modernists have been trying their best to eliminate the aspect of the sculptural influence in the world of painting. Concisely, in the mid-19th century, all types of painting had done away with the influence that they had gotten from sculpturing. For instance, the flattest paintings included portraits. The aspect of flattening is enhanced by color.
In addition, there have been notable changes in the manner in which paintings are being finished based on the contrast, color, and the paint texture. The painters have been achieving this by taking risks for the sake of coming up with better paintings as compared to those that were produced in the 19th century. The paintings from the 20th century have a lot of colors and texture that enables the viewer to clearly identify the painting without having to look at it several times. On the contrast, the 19th-century paintings do not have such clear finishes. However, people respected the norms of painting and were able to appreciate the artists for having done their best work.
Besides, the early masters of painting had realized the need to preserve the aspect of pictures in regard to their flatness because this, would, in turn, signify the illusion that is created by three-dimensional-space. Therefore, this means that the aspect of flatness has not changed over the years. Painters have maintained this aspect of painting because it was the only one that was not shared by other forms of art. It was a unique identifying characteristic of paintings. The modernist painting identified itself more with flatness as compared to any other aspect of painting. In addition, the shape of the enclosing frame was a limited condition that depended on the theatre that the painter associated themselves with (Greenberg 1988). Also, the culture was shared by both the sculpture and the theatre. This was the norm of painting in the nineteenth century, and it did not change throughout the twentieth century. The painters only made adjustments to provider better pictures as compared to those that they used to paint.
Given the various changes in our culture, people find it difficult to accept the past. Therefore, this is the main challenge facing the modernist painting. A new cultur...
Professors Name
Course Code and Name
Date
Modernist Painting
Greensburg argued out that painting should be self-critical and that is why not every human being is able to paint. He used the various properties of painting such as color to bring out the formal innovations that have been taking place in regard to the modernist painting. These aspects have been existence through the 19th and the 20th century and faced various challenges.
In regard to the modernist painting article written by Greenberg, modernism uses various method to criticize itself especially in the progression of enlightening, philosophy and renaissance. Art has been a medium for establishing critical analysis with the aim of avoiding its sole purpose, which is entertainment. This means that the satisfaction that a person can get from art is unique and cannot be gotten from any other activity. The field of art is broad, but it has been segmented down to enhance individual professionalism. For instance, painting is a part of art whereby the talent of the painter cannot be compared to that of a poet. The modernists considered the different limitations in the world of painting as a challenge that motivated them into producing better work as compared to a case whereby they were not challenged. On the other hand, the masters had a difficult time dealing with the limitations of art. Therefore, I agree with Greenberg in the fact that the critique of art comes within oneself. The manner in which a person handles that critique plays a substantial role in motivating or demoralizing them in their work. For instance, the creation of a two-dimensional image on a flat surface was a challenging aspect to new painters. However, once used, painters found it the easiest thing to do. All they needed was an inspiration to motivate them into creating an image. The challenges of painting were in existence throughout the 19th and the 20th century. New challenges keep emerging every day in the world of painting because the painter has adopted means of dealing with the old challenges.
In regard to the flatness aspect of paintings, modernism acknowledges a two dimensional surface of the picture. This view allows the viewer to recognize the work of art as a painted picture and only with a keen observation; they are able to see the picture in the painting. Greenberg points out that this is the best way possible that a human being can see a picture. However, throughout the years, painters have been able to adopt the three-dimensional aspect. In addition, there is still some resistance to the various sculptural effects especially in the traditional way of painting in the west. This resistance is an indication of the manner in which the modernist painting is strongly attached to its traditional aspects. The western painting got its influence from sculptures which taught the artists on how to shade as well as the creation of relief illusions. Also, they learned how to dispose of the illusion and create the view of deep space that a person could travel into using the eyes. However, over the last four centuries, the modernists have been trying their best to eliminate the aspect of the sculptural influence in the world of painting. Concisely, in the mid-19th century, all types of painting had done away with the influence that they had gotten from sculpturing. For instance, the flattest paintings included portraits. The aspect of flattening is enhanced by color.
In addition, there have been notable changes in the manner in which paintings are being finished based on the contrast, color, and the paint texture. The painters have been achieving this by taking risks for the sake of coming up with better paintings as compared to those that were produced in the 19th century. The paintings from the 20th century have a lot of colors and texture that enables the viewer to clearly identify the painting without having to look at it several times. On the contrast, the 19th-century paintings do not have such clear finishes. However, people respected the norms of painting and were able to appreciate the artists for having done their best work.
Besides, the early masters of painting had realized the need to preserve the aspect of pictures in regard to their flatness because this, would, in turn, signify the illusion that is created by three-dimensional-space. Therefore, this means that the aspect of flatness has not changed over the years. Painters have maintained this aspect of painting because it was the only one that was not shared by other forms of art. It was a unique identifying characteristic of paintings. The modernist painting identified itself more with flatness as compared to any other aspect of painting. In addition, the shape of the enclosing frame was a limited condition that depended on the theatre that the painter associated themselves with (Greenberg 1988). Also, the culture was shared by both the sculpture and the theatre. This was the norm of painting in the nineteenth century, and it did not change throughout the twentieth century. The painters only made adjustments to provider better pictures as compared to those that they used to paint.
Given the various changes in our culture, people find it difficult to accept the past. Therefore, this is the main challenge facing the modernist painting. A new cultur...
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