The main directions of fine art of the XX century
Modernism
Abstract Futurism Cubism Purism Surrealism Fauvism Expressionism Suprematism Avant garde Cubofuturism Neoplasticism Orphism
Postmodernism
Abstract Expressionism Ready Made PopArt Primitivism No Art Optical Graffiti Hyperrealism Land Art Minimalism
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The Central Exhibition Hall in Perm hosts the exhibition "Bag"
15.04.2015
The opening of the exhibition, where two expositions of world famous artists Pyotr Frolov and Natalia Tur are presented, took place on February 27.
There are no funds in the Louvre for the exhibition of Jeff Koons
13.04.2015
The management of the Louvre was forced to cancel an exhibition of works by the artist Jeff Koons due to lack of funding.
10 years after the cancellation, it was decided to return the Edvard Munch Award
10.04.2015
Finally, after many years of calm, the premium has been restored.
This happened thanks to the support of the Norwegian oil and gas company Statoil.
Purism
Purism — (French purisme, from Latin purus pure) current in French painting of the late 1910s 20s.
The main representatives are the artist A. Ozanfanom and the architect S. E. Jeanneret (Le Corbusier).
Rejecting the decorative tendencies of Cubism and other avant garde movements of the 1910s, the purists sought to rationalize the orderly transfer of stable and concise object forms, as if "cleaned" of details, to the image of "primary" elements.
The works of purists are characterized by flatness, smooth rhythm of light silhouettes and contours of similar objects (pitchers, glasses, etc.).
Having not been developed in easel forms, the significantly rethought artistic principles of purism were partially reflected in modern architecture, mainly in the buildings of Le Corbusier.
Purism is an intellectual art that excludes randomness and uses clear geometric shapes.
Ozanfan and Jeanneret are inspired by constructive methods, the final goals and aesthetics of industrial machines and assert a "general grammar of sensitivity".
Shapes and colors are simplified and structures are based on rectangles and "correct plans".
The themes are dominated by still lifes made up of everyday objects: plates, glasses, decanters, smoking pipes, bottles — which have a functional meaning and are interpreted economically.
Their simple and standardized forms can be easily connected while remaining clear.
These objects are depicted in accordance with the methods taken from an industrial drawing using a general view plan and a shadow projected according to the rules of perspective.
Their organic arrangement produces the regeneration of forms.
"You can create a picture as a machine.
The picture is a mechanism of excitement."
This theory was gradually developed and improved by practical painting experience and especially in theoretical works — a series of articles in the magazine "L'esprit nouveau" founded by the poet Paul Dermet Ozanfan and Jeanneret in 1920.
These texts were then included in the book Modern Painting (Paris 1925), which caused a lot of noise in circles seeking to understand the nature of artistic creativity and its rationalization.
Ozanfan and Jeanneret parted ways after 1925.
Since 1927, Ozanfan's work has changed direction: he again introduces the image of the human figure and turns to wall painting ("Bathers in the grotto" 1930-1931 Paris gal. Katya Granoff).
He responds to the call of surrealism with strange but always rational images.
Then Ozanfan creates works on allegorical themes that unfortunately brought him little satisfaction ("Life" 1931-1938 Paris National Museum of Modern Art Pompidou Center was transferred to the Saint Quentin Museum for storage).
After 1940, he created several attractive works such as" Sleeping Cannon "(Minneapolis Walker Art Center) or" Illuminated Skyscraper " (Paris National Museum of Modern Art Pompidou Center) — the fruit of his American journey.
Ozanfan influenced many artists, even such famous and significant ones as Fernand Leger and Willy Baumeister.
A teacher, he taught at various educational institutions in Paris and the United States and educated numerous students from the Frenchwoman Marcel Kahn to the American Gerald Murphy and in the early 1950s Roy Lichtenstein.
Finally, from the huge literary heritage of Ozanfan, the book "Art", published in 1928 and soon translated into German and English, should be particularly noted.
His "Memoirs of 1886-1962" were published after the artist's death.
Ozanfan's works are represented in particular in the museums of Basel New York (the Museum of Modern Art and the Solomon Guggenheim Museum) Paris (the National Museum of Modern Art Pompidou Center) St. Petersburg (the State Hermitage Museum) and Moscow (the Pushkin Museum of Fine Arts).
In 1985, a large exhibition of his work was held at the Saint Quentin Museum.
Ozenfant Amedee Ozenfant Amedee (1886 Saint Quentin — 1966 Cannes) was a French artist and art theorist.
Having received a classical education, Ozanfan developed the principles of his painting during the First World War, publishing in particular the magazine "Elan" (1915-1917).
But his real creative career begins in 1917 when, in the studio of Opost Perret, he meets the architect Charles Edouard Jeanneret (Le Corbusier), who also began to paint.
In 1918, they appeared on the art scene, showing at exhibitions their landscapes and mainly still lifes consisting of ordinary objects and painted in a simple manner, a gloomy color scheme and a compressed compositional structure ("Yellow Violins" Paris Nats. the Pompidou Center Museum of Modern Art).
In 1918, in Paris, they published the manifesto "After Cubism", which marked the birth of purism from their point of view — the heir of Cubism.
They accuse Cubism of being decorative, and especially of being alien to the" modern spirit " of the industrial civilization of machines and scientific progress.
They seek to find "unchangeable quantities" in art, which are laws in science.
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