MODERN ART 19TH-20TH CENTRURY

The French revolution had a great effect on the minds of man everywhere. A new emphasis was placed in individuality though the force of tradition of customs and art was going down. Only gradually, trains, transatlantic liners, air planes the camera, radio and television put an end to isolation and made possible the one world. These changes in art lacked unity until the style finally matured in 20th century. Now these were several style one another.

Artist and craftsman had occupied a position of security in society. After the supremacy lost power artist had to depend on a new public and a free market to sell what they had produced to please themselves with the rise of French revolution science and technology developed their modern status. The craft declined and the machine age led to worst of taste. During the 19th century only the painting preserved a vigor of its own, sculpture participate incidentally and architecture towards the past. Photograph helped to replace painted portrait and colored reproduction and oil panting. There are several reasons for the continued reputation enjoy by art. Now agencies to serve art came into existence. The art school, art critic, art historians, art museums and art reproductions these agencies gave to a greater knowledge of the art of mankind than any previous age gave.

Architecture remained opposed to change during the 19th century and at a style of its own only during structure and decoration has last contact with each other during the 19th century.

The succession of historical style in architecture had its parallel in painting of subject. This began with a classical old times antiquity, the last for whish had began in the mid of 18th century with rediscovery of Herelaneum and Pompai. The period style of louis16 had already concentrated on their new fashion.

After Napoleon rise to power Neoclassicism found its chief promoters in davied and Ingres. The 2nd half of 19th century turned away from the literacy type to the subjected matter and had a close attachment to nature.
Edward Manet and impressionist represented the figure as a part of natural environment. In still life manner of velozuer and Vermeer. Monet and Pissaro went a step further by eliminating the human element and by painting the landscape as reflecting surface.

Edger Degas concentrated on the figure in motion and Renoir specialized in women and children and light and color, Paul Cezanne represented a turning point. Vangogh added brilliant color and technique. Georges sevrat, Gavgin and Matise emphasized. The large pattern that gave their canvasses a decorative quality.