Art History

br Art HistoryThe history of fresh prowess would come in to be comprised of r development and counter- renewing , with dominant modes and aesthetics giving look to radically differing criteria and methods . For some observers , modern art comprises an evolution from the roughness of 93cave art 94 and prehistoric art to the technical efficiency of Photorealism and Impressionism for others , the evolution is one of thought rather than technique . The former tone : that the history of art represents an upward evolution from primitivism to modern technical proficiency shows itself as specious when tested against the very(prenominal) real responses of both artists and audiences to the aesthetic and technical identities at debate .In point of fact , the evolution of artistic styles and modes relies to a greater extent heavily upon popular and sociological relevancies than upon critical or theoretic considerations . 93Throughout the history of modern art , whether demarcated from the onset of Romanticism Impressionism , or early twentieth-century movements , the identity of art practice has been intimately sharpness up with that of mass culture 94 (Drucker , 1999 ,. 37In the case of a well-documented and self-aw be movement such as the Pre-Raphaelite Brotherhood , changes in technique and theme emerged from theoretical and moral ideals quite right(prenominal) of the mainstream of art-criticism , and comprised a dual-function of modernism and classicism .

To wit : a puma like Millais shined brilliantly in photo a unmixed theme such as his 93Ophelia 94 however , the execution of the painting relied on painterly techniques that can only be draw as 93avant garde 94 in the context then-contemporary standards . Similarly , the evolution of Impressionism , Fauvism , and in conclusion Cubism and Expressionism emerged from specific psychological moral , and spiritual beliefs of its practitioners , rather than each conscious evolution (or revolution ) of or against traditional methods or modes . Though it is tempting to view the history of modern art as a succession of theses /antitheses , accommodations for such visionaries as hoary marmot , Gauguin , or DuChamp have less to do with conscious revolution than personal expression and popular sentiment . Artists , like both purveyors of mass or popular culture , remain as dependant upon their subjective predilections and popular acceptance as they are upon interpretations of a linear , historical evolution of techniques and themes References Drucker , J (1999 . Who s afeared(predicate) of Visual Culture . Art Journal , 58 (4 37...If you loss to get a full essay, order it on our website: Orderessay

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