KINETIC ART

 Kinetic Art:
 Kinetic art explores how things look when they move and refers mostly to sculptured works, made up of parts designed to be set in motion by an internal mechanism or an external stimulus, such as light or air. The movement is not virtual or illusory, but a real movement that might be created by a motor, water, wind or even a button pushed by the viewer. Over time, kinetic art developed in response to an increasingly technological culture.

   The Kinetic art form was pioneered by Marcel Duchamp, Naum Gabo, and Alexander Calder. Among the earliest attempts to incorporate movement in a plastic artwork were Moholy-Nagy's Space-Light Modulator, a sculpture producing moving shadows made at the Bauhaus between 1922 and 1930, certain Constructivists works, Marcel Duchamp's Rotary Glass Plate and Rotary Demisphere (Precision Optics), and Alexander Calder's motorized sculptures from 1930s.

   The expression Kinetic Art was used from the mid-1950s onward. It referred to an international trend followed by artists such as Soto, Takis, Agam and Schoffer. Some Kinetic artists also worked in the field of Op Art. Their works were influenced by a modernist aesthetic and could be made with contemporary materials (e.g., aluminum, plastic, neon). Most kinetic works were moving geometric compositions. In Italy artists belonging to Gruppo N, founded in Padua in 1959 (including Biasi, Costa and Massironi, among others), carried out experiments with light, projections and reflections associated with movement.

Kinetic sculptures are examples of kinetic art in the form of sculpture or three dimensions. In common with other types of kinetic art, kinetic sculptures have parts that move or that are in motion. Sound sculpture can also, in some cases, be considered kinetic sculpture. The motion of the work can be provided in many ways: mechanically through electricity, steam or clockwork; by utilizing natural phenomena such as wind or wave power; or by relying on the spectator to provide the motion, by doing something such as cranking a handle.

Bicycle Wheel (1913) by Marcel Duchamp, is said to be the first kinetic sculpture. Besides being an example of kinetic art it is also an example of areadymade, a type of art of which Marcel Duchamp made a number of varieties throughout his life. In Moscow in 1920, kinetic art was recorded by the sculptors Naum Gabo and Antoine Pevsner in their Realist Manifesto, issued as part of a manifesto of constructivism.

László Moholy-Nagy (1895-1946), a member of the Bauhaus, and influenced by constructivism can be regarded as one of the fathers of Lumino kinetic art. Light sculpture and moving sculpture are the components of his Light-Space Modulator (1922–30), One of the first Light art pieces which also combines kinetic art.

Kinetic drawing makes use of the critical balance and creates 3D drawings from various materials. Kinetic means that the object holds energy, kinetic drawings usually are critical in their stability and are eager to find a more stable position, through gravity. From there they are built up again, better and stronger and with a repetition of this process a beauty of its own starts to grow by natural forces.

A variation of kinetic art in the realm of painting is ModulArt, where smaller modular elements allow a larger painting to be in flux, though not continuously but at the will of its creator, owner, or user. However, the painting stays is motion, offering alternative views and alternative interpretations.

Bicycle Wheel is a readymade by Marcel Duchamp consisting of a bicycle fork with front wheel mounted upside-down on a wooden stool.

In 1913 at his Paris studio he mounted the bicycle wheel upside down onto a stool, spinning it occasionally just to watch it. Later he denied that its creation was purposeful, though it has come to be known as the first of his readymades. "I enjoyed looking at it," he said. "Just as I enjoy looking at the flames dancing in the fireplace." It was not until he began making readymades a few years later in New York that he decided Bicycle Wheel was a readymade.

The original from 1913 was lost, and Duchamp recreated the sculpture in 1951.

Bicycle Wheel is said to be the first kinetic sculpture.

MINIMAL ART

Minimal Art:


Minimal art was an artistic style, which emerged in America the late 1950s. The term was taken from an essay about modern American art by art philosopher Richard Wollheim in 1965. Hard Edge and Colour Field Painting tendencies were an important pre-requisite for the development of this style, as they had essentially prepared the ground for the use of very simple, reduced minimal forms. Minimal Art first established itself in painting, and then sculpture, where it had the greatest impact. 


Minimal art sculptures were primarily made from industrial materials, such as aluminium, steel, glass, concrete, wood, plastic or stone. The objects, frequently reduced to very simple geometric shapes, were industrially produced, thus removing the artist’s personal signature from the work. The works were also characterised by serial arrangements of a number of bodies/shapes, and large dimensions. 


The main representatives of Minimal art were Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, John McCracken and Robert Morris.
In contrast with Abstract Expressionism and its impulsive and gestural expression of the unconsciousness, Minimal artists focused on material aesthetics, the relationship of objects to space, the effects of light, and producing highly reduced arrangements. Donald Judd (1928-94) followed these basic principles, arranging coloured aluminium boxes in different ways, above, or next to one another. Carl Andre (born 1935) stacked rectangular wooden pegs on top of each other, or in a row. Dan Flavin (1933-96) created subtle light spaces with evenly laid out neon tubes. Minimalism also had an impact on dance and music in the 1960s. Minimalist principles also influenced artistic phenomenon such as Land Art, Arte Povera and Conceptual Art. 

In “Art and Objecthood,” Fried does not seek to discount Minimalism, but rather argues that Minimalism is essentially at odds with the modernist sensibility. Stripped of the modernist vocabulary, Donald Judd’s statement that “[a] work only needs to be interesting” becomes problematic for Minimalism.² In order to understand this problem, it is necessary first to define Minimalism by the very terms provided by Minimalists, and in so doing, to note that these terms were first born from conceptual concerns of its primary practitioners such as Robert Morris and Donald Judd.

The term minimalism is also used to describe a trend in design and architecture where in the subject is reduced to its necessary elements. Minimalist design has been highly influenced by Japanese traditional design and architecture. In addition, the work of De Stijl artists is a major source of reference for this kind of work. De Stijl expanded the ideas that could be expressed by using basic elements such as lines and planes organized in very particular manners.

Architect Ludwig Mies van der Rohe adopted the motto "Less is more" to describe his aesthetic tactic of arranging the numerous necessary components of a building to create an impression of extreme simplicity, by enlisting every element and detail to serve multiple visual and functional purposes (such as designing a floor to also serve as the radiator, or a massive fireplace to also house the bathroom). Designer Buckminster Fulleradopted the engineer's goal of "Doing more with less", but his concerns were oriented towards technology and engineering rather than aesthetics. A similar sentiment was industrial designer Dieter Rams' motto, "Less but better" adapted from Mies. The structure uses relatively simple elegant designs; ornamentations are quality rather than quantity^{[dubious – discuss]}. The structure's beauty is also determined by playing with lighting, using the basic geometric shapes as outlines, using only a single shape or a small number of like shapes for components for design unity, using tasteful non-fussy bright color combinations, usually natural textures and colors, and clean and fine finishes. Using sometimes the beauty of natural patterns on stone cladding and real wood encapsulated within ordered simplified structures, and real metal producing a simplified but prestigious architecture and interior design. May use color brightness balance and contrast between surface colors to improve visual aesthetics. The structure would usually have industrial and space age style utilities (lamps, stoves, stairs, technology, etc.), neat and straight components (like walls or stairs) that appear to be machined with equipment, flat or nearly flat roofs, pleasing negative spaces, and large windows to let in lots of sunlight. This and science fiction may have contributed to the late twentieth century futuristic architecture design, and modern home decor. Modern minimalist home architecture with its unnecessary internal walls removed probably have led to the popularity of the open plan kitchen and living room style.

Donald Clarence Judd (June 3, 1928 – February 12, 1994) was an American artist associated with minimalism (a term he nonetheless stridently disavowed). In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. It created an outpouring of seemingly effervescent works that defied the term "minimalism". Nevertheless, he is generally considered the leading international exponent of "minimalism," and its most important theoretician through such seminal writings such as "Specific Objects" (1964).

HARD EDGE

Hard edge:


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Hard-edge abstraction was part of a general tendency to move away from the expressive qualities of gestural abstraction. Many painters also sought to avoid the shallow, post-Cubist space of Willem de Kooning's work, and instead adopted the open fields of color seen in the work of Barnett Newman.Hard-edge painting is known for its economy of form, fullness of color, impersonal execution, and smooth surface planes.The term "hard-edge abstraction" was devised by Californian art critic Jules Langsner, and was initially intended to title a 1959 exhibition that included four West Coast artists -Karl Benjamin, John McLaughlin, Frederick Hammersley and Lorser Feitelson. Although, later, the style was often referred to as "California hard-edge," and these four artists became synonymous with the movement, Langsner eventually decided to title the showFour Abstract Classicists (1959), as he felt that the style marked a classical turn away from the romanticism of Abstract Expressionism.

Four Abstract Classicists was subtitled California Hard-edge by British art critic and curator Lawrence Alloway when it traveled to England and Ireland. The term came into broader use after Alloway used it to describe contemporary American geometric abstract painting featuring "economy of form," "fullness of color," "neatness of surface," and the nonrelational arrangement of forms on the canvas.

In 1964, a second major hard-edge exhibition curated by Jules Langsner was held at the Pavilion Gallery in Balboa, CA (also known as the Newport Pavilion) with the cooperation of the Ankrum Gallery, Esther Robles Gallery, Felix Landau Gallery, Ferus Gallery and Heritage Gallery of Los Angeles. This was called, simply, California Hard-edge painting. Included in this show were Florence Arnold, John Barbour, Larry Bell, Karl Benjamin, John Coplans, Lorser Feitelson, Frederick Hammersley, June Harwood, Helen Lundeberg, John McLaughlin, and Dorothy Waldman.

In 2000, Tobey C. Moss curated Four Abstract Classicists Plus One at her gallery in Los Angeles. The exhibit again featured John McLaughlin, Feitelson, Hammersley, and Benjamin, and added Lundeberg as the fifth of the original Hard-edge painters. In 2003, Louis Stern Fine Arts showed a retrospective exhibition for Lorser Feitelson entitled Lorser Feitelson and the invention of Hard-edge painting, 1945-1965. The same year, NOHO MODERN showed the works of June Harwood in an exhibition entitled June Harwood: Hard-edge painting Revisited, 1959-1969. Art critic Dave Hickey solidified the place of these 6 artists in: The Los Angeles School: Karl Benjamin, Lorser Feitelson, Frederick Hammersley, June Harwood, Helen Lundeberg, and John McLaughlin. The exhibition was held at the Ben Maltz Gallery of the Otis Art Institute in Los Angeles in 2004-2005.

Lawrence Alloway (London, 17 September 1926 - New York, 2 January 1990) was an English art critic and curator who worked in the United States from the 1960s. In the 1950s he was a leading member of the Independent Group in the UK and in the 1960s was an influential writer and curator in the US. He first used the term "mass popular art" in the mid-1950s and used the termPop Art in the 1960s to indicate that art has a basis in the popular culture of its day and takes from it a faith in the power of images.

POP ART

POP ART:


An art movement and style that had its origins in England in the 1950s and made its way to the United States during the 1960s. Pop artistshave focused attention upon familiar images of the popular culture such as billboards, comic strips, magazine advertisements, and supermarket products. Leading exponents are Richard Hamilton (British, 1922-), Andy Warhol (American, 1928?1930?-1987), Roy Lichtenstein (American, 1923-1997), Claes Oldenburg (American, 1929-), Jasper Johns (American, 1930-), and Robert Rauschenberg (American, 1925-). 

Pop art employs aspects of mass culture, such as advertising, comic books and mundane cultural objects. It is widely interpreted as a reaction to the then-dominant ideas of abstract expressionism, as well as an expansion upon them. And due to its utilization of found objects and images it is similar to Dada. Pop art is aimed to employ images of popular as opposed to elitist culture in art, emphasizing the banal or kitschy elements of any given culture, most often through the use of irony. It is also associated with the artists' use of mechanical means of reproduction or rendering techniques.

Much of pop art is considered incongruent, as the conceptual practices that are often used make it difficult for some to readily comprehend. Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of Postmodern Art themselves.

Pop art often takes as its imagery that which is currently in use in advertising. Product labeling and logos figure prominently in the imagery chosen by pop artists, like in the Campbell's Soup Cans labels, by Andy Warhol. Even the labeling on the shipping carton containing retail items has been used as subject matter in pop art, for example in Warhol's Campbell's Tomato Juice Box 1964, (pictured below), or his Brillo Soap Box sculptures.

The origins of pop art in North America and Great Britain developed differently. In the United States, it marked a return to hard-edged composition and representational art as a response by artists using impersonal, mundane reality, irony and parody to defuse the personal symbolism and "painterly looseness" of Abstract Expressionism. By contrast, the origin in post-War Britain, while employing irony and parody, was more academic with a focus on the dynamic and paradoxical imagery of American popular culture as powerful, manipulative symbolic devices that were affecting whole patterns of life, while improving prosperity of a society.Early pop art in Britain was a matter of ideas fueled by American popular culture viewed from afar, while the American artists were inspired by the experience of living within that culture.Similarly, pop art was both an extension and a repudiation of Dadaism. While pop art and Dadaism explored some of the same subjects, pop art replaced the destructive, satirical, and anarchic impulses of the Dada movement with detached affirmation of the artifacts of mass culture. Among those artists seen by some as producing work leading up to Pop art are Pablo Picasso, Marcel Duchamp, Kurt Schwitters, and Man Ray.

Sir Eduardo Luigi Paolozzi was born 7 March 1924, in Leith in north Edinburgh, Scotland and was the eldest son ofItalian immigrants. In June 1940, when Italy declared war on Britain, Paolozzi was interned (along with most other Italian men in Britain). During his three-month internment at Saughton prison his father, grandfather and uncle, who had also been detained, were among the 446 Italians who drowned when the ship carrying them to Canada, the Arandora Star, was sunk by a German U-boat.

Paolozzi studied at the Edinburgh College of Art in 1943, briefly at the St Martin's School of Art in 1944, and then at the Slade School of Fine Art at University College London from 1944 to 1947, after which he worked in Paris, France. While in Paris from 1947–1949, Paolozzi became acquainted with Alberto Giacometti, Jean Arp, Constantin Brâncuşi, Georges Braque and Fernand Léger. This period became an important influence for his later work.

ABSTRACT EXPRESSIONISM

Abstract Expressionism:


A new vanguard emerged in the early 1940s, primarily in New York, where a small group of loosely affiliated artists created a stylistically diverse body of work that introduced radical new directions in art—and shifted the art world's focus. Never a formal association, the artists known as "Abstract Expressionists" or "The New York School" did, however, share some common assumptions. Among others, artists such as Jackson Pollock , Willem de Kooning , Franz Kline , Lee Krasner , Robert Motherwell , William Baziotes , Mark Rothko , Barnett Newman , Adolph Gottlieb , Richard Pousette-Dart , and Clyfford Still  advanced audacious formal inventions in a search for significant content. Breaking away from accepted conventions in both technique and subject matter, the artists made monumentally scaled works that stood as reflections of their individual psyches—and in doing so, attempted to tap into universal inner sources. These artists valued spontaneity and improvisation, and they accorded the highest importance to process. Their work resists stylistic categorization, but it can be clustered around two basic inclinations: an emphasis on dynamic, energetic gesture, in contrast to a reflective, cerebral focus on more open fields of color. In either case, the imagery was primarily abstract. Even when depicting images based on visual realities, the Abstract Expressionists favored a highly abstracted mode.
Now considered to be the first American artistic movement of international importance, the term was originally used to describe the work of Willem de Kooning, Jackson Pollock and Arshile Gorky.

The movement can be more or less divided into two groups: Action Painting, typified by artists such as Pollock, de Kooning, Franz Kline, and Philip Guston, stressed the physical action involved in painting; Color Field Painting, practiced by Mark Rothko and Kenneth Noland, among others, was primarily concerned with exploring the effects of pure color on a canvas.

Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.

The movement's name is derived from the combination of the emotional intensity and self-denial of the GermanExpressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles and even to work that is neither especially abstract nor expressionist. California Abstract ExpressionistJay Meuser, who typically painted in the non-objective style, wrote about his painting Mare Nostrum, "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." Pollock's energetic "action paintings", with their "busy" feel, are different, both technically and aesthetically, from the violent and grotesque Women series ofWillem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists.

Robert Myron Coates (April 6, 1897 – February 8, 1973) was an American writer and a long-term art critic for the New Yorker. He coined the term "abstract expressionism" in 1946 in reference to the works of Arshile Gorky, Jackson Pollock and Willem de Kooning.

As a writer of fiction, he is considered a member of the Lost Generation, having spent part of his life abroad in Europe. His first three novels are highly experimental, drawing upon Dada, surrealismand expressionism for their effect. His last two novels are examples of crime fiction in which the narrator presents a psychopathological case study of the protagonist. Nowadays, Coates is best known for The Outlaw Years (1930), which deals with the history of the land pirates of the Natchez Trace.

Anthony Boucher praised Coates as "one of the most persuasive recorders of the unaccountable and disturbing moment," singling out his fantasy stories for their "haunting tone of uncertainty and dislocation."

Coates was born in New Haven, Connecticut in 1897 and died at the age of 75 in New York City in 1973

POST PAINTERLY ABSTRACTION

POST PAINTERLY ABSTRACTION:
Post-painterly abstraction is a broad term that encompasses a variety of styles that evolved in reaction to the painterly, gestural approaches of some Abstract Expressionists. Coined byClement Greenberg in 1964, it originally served as the title of an exhibition that included a large number of artists who were associated with various tendencies, including color field painting, hard-edge abstraction, and the Washington Color School.
Greenberg believed that, during the early 1950s, Abstract Expressionism (or, as he preferred to call it, "Painterly Abstraction") had degenerated into a weak school, and, in the hands of less talented painters, its innovations had become nothing but empty devices. But he also believed that many artists were advancing in some of Abstract Expressionism's more fruitful directions - principally those allied to color field painting - and these were yielding to a range of new tendencies that he described as "post-painterly."
Greenberg explained: "In their reaction against the 'handwriting' and 'gestures' of Painterly Abstraction [Abstract Expressionism], these artists also favor a relatively anonymous execution."Pepe Karmel would call this more impersonal approach "New York Cool," in his 2008 exhibition of the same name at the Grey Art Gallery, New York University.Among the artists Greenberg selected were Jules Olitski, Kenneth Noland, Frank Stella, Sam Francis, Helen Frankenthaler, Al Held, Morris Lewis, Friedel Dzubas, and Alexander Lieberman.Among the prior generation of contemporary artists, Barnett Newman has been singled out as one who anticipated "some of the characteristics of post-painterly abstraction."As painting continued to move in different directions, initially away from abstract expressionism, powered by the spirit of innovation of the time, the term "post-painterly abstraction", which had obtained some currency in the 1960s, was gradually supplanted by minimalism, hard-edge painting, lyrical abstraction, and color field painting.

Clement Greenberg was born in the borough of the Bronx, NYC, in 1909. His parents were middle-class Jewish immigrants, and he was the oldest of their three sons. Since childhood, Greenberg sketched compulsively, until becoming a young adult, when he began to focus on literature. Greenberg attended Erasmus Hall High School, the Marquand School for Boys, then Syracuse University, graduating with an A.B. in 1930, cum laude, Phi Beta Kappa. After college, already as fluent in Yiddish as well as English since childhood, Greenberg taught himself Italian and German in addition to French and Latin. During the next few years, Greenberg travelled the U.S. working for his father's dry-goods business, but the work did not suit his inclinations, so he turned to working as a translator. Greenberg married in 1934, had a son the next year, and was divorced the year after that. In 1936, Greenberg took a series of jobs with the federal government, from Civil Service Administration, to the Veterans' Administration, and finally to the Appraisers' Division of the Customs Service in 1937. It was then that Greenberg began to write seriously, and soon after began getting published in a handful of small magazines and literary journals.

SURREALISM

Surrealism:
Surrealism originated in the late 1910s and early '20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious. Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and critic André Breton (1896–1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897–1982), Paul Éluard (1895–1952), and Philippe Soupault (1897–1990), were influenced by the psychological theories and dream studies of Sigmund Freud (1856–1939) and the political ideas of Karl Marx (1818–1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier.


The major Surrealist painters were Jean Arp, Max Ernst, André Masson, René Magritte, Yves Tanguy, Salvador Dalí, Pierre Roy, Paul Delvaux, and Joan Miró. With its emphasis on content and free form, Surrealism provided a major alternative to the contemporary, highly formalistic Cubist movement and was largely responsible for perpetuating in modern painting the traditional emphasis on content.
1917, Apollinaire (le mot lui aurait été suggéré par Chagall ou, selon d'autres sources, par P. Albert­Birot). Ensemble de procédés de création et d'expression utilisant toutes les forces psychiques (automatisme, rêve, inconscient...) libérées du contrôle de la raison et en lutte contre les valeurs reçues; mouvement intellectuel révolutionnaire affirmant la supériorité de ces procédés, qui se développa surtout en littérature et dans les arts plastiques, peinture, cinéma... suite du mouvement dada.

The movement in the mid-1920s was characterized by meetings in cafes where the Surrealists played collaborative drawing games, discussed the theories of Surrealism, and developed a variety of techniques such as automatic drawing. Breton initially doubted that visual arts could even be useful in the Surrealist movement since they appeared to be less malleable and open to chance and automatism. This caution was overcome by the discovery of such techniques as frottage and decalcomania.

Soon more visual artists became involved, including Giorgio de Chirico, Max Ernst, Joan Miró, Francis Picabia, Yves Tanguy, Salvador Dalí, Luis Buñuel,Alberto Giacometti, Valentine Hugo, Méret Oppenheim, Toyen, and later after the second war: Enrico Donati. Though Breton admired Pablo Picasso andMarcel Duchamp and courted them to join the movement, they remained peripheral. More writers also joined, including former Dadaist Tristan Tzara,René Char, and Georges Sadoul.

In 1925 an autonomous Surrealist group formed in Brussels. The group included the musician, poet, and artist E. L. T. Mesens, painter and writer René Magritte, Paul Nougé, Marcel Lecomte, and André Souris. In 1927 they were joined by the writer Louis Scutenaire. They corresponded regularly with the Paris group, and in 1927 both Goemans and Magritte moved to Paris and frequented Breton's circle. The artists, with their roots in Dada and Cubism, the abstraction of Wassily Kandinsky, Expressionism, and Post-Impressionism, also reached to older "bloodlines" such as Hieronymus Bosch, and the so-called primitive and naive arts.

PITTURA METAFISICA

Pittura Metafisica:


Term applied to the work of Giorgio De Chirico and Carlo Carrà before and during World War I and thereafter to the works produced by the Italian artists who grouped around them. Pittura Metafisica was characterized by a recognizable iconography: a fictive space was created in the painting, modelled on illusionistic one-point perspective but deliberately subverted. In de Chirico’s paintings this established disturbingly deep city squares, bordered by receding arcades and distant brick walls; or claustrophobic interiors, with steeply rising floors. Within these spaces classical statues and, most typically, metaphysical mannequins (derived from tailors’ dummies) provided a featureless and expressionless, surrogate human presence. Balls, coloured toys and unidentifiable solids, plaster moulds, geometrical instruments, military regalia and small realistic paintings were juxtaposed on exterior platforms or in crowded interiors and, particularly in Carrà’s work, included alongside the mannequins. In the best paintings these elements were combined to give a disconcerting image of reality and to capture the disquieting nature of the everyday.


A fundamental feature of the Pittura Metafisica, in its literal sense, is the depiction of the object's "super-natural" features , the object's content beyond its visible features. These ideas had clearly been influenced by Giorgio de Chirico's younger brother Andrea, who was working as a writer and painter under the pseudonym Alberto Savinio. Philosophical concepts of Friedrich Nietzsche and Arthur Schopenhauer also occupied fundamental roles in this context.
The painters of the Pittura Metafisica created coulisse-like and perspectively exaggerated views that seemed like dreams filled with over-sharply modeled figures and objects, which have been taken from their original contexts and rearranged in new and strange relations. Man is also treated as an object - as "manichino", a faceless jointed doll, or as a construct of stereometric basic forms. Isolation, alienation, inexplicability and mysteriousness coin the atmosphere of the calm, motionless Pittura Metafisica that wanted to be less a way of painting than a means of observing. 


In his painting Turin Melancholy (1915), for example, he illustrated just such a square, using unnaturally sharp contrasts of light and shadow that lend an aura of poignant but vaguely threatening mystery to the scene. The arcades in this painting, as well as the deep perspectival space and dark-toned sky, are pictorial devices typical of de Chirico’s strange, evocative works. He gave his paintings enigmatic titles — such as The Nostalgia of the Infinite (1913–14), The Philosopher’s Conquest (1914), and The Soothsayer’s Recompense (1913) — that contribute to their cryptic effect. Other Metaphysical painters includedFilippo de Pisis, and Mario Sironi.

In 1917, in the midst of the First World War, Carrà and de Chirico spent time in Ferarra where they further developed the Metaphysical Painting style that was later to attract the attention of the French Surrealists.

The Metaphysical school proved short-lived; it came to an end about 1920 because of dissension between de Chirico and Carrà over who had founded the group.

Giorgio de Chirico ; July 10, 1888 – November 20, 1978) was a Greek-born Italian artist. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. After 1919 he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.

SYNCHRONISM

Synchronism:

Synchromism is based on the idea that color and sound are similar phenomena, and that the colors in a painting can be orchestrated in the same harmonious way that a composer arranges notes in a symphony. Macdonald-Wright and Russell believed that by painting in color scales, their work could evoke musical sensations. It became abstract and expressive, hoping to unite visual and auditory stimuli through a symphony of color. This phenomenon of 'hearing' a color or the pairing of two or more senses--synesthesia--was also central to the work of Wassily Kandinsky, who was developing his own synesthetic paintings, or 'compositions', in Europe around the same time.

The abstract "synchromies" are based on color scales, using rhythmic color forms with advancing and reducing hues. They typically have a centralvortex and explode in complex color harmonies. The Synchromists avoided using atmospheric perspective or line, relying solely on color and shape to express form.

The earliest synchromist works were similar to Fauvist paintings. The multicolored shapes of synchromist paintings also resembled those found inorphism. MacDonald-Wright insisted, however, that Synchromism was a unique art form, and "has nothing to do with orphism and anybody who has read the first catalogue of synchromism ... would realize that we poked fun at orphism".

Synchromism was developed by Stanton MacDonald-Wright and Morgan Russell while they were studying in Paris during the early 1910s. From 1911 to 1913, they studied under the Canadian painter Percyval Tudor-Hart, whose color theory connected qualities of color to qualities of music, such astone to hue and intensity to saturation. Also influential upon MacDonald-Wright and Russell were the paintings of the Impressionists, Cézanne, and Matisse, which heavily emphasized color. Russell coined the term "synchromism" in 1912, in an express attempt to convey the linkage of painting and music.

The first synchromist painting, Russell's Synchromy in Green, exhibited at the Paris Salon des Indépendants in 1913. Later that year, the first synchromist exhibition by Macdonald-Wright and Russell was shown in Munich.Exhibits followed in Paris in October 1913, and in New York in March 1914. Macdonald-Wright moved back to the U.S. in 1914, but he and Russell continued to separately paint abstract synchromies.Synchromism remained influential well into the 1920s.Other American painters who experimented with Synchromism include Thomas Hart Benton, Andrew Dasburg, Patrick Henry Bruce, and Albert Henry Krehbiel.

Dada:

Dada was, officially, not a movement, its artists not artists and its art not art. That sounds easy enough, doesn't it? Of course, there is a bit more to the story of Dadaism than this simplistic explanation.

Dada was a literary and artistic movement born in Europe at a time when the horror of World War I was being played out in what amounted to citizens' front yards. Due to the war, a number of artists, writers and intellectuals - notably of French and German nationality - found themselves congregating in the refuge that Zurich (in neutral Switzerland) offered. Far from merely feeling relief at their respective escapes, this bunch was pretty ticked off that modern European society would allow the war to have happened. They were so angry, in fact, that they undertook the time-honored artistic tradition of protesting.

Banding together in a loosely-knit group, these writers and artists used any public forum they could find to (metaphorically) spit on nationalism, rationalism, materialism and any other -ism which they felt had contributed to a senseless war. In other words, the Dadaists were fed up. If society is going in this direction, the

y said, we'll have no part of it or its traditions. Including...no, wait!...especially artistic traditions. We, who are non-artists, will create non-art - since art (and everything else in the world) has no meaning, anyway.

About the only thing these non-artists all had in common were their ideals. They even had a hard time agreeing on a name for their project. "Dada" - which some say means "hobby horse" in French and others feel is just baby talk - was the catch-phrase that made the leastamount of sense, so "Dada" it was.

Using an early form of Shock Art, the Dadaists thrust mild obscenities, scatological humor, visual puns and everyday objects (renamed as "art") into the public eye. Marcel Duchamp performed the most notable outrages by painting a mustache on a copy of the Mona Lisa (and scribbling an obscenity beneath) and proudly displaying his sculpture entitled Fountain (which was actually a urinal, sans plumbing, to which he added a fake signature).

The public, of course, was revulsed - which the Dadaists found wildly encouraging. Enthusiasm being contagious, the (non)movement spread from Zurich to other parts of Europe and New York City. And just as mainstream artists were giving it serious consideration, in the early 1920s, Dada (true to form) dissolved itself.

Dada was an artistic and literary movement that started in Europe when World War I was going on. Because of the war, many artists, intellectuals and writers, especially those from France and Germany, moved to Switzerland, which was a neutral country. Instead of being relieved that they had escaped, the artists, intellectuals and writers were furious with the modern society. So, they decided to show their protest through artistic medium. They decided to create non-art since art in the society anyway had no meaning.

The so-called non-artists turned to creating art that had soft obscenities, scattered humor, visible puns and everyday objects. The most outrageous painting was created by Marcel Duchamp, when he painted a mustache on a copy of Mona Lisa and scribbled obscenities under it. He also created his sculpture called Fountain, which was actually a urinal without the plumbing and it had a fake signature.

The public were repulsed by the Dada movement. However, the Dadaists found this attitude encouraging. And, slowly the movement spread from Zurich to other parts of Europe and New York City. Just as many mainstream artists were thinking about this movement seriously, the Dada movement dissolved around the early 1920s.

This art movement was a protest, but at the same time it managed to be enjoyable and amusing. It was sarcastic, colorful, quirky and silly. If a person at that time had not been aware of the logic behind the movement, he or she would have been wondering what the artist was up to creating pieces like the ones that were created. However, the artist who created the Dada art was very serious about his work. The movement did not favor one medium over another. It used everything from glass to plaster to geometric tapestries to wooden reliefs. In addition, the movement was also responsible for influencing many trends in the field of visual art, the most well-known being Surrealism.

PITTURA METAFISICA

Pittura Metafisica:
Pittura Metafisica (Ital. for "metaphysic painting") denotes a style that came up in Italy as early as in 1911/12, lasting up into the 1920s. The term originates from the main master and founding father of Pittura Metafisica, Giorgio de Chirico (1888-1978). Artists such as Carlo Carrà (1881-1966) and Giorgio Morandi (1890-1964) followed his example around 1917/18. 
A fundamental feature of the Pittura Metafisica, in its literal sense, is the depiction of the object's "super-natural" features (Greek "metá" = beyond; "phýsis" = nature), the object's content beyond its visible features. These ideas had clearly been influenced by Giorgio de Chirico's younger brother Andrea, who was working as a writer and painter under the pseudonym Alberto Savinio. Philosophical concepts of Friedrich Nietzsche and Arthur Schopenhauer also occupied fundamental roles in this context.
The painters of the Pittura Metafisica created coulisse-like and perspectively exaggerated views that seemed like dreams filled with over-sharply modeled figures and objects, which have been taken from their original contexts and rearranged in new and strange relations. Man is also treated as an object - as "manichino", a faceless jointed doll, or as a construct of stereometric basic forms. Isolation, alienation, inexplicability and mysteriousness coin the atmosphere of the calm, motionless Pittura Metafisica that wanted to be less a way of painting than a means of observing. 
In their concept of materiality, but also in terms of style, the artists of the Pittura Metafisica referred to the solemn and strict austerity of the Early Renaissance (Giotto, Masaccio, Piero della Francesca, Paolo Uccello). The simultaneosuly upcoming dynamic Futurism can be perceived as a counter movement to the Pittura Metafisica - Carlo Carrà, up until 1915 one of the leading artists of Futurism, explained his turn to the Pittura Metafisica with the rediscovery of the "principio italiano", which was prevailing in Renaissance.
The Pittura Metafisica had effects beyond the borders of Italy, especially on New Oobjectivity and Surrealism, which both came up up a little later. 
Metaphysical art (Italian: Pittura metafisica), style of painting that flourished mainly between 1911 and 1920 in the works of the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began with Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality. De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school and its principles in 1917. 

While Futurism staunchly rejected the past, other modern movements identified a nostalgia for the now faded Classical grandeur of Italy as a major influence in their art. Giorgio de Chirico first developed the style that he later called Metaphysical Painting while in Milan. It was in the more sedate surroundings of Florence, however, that he subsequently developed his emphasis on strange, eerie spaces, based upon the Italian piazza. Many of de Chirico's works from his Florence period evoke a sense of dislocation between past and present, between the individual subject and the space he or she inhabits. These works soon drew the attention of other artists such as Carlo Carrà and Giorgio Morandi.

In his painting Turin Melancholy (1915), for example, he illustrated just such a square, using unnaturally sharp contrasts of light and shadow that lend an aura of poignant but vaguely threatening mystery to the scene. The arcades in this painting, as well as the deep perspectival space and dark-toned sky, are pictorial devices typical of de Chirico’s strange, evocative works. He gave his paintings enigmatic titles — such as The Nostalgia of the Infinite (1913–14), The Philosopher’s Conquest (1914), and The Soothsayer’s Recompense (1913) — that contribute to their cryptic effect. Other Metaphysical painters includedFilippo de Pisis, and Mario Sironi.

In 1917, in the midst of the First World War, Carrà and de Chirico spent time in Ferarra where they further developed the Metaphysical Painting style that was later to attract the attention of the French Surrealists.

The Metaphysical school proved short-lived; it came to an end about 1920 because of dissension between de Chirico and Carrà over who had founded the group.