Cubism and Fauvism - Essay Example

A-2.  Although it is true that cubism and fauvism both came to the popular artistic representations within a similar time period, the fact of the matter is that there are many differentials in definition between these two approaches to artistic representation. The first of these has to do with the fact that Cubism is ultimately the representation of three-dimensional images in an abstract form. Many Cubist artists insisted that part should mirror sculpture; in that different angles and different views could promote a different understanding/interpretation of what the art was actually signify. A perfect example of Cubism in art would be Pablo Picasso’s work; specifically “Seated Nude” (Benevuto 389). By means of comparison and contrast, fauvism was a form of artistic representation in which strong and unnatural colors for a particular object or individual utilized; with the specific goal of evoking strong emotions. Naturally, the utilization of 3-D imagery was all but nonexistent within this particular approach to artistic representation. A prime example of fauvism in art work can be seen with regard to Henri Matisse’ “Woman with a Hat”. Whereas the analysis has thus far focused upon the level of dissimilarity that exists between these two particular approaches to artistic representation, it must be noted that a peculiar similarity has to do with the fact that both of these are forms seek to represent meaning and understanding based upon different norms Michael and at least as compared to what had been represented as art for many generations and years prior to the advent of these two approaches. In essence, both of these approaches are similar due to the fact that they seek to represent meaning in a new and contrasted manner as compared to the way in which previous artists have described the world. Regardless of the definitions that have thus far been given, perhaps the greatest similarity that exists between these two art forms has to do with the fact that they were both new and expansively modern means of representing the world; means that prior artists had not considered and that were, at that time, considered as “avant guarde”. B-3.   No matter what metric is analyzed, the Great Depression was an extremely difficult time for individuals in the United States. However, for those individuals that were involved in the arts, Great Depression, at least the early years, were extremely difficult. This is due to the fact that art was understood as a luxury that society could do without during times of extreme hardship. Because of this and due to the fact that monetary supplies were extraordinarily limited, artists suffered greatly during the early years of the Great Depression. However, with the advent and development of the works project administration (WPA) direct levels of monetary support and assistance were provided to participants both directly and indirectly. Firstly, the WPA provided for a general encouragement in the participation of artwork and creation of art. This was promoted by a resilient public awareness campaign that engaged stakeholders and furthered the need for development of the arts and appreciation for them. Additionally, endowments for the arts were paid both as a means of sponsoring individual artists, design studios, and performances throughout the country. Further, as the works project administration was specifically interested in developing the nation’s infrastructure and engaging in an optimistic building program, this period of time was also marked with the creation of hundreds of new art museums throughout the nation. In this way, the works project administration could also engage construction workers, architects, and builders as well as artists and furthering the appreciation for art within individual communities; representing a multidisciplinary approach. Ultimately, this approach was able to reinvent the level of respect and attention that the arts were receiving in the United States. Whereas other European nations had long supported the arts and provided endowments to support new and existing artists, the United States had not yet integrated with such a dynamic. Accordingly, the WPA and its support for the development of the arts was essential for the further development of the way in which government would form a key partner with artists and artistic appreciation/education throughout the United States. C-1.  The Berlin of the 1920s as compared to the Berlin of the 1930s was almost incomparable. The reason for this has to do with the way in which society shifted and began to interpret/reinterpret the event that it taken place in recent history. Accordingly, the Berlin of the 1920s was one that was flavored with a litany of different ideas, approaches, and dreams with respect to how society could be ordered and how peace can be achieved. Additionally, a morose and depressive state was also exhibited; one in which economic hardship was evidenced at nearly each and every juncture. A devastatingly long and economically damaging four-year war had created a situation in which Germany was ill able to continue on with economic development and furthering the pursuits of their citizens. Furthermore, the reverse side treaty and created a situation in which German repayment for damages during the First World War sat what little strength the German economy could exhibit. However, by the 1930s, a far different sentiment was developing within Germany. Instead of depression and sadness over the loss of life and engaging with a smorgasbord of ideas concerning how the future might be ordered, society within Berlin, and within greater Germany, was coming to something of a singularity. This singularity was of course with respect to the rise of the not the party, the rise of anti-Semitism, the rise of frustration and hatred against those that placed Germany in debt bondage, and the rise of a particularly powerful economic system that would revitalize Germany and remove the horrors of the First World War to distant memory (Zeitlin 99). Regardless of what one has to say about the Nazi party, this much is sure; that this particular party was able to transform Germany from a destitute and depressed state with little trust in its own future to one that was extraordinarily wealthy, powerful, and dynamic in engaging with the remainder of the world.  D-1.  As Nazi the Germany and Imperial Japan lay in ruins, two new superpowers emerged from the conflict with extraordinarily powerful militaries and industrial complexes that would come to define the next 45 years. As might be expected, the creation of two dynamic superpowers created a virtually guaranteed power struggle that would define the 1940s, 1950s, 1960s, 1970s, and 1980s. The power struggle was worsened due to the fact that the United States and the Soviet Union share different economic models and understandings/beliefs with respect to the way in which the world should be ordered. Naturally, the United States represented a capitalist worldview whereas the Soviet Union represented a communist interpretation. The first conflict was evidenced within postwar Europe; as both the United States and the Soviet Union divided Germany and sought to separate the newly conquered Germany into two distinct parts; East Berlin and West Berlin. Further, conflicts within Korea, Vietnam, Africa, South America, and nearly every other part of the globe came to define the intervening decades until the fall of communism. Yet, it should not be understood that the impact of conflict between communism and capitalism was only felt in far off/distant places. The era of Sen. Joe McCarthy was one in which communism was specifically targeted as a fundamental enemy of the American way of life. As a result of this, communists were demonized, socialists are persecuted, and liberal Democrats were understood as tantamount to complicit with the enemy (Frost 91). E-2.  As the question above indicates, the 1960s and 1970s served as a seminal moment for the definition of American society. For African-Americans, the definition and changes that came to be during this particular period of time were concentric upon the fact that the civil rights movement sought to integrate African-Americans with the remainder of American society. This is not only evidenced with respect to the integration of the schools within the deep South, it is also evident with regard to the way in which African-Americans sought out rights and privileges that were otherwise denied to them and attempted to make a more equal society (Vuillermin 103). In terms of women, the 1960s and 70s were pivotal as they defined the role in which feminism would play in women’s rights and reproduction. Further, “the pill” allowed women to have a level of reproductive freedom with respect to the way in which their bodies responded to acts of sexual intercourse. Beyond this, the youth rebellion was able to redefine the way in which sex and sexuality were understood and accepted by the broad majority of individuals within the United States. Up until this particular period of time, it was generally understood that the youth was chased and should not be sullied with sexuality. However, after the 1960s and 70s, sex and sexuality, and indeed sexual freedom, came to define the way in which the youth engaged with almost every aspect of society and the way in which the world was ordered. Works Cited Benevuto, Sergio. "The Gaze Of The Blind: Cubism." American Imago 70.3 (2013): 385-406.Academic Search Complete. Web. 22 July 2014. Frost, Jennifer. "Hollywood Gossip As Public Sphere: Hedda Hopper, Reader-Respondents, And The Red Scare, 1947-1965."Cinema Journal 50.2 (2011): 84-103. Academic Search Complete. Web. 22 July 2014. Vuillermin, Daniel. "A Nest Of Subversive Propaganda: Progressive Childrens Arts Education From The New Deal To The Mccarthy Era." American Communist History 12.2 (2013): 91-115. Academic Search Complete. Web. 22 July 2014. Zeitlin, Michael. "The Rise Of European Fascism." Faulkner Journal 26.1 (2012): 97-114. Academic Search Complete. Web. 22 July 2014. Read More