the rise of modern approach through artistic movement in contemporary Europe

introduction The culture has shaped many identities around the world, specially in context to Europe- the dynamic art and cultural movement which flourished between 18th and 19th century gave special preferences to the particular ideology shaping the position of Europe. Burk Hitroe in his essay (the rise of abstract art in Europe) mentioned that the alternative changes were only possible in Europe, if they had gathered momentum through the rational approach and that approach was probable in the Artistic movements like Cubism, Fauvism and Surrealism; Therefore I wil discuss these movements in broader asspects, when I will open this essay to my framework itself. I shall begin this essay by debating that in what way the nature of the European artistic movement was effected by regional and borderless ideologies. Bernard Colt in his book (the rise of artistic culture in Europe) mentioned that the flourishment within the art was only possible in Europe if realism, romanticism and naturalism would have been existed, therefore I shall begin the essay with the nature of the artistic movements and thence fort I will come to the point that in what way these movements effected any particular development in contemporary Europe itself. the nature of contemporary european artistic movements Let us first discuss that in what kind of nature the Artistic movements gained way to a cultural development in Europe. The debate is precisely upon the themes of the art that whetehr it was a romantic perspective or an abstrac settlment within the prospects of the contemporary society. There are two major scholars- James Clarck Medinvich (the rise of Abstract art in Europe) and Adams Holten (the nature of artistic movements in Europe) who both represents the school of creative art in the history of Europe. These both scholars believed that the nature of the art development in Europe was precisely according to it's relevance, creativity and technical approach. The development between 1785-1820 was a precise realist development as it has difference from earlier renaissance age, then there were late creative developments, therefore these both scholars support creativity as a major cause of artistic developments. Now coming to the point, David Thomsan (the rise of artistic movement in Europe) and Max Herbertson ( the solemn art in Europe) believes that the development of the artistic movements in Europe was the mere product of economic transition of the cultural assets. These both scholars believed that the nature of the art in a particualr society depends on the cultural growth it represents, therefore the power of the art movement in Europe was the productof cultural influentiality rather than creative activities. These scholars were challenged by Bernard Hume in (the rise of counter-currents in art movements of Europe) where he believes that the nature of the cultural art would have restricted the painters to draw whatever they decided to do, therefore the development of art was a self-sufficient movement itself. Whatever the fact would be, the nature of the artistic movement was only possible on the economic transition of a culture, because without patronage the art movements won't have developed as we see the instances of the court art and it's power in early Renaissance, but in a rational age in the power of enlightened thought in the early 18th-19th century might have also gained the creative power to represent themselves and art became a major product of attraction and expression, whether elite art sumposiums or developed power blocks around the core, therefore we shal now discuss that how the ideologies effected the nature of art in Europe itself. the debate on the modernist and post-modernist approaches It is certainly analysed by Barrington Moor sr in (the art movements in colonies and empire) and Charles Hengleton in (the rise of power spheres and art movements in late Europe) as wel as by Samuel Gladsmoor in (european art movements in ferment and equal social sphere) that the modernist approach was the only way through which the rise of the artistic movement was possible in the European era, these both scholars gave the advices that the victorian age, the pomporlian age and the rise of two different unified empires- Germany and Italy with their states on their side helped in the equal development of the art, they ttruely emphasised on the newly developed artistic areas, therefore we see the rise of the modernist approach, as the powwers had a small belief that a new ideology has developed in the contemporary era, therefore these scholars represented the modernist school that the realist and naturalist art was always present in the movements so they made it go high. Let us now come to the post modernist perspective, the era of development between 1930-45 and the era of development between 1950-55 where in both times, the war and peace were present in all social spheres aroud the world, we see the rise of the post modrnist approach. The painters of Bellgium made Antwerp their artistic centres in 1933, we see the rise of the mill painters in Netherlands and Bulgaria and we see the rise of American painters as well, but between this period, the scholars like Samuel Hay (the rise of post-modernist art) believed that the post modernism was the product of art, it has been founded on the basis of the cultural and art movements, therefore the best category in which the post modernism should be contested would be art, in this age, according to the debate, the artists not only tried the new ideaas and international borderless thought, but they also found the solutions of the problems of the borderless painting in the ideology, so they gained power as well. According to Benzamin Cuxton (the rise of humanist approaches in post modernist art pillars of Europe),the rise of post modernist centtres along Europe and other places where Europe has been dominent not gave birth to the equal rationality withihn a public sphere, but it helped in the equal rationality within the outpost of the central powers, therefore the concept of the birth of art in a dominent sphere got disturbed and we see the rise of a ferment economy in the art, therefore the rise of the post modernist approach give birth to a new rationality and helped in the development of the social economy of art with new virtues and post-modernist equality as well. we shall now analyse that in what way the different movements in the field of Art gained momentum in Europe. I would try to justify through different historic sources as well that in what way these movements paradoxicaly represented or retaliated these kind of art model in their own tragectory as well. rise of cubism Henry Hanges in (the rise of Cubist paintings) mentioned that the leaders of the Cubism were persistant to their thoughts and equal digree of paintings. The Cubism is generally assisted to be relative to a single legendry Spanish Painter- Pablo Picaso and his late 18th century paintings, however Hanges believed that Danial Margunto of Spain was the founder associate of the Cubist movement in Europe. Hanges also mentions that the rise of the Cubism occured on the basis of modern approach and realist approach was the centre of this art movement which was probably inspired by divertio moderna, a movement of late Renaissance in Netherlands and Spain, therefore Fredrich Clauduston argues in counter thought of this movement in (the rise of duelist painting in Cubism) that the rise of the Cubism around 1835 in Pourtugal and Spain not only initiated the modern thought but also counter established a realist standerd within the art movement of the European history itself. What is essential here, while debating the fact, this movement gave way to two distinct features- 1st, the rise of different modern colours and straight benge painting pattern in which the lining was cubicle than ospheric; 2nd, this movement created the style of new models in it's own creation, the painter of Cubist movement believed in the combine pressure of colours according to the patterns acknowledged by the society rather than new unique creations; therefore the rise of the realist thought with the modernist approach was the key feature at least of this movement. Henry Monford in (the rise of Cubism in European art movement) and Francis Colraine in (the rise of art movement in face of Cubism0 both believed that without Cubism the rise of modernist approach was impossible in sence of artistic enlightment within Europe, therefore this movement played a unique role in the foundation of new artistic movement, which I shall discuss now. the post-cubist art movement As i suggested earlier thatn monford believed that Cubism gave way to distinct art movements in Europe, let us discuss them in very brief time of period. There are four major movements which persued during the rise and fal of Cubism in Europe- they are certainly Orphism, Processionism, Morphocism and Chlorohadism. The first to of these four represents the shapes and triangle patern little different from Cubism, but still the leadership of Charles Dcclrainne of Netherland and Aukland Homfield's painting regarding Processionism gave way to transpatterns of a new style within the artistic movement of Europe. What was the chief feature of Orphism and Processionism that the painters of both movements believed in the interchange of social encourage and discourage and counter-currents, which we can see in Dcclarainne and Monessaittie's paintings of late 18th century, therefore these both art movements challlenged the patronised rational thought and give way to a different cycle of art movement. In briefe sence of discussion, Morphocism is believed to radical realist paintings movement. in which the human shapes and human ideology are discussed much widely in the artistic movement of Europe. The painter of this movement like Charles Bercholt, Adams Samuelstein, David Balotte and others tried to influence the realist mirror accordig to the living age, however they strictly prohibited the show of the human life within a luxurious model, but still they strictly inflicted the life of a modern approach. However mentioning Monford again, the chlorohadism was the toughest artistic movemen and very extremist kind of movement in the field of art in Europe, it began between the rise of the ideologies like Syndicalism in Europe and also gained momentum with painters like George Clamph, Andrew Smith, Nathan Clombesten and others, who all believed that the modern era is an era of war While referring to Charles Cuxton in (the rise of syndicalism and it's art movements), what he mentioned that the change in the society was presse by war and it's infliction to the cultural movements, therefore the sence of the power and radiation was a necessary element of the rise of equal distinction to the paradoxical situations in the previous times; we see the paintings depicted war and battles of the early 19th century in all these painting and therefore these paintings open the gear of post modernist patterns, which I shall discuss now. I shal first discuss two diferent movemens like Fauvism and Surrealism and then I will move on to find out that how other movements make their mark to the economic influence in the post-modern era itself in the history of Europe making a most complex world outside. fauvism and surrealism I have discussed in above analyses through historic source that in what way the contemporary art movement gave birth to the modernist approach, but mentioning Burter Stein in (the rise of European recent art movements) and Samuel Hegstein (the rise of glorious art movements in Europe), there are two separate art movements that without them the movement and their interchange is not possible to maintain an illuminating modernist approach. those both scholars mentions that Fauvism which grew in late 1860s and Surrealism which grew in late 18th century and 19th century represented a significant approach through which they are reconciled to be two different movements in approach and systematisation of modern thought, let us now analyse that in what way they depict a unique approach itself. The rise of Fauvism occured in between 1860s, it's chief painters were amongst three great painter genius of Europe- Henry Mattess, David Hugsley and Andrew Smailtshchmooger, who both three created a painting style known as 'pictography', which was the trademark of the rise of the modern europe paintings. These both three painters had an approach that the combine usage of colours can make a remarkable change in the historic phenomenon, therefore they practiced the multiple colour choice than singular or try colour choice, which was the trademark of the movements like Chlorohadism, therefore the remarks of Fauvism as mentioned by David Cuxton in (the rise of Fauvism in Europe) represented a unique pattern through which the change of modernist idea was brought into light itself as well. as far Surrealism is concerned, This movement gained momentum in 1880s, it's chief painters were amongst the elite class painters like Samuel Gugslo, Sam Marconion, Nathan Parrallie and Andrew Wotmohr, who all were from elite houses and also patronised different times of art patternsn once they established themselves on the outer post in the artistic movements like Surrealism. There is a debate between Art school of patern painting and Art school of pictography that Pablo Picaso should ve reckoned to be the painter of the age of Surrealism, as far his relation to the art of Automation or Segmentation is concerned,the both modules of Surrealism has no concerne to bring Picaso in surrealist movement, as mentioned by Duglus Romanio in his book (the rise of Surrealist patterns in Europe), therefore Picaso's entry in the movement is out of question. however I shall now move to discuss that in what way the movement like Fauvism and Surrealism gave the management of colours, as Surrealism itself made way for multiple choice colours and as well the approach was behind Fauvism, there is an interchange which led new horizon and let us move ahead then. I will try to identify that in the way of colour pattern and trianglar and rectangular patterns which were applied by the painters of Fauvism and Surrealism in late 18th century and their dimentions were also reproachful, in what way the recent post modernist trend specially in war and post war situations helped the painters to giv birth a unique dimention and I will try to identify it through different dimentions as well. the post modernist real art approach Jennifer Jenkins in (automations and their realist approach in post modernism) mentioned that post modernism is an approach in which complexity is being regarded as creativity and naturalism is being regarded as the equal thought of threat and peace as well, therefore the implementation of an artistic movement within the name of 'post modernism' should be totally desceptive to justify the changes which occured in the early 19th century and in during the 1st and 2nd world wars period. Anthony Melscorn rejected this view in his book (the application of post modernist artist movements) that the direction and interchange of the post modernist art depicted the equal sensation of counter interchange in the movement, as we can see through the pictures of battle of Clandome, the battle of bladivstock and other paintings in the terms of the 1st world war, therefore Anthony wishes to generate the view that war became the priority of the post modernist painters. however there is another view put forward by Fredrich Bolstein in (the rise of counter-war paintings) that the results of the wars and peace's submissions were chief features of the post modernist art, as we can see the painting of conference of Paris, the Germany's paintings of Sentlohdom of 1919 or Turke's paintings by Asad Al masood, but let us now first discuss what this post-modernist art all about is for sure. Before introducing Post-modernist art, we shall remember Jenkin's view that creativity is a necessary power of the post-modernist art, therefore the dimentions of colours, the utility of the brushes and the techniques recently developed in the name of fountain pen and lazer art in the early 19th century gave birth to a post-modernist approach, however it's complexity should also be in account, but let us now discuss first about it's chief textual effect,then we can't have debate on it's impact. The post modernist art movement was represented firstly by France and Romania in 1901, when Duglus Haulessaquie, Marry Bogsmith, Andreith Sallserie and Thomas Suelskie combinely presented the multiple art presentations in an international confrence firstly held in Paris in 1901 for the painter's show in the central fair presentation ceremony, we can believe it to be the rise of the new era in the history, but Samuel magstohn in (the rise of post modernist art movement) had mentioned that we are very early to call this the rise of the post modernist movement, however some historians believed that Americans were first to precisely developd the features of the post modernist art. According to Jennifer Jenkins in (the rise of post modernist art movements in European colonies), the chief features of this art were multiple cone concensus and different landscapes according to the nature and migration of people which was common in colonies like America so it had it's impact as well. however I won't debate on the nature of it's impact now, it's clear from these all different alliguences therefore that the rise of the modernist approach was possible on the bases of these all movements and I shal wrap it now. Before closing the analysis on the artistic movement in Europe, we need to remember one key feature of these artistic movements, these movements were multiple challenges for the public speres, their acceptence along the public spheres ment that the public spheres was also having awakening of the new intellectual dawn, therefore we can give credit to Cubism, Fauvism and Surrealism to make a base for the equal distinction of the power blocks they created in the face of the movements for the rise of a unique new approach. conclusion The above analyses marked that in what way the transition from singular colour choice and ospheric pattern to the multiple colour choice and circular and rectangular and cone base transaction within art occured in Europe, which gave to the rise of the multiple dimentions of thought, rationality and equal distinction within the social dimentions. It's true that i haven't analysed the political scenarios up to their point, so it's not fair to justify that any political harmony whether sustained through these movements or it had a different effect to contemporary social influences,however I can assure that the rise of Cubism and it's counter movements like Orphism, Processionism, Morphocism and Chlorohadism not only gave birth to equal distinction to the artistic movements, but they helped in the growth of the equal sustainability of their counter currents in the period. It is suggested by Raymond Clarck in (the rise of the currents and artistic movements in the contemporary Europe) that cubism also give a platform to movements like Fauvism and Surrealism to get an actual place in the contemporary European society and maintain the influence of the artistic movement for the awakening of the social bond constraining away to the people before the rise of these particular movements. However, it's true that the movements and their growth depends on the circulation of people and their equal role in their stagnant growth in the society, therefore I would close my analyses here giving the point mentioned by James Thomsan in (the rise of multiple colour awakening of Europe) that any movement in art was unaware of it's effect before it's rise, however it was a great rational challenge once it established inEurope and it gave rise to new ideology whichh became modernist with it's growth as well.