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Down on the Farm - Art Gallery of Alberta

Down on the Farm - Art Gallery of Alberta

Down on the Farm - Art Gallery of Alberta

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The <strong>Alberta</strong> Foundati<strong>on</strong> for <strong>the</strong> <strong>Art</strong>s Travelling Exhibiti<strong>on</strong> ProgramPhotography: The Modern View: A Surveyc<strong>on</strong>tinuedModernism and Abstracti<strong>on</strong> in Painting:European BeginningsWassily KandinskyCompositi<strong>on</strong> VII, 1913The Tretyalov <strong>Gallery</strong>, MoscowWassily Kandinsky (1866-1944) is usually creditedwith making <strong>the</strong> first entirely n<strong>on</strong>-representati<strong>on</strong>alpainting in 1910. The history <strong>of</strong> abstracti<strong>on</strong> in <strong>the</strong>visual arts, however, begins before Kandinskyin <strong>the</strong> later decades <strong>of</strong> <strong>the</strong> 19th century with <strong>the</strong>work <strong>of</strong> French Impressi<strong>on</strong>ist artists such asClaude M<strong>on</strong>et, Paul Cézanne and Georges Seurat.While <strong>the</strong> work <strong>of</strong> <strong>the</strong>se artists was grounded invisible reality, <strong>the</strong>ir methods <strong>of</strong> working and artisticc<strong>on</strong>cerns began <strong>the</strong> process <strong>of</strong> breaking down <strong>the</strong>academic restricti<strong>on</strong>s c<strong>on</strong>cerning what wasacceptable subject matter in art, how art workswere produced and, most importantly, challenged<strong>the</strong> percepti<strong>on</strong> <strong>of</strong> what a painting actually was.Historians have suggested various dates as starting points for modernism. Accordingto <strong>the</strong> American art critic Clement Greenberg, Modernism emerged in <strong>the</strong> middle <strong>of</strong> <strong>the</strong> 19thcentury in France. Definitely, from <strong>the</strong> 1870s <strong>on</strong>ward, <strong>the</strong> ideas that history and civilizati<strong>on</strong> wereinherently progressive and that progress was always good, beliefs prevalent in society since <strong>the</strong>Renaissance, came under increasing attack. At <strong>the</strong> same time social, political, and ec<strong>on</strong>omicforces were at work that became <strong>the</strong> basis to argue for a radically different kind <strong>of</strong> art andthinking. Industrializati<strong>on</strong>, which produced buildings that combined art and engineering in newindustrial materials, rapid urbanizati<strong>on</strong> and <strong>the</strong> miseries <strong>of</strong> industrial urbanism, and scientificexaminati<strong>on</strong>s brought changes which shook European civilizati<strong>on</strong>. In <strong>the</strong> 1890s a strand <strong>of</strong>thinking began to assert that it was necessary to push aside previous norms entirely and it wasargued that, if <strong>the</strong> nature <strong>of</strong> reality itself was in questi<strong>on</strong>, and if restricti<strong>on</strong>s which had been inplace around human activity were falling, <strong>the</strong>n art, too, would have to radically change.The first group <strong>of</strong> visual artists to radically change <strong>the</strong> way <strong>the</strong> world was perceived were<strong>the</strong> French Impressi<strong>on</strong>ists.AFA Travelling Exhibiti<strong>on</strong> Program, Edm<strong>on</strong>t<strong>on</strong>, AB. Ph: 780.428.3830 Fax: 780.421.0479youraga.ca

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