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Essay / Research Paper Abstract
An 8 page paper which considers the late nineteenth and early twentieth century artistic genre from the perspective of Russian Abstractionist Kasimir Malevich, who once observed, “No more likenesses of reality, no more idealistic images, nothing but a desert.” Bibliography lists 8 sources.
Page Count:
8 pages (~225 words per page)
File: TG15_TGdesart.rtf
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Unformatted sample text from the term paper:
movement, avant-garde flourished following World War I. The harsh realities of war shattered the security of all people, and so artists, particularly painters and sculptors, decided to abandon anything
remotely resembling realism. They were, in essence, taking an artistic "walk on the dark side." During the heyday of the avant-garde movement, Cubists like Pablo Picasso, and Dadaists/Surrealists
like Joan Miro and Salvador Dali rebelled against the constraints placed upon people in society by destroying all conventional artistic structures. They influenced external perceptions by depicting internal emotions
on canvas and in clay. According to the founders of the avant-garde movement, there should be no barriers imposed upon artistic expression. Art must be progressive and its
images must advance beyond the constrictive images that realism represents. Joan Miro once explained his avant-garde artistry this way: "I have managed to break absolutely free of nature, and
the landscapes have nothing to do with outer reality" (Updike 46). By the mid-1920s, the avant-garde movement was gaining in popularity
in both Eastern and Western Europe, and Russian painter and sculptor Kasimir Malevich was intent upon combining the artistic expressions of Post-Impressionism and Cubism with a radical social philosophy (Giedion-Welcker
342). Malevich had founded the Supramatist artistic movement in 1913, which evolved in 1926 into the avant-garde approach he dubbed "the non-objective world" (Giedion-Welcker 342). Malevich sought to
replace the colors evident in much of the worlds physical landscape with barren and seamless images that would reveal the "geometric foundation" of the cosmos (Vladiv-Glover et al. 4).
As Malevich explained in his treatise, also entitled The Non-Objective World, I took refuge in the square form... the critics and, along with them, the public sighed, "Everything which we
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