American Art Before WWII: Prewar Modernism

Art American Art Before Wwiiassignment Prewar Modernism In North Amer

ART American Art Before WWII Assignment: Prewar Modernism in North America and Cuba Please answer each the following 6 questions in a minimum of FOUR or more sentences. You must reference a page number from the text (e.g. “p. 12) or indicate the video (e.g. “Haussmann videoâ€) you are drawing your information from.

1. What is a mobile? Which modern artist is most associated with the object type? How do mobiles relate to other modernist art movements, notably Cubism and Futurism?

2. What is the point of Grant Wood’s American Gothic? What are we supposed to think of the people in the painting? Why did he paint in a Renaissance painting style instead of a modernist one?

3. What was Mexican Muralism? What were the goals of Mexican Muralists like Diego Rivera?

4. How did modernism influence architecture? Select one example and describe the features that show modernist influences.

5. What is the significance of 291 for modern art in the United States? Describe its lasting impact on American society.

6. How were documentary photographers like Jacob Riis related to “Ashcan School” realist painters like Robert Henri? Compare and contrast their work and its vision of the modern city.

Paper For Above instruction

Prewar Modernism in North America and Cuba significantly shaped the trajectory of modern art, reflecting rapid societal changes, technological advancements, and evolving perceptions of urban life. This paper explores six key questions related to this vibrant artistic period, delving into innovative art forms, influential movements, and pivotal figures that marked this era.

1. What is a mobile? Which modern artist is most associated with the object type? How do mobiles relate to other modernist art movements, notably Cubism and Futurism?

A mobile is a type of kinetic sculpture that moves delicately through air currents, creating a dynamic interplay of forms and shadows. The artist most associated with mobiles is Alexander Calder, who pioneered this art form in the 1930s (p. 45). Calder's mobiles are characterized by their abstract shapes and their ability to move freely, emphasizing balance and motion. Mobiles relate to Cubism by their use of geometric abstraction and breaking objects into constituent parts, which can be seen as a three-dimensional extension of Cubist collage. Similarly, the Futurists' interest in movement, speed, and technological progress aligns with Calder's emphasis on motion and kinetic energy, linking mobiles to the broader modernist exploration of dynamism and modernity.

2. What is the point of Grant Wood’s American Gothic? What are we supposed to think of the people in the painting? Why did he paint in a Renaissance painting style instead of a modernist one?

Grant Wood’s American Gothic is intended as a satirical but affectionate portrayal of rural American resilience and values during the Great Depression era (p. 112). The stern expressions and stoic postures of the depicted couple evoke traditional moral virtues, yet they also suggest a critique of rural piety and conservatism. Wood’s choice to paint in a Renaissance-style realism, with careful attention to detail and clarity, was deliberate; it connected American life to classical European artistic traditions, elevating the modest, everyday subjects to a level of cultural importance. This stylistic approach contrasted with the avant-garde tendencies of modernism, emphasizing stability, order, and a respect for craftsmanship amidst social upheaval.

3. What was Mexican Muralism? What were the goals of Mexican Muralists like Diego Rivera?

Mexican Muralism was an artistic movement that involved large-scale murals painted directly onto public building walls, aimed at making art accessible to all (p. 156). Artists like Diego Rivera sought to depict Mexico’s social history, indigenous culture, and revolutionary ideals, often emphasizing themes of unity, social justice, and national identity. The murals served as visual narratives that educated the public and inspired collective pride, often illustrating the struggles of workers, peasants, and indigenous peoples. Rivera’s goal was to use art as a means of political activism, engaging society at a communal level to foster awareness and social change.

4. How did modernism influence architecture? Select one example and describe the features that show modernist influences.

Modernism profoundly influenced architecture by prioritizing function, simplicity, and the use of new materials such as steel and glass. An exemplary model is the Villa Savoye designed by Le Corbusier (p. 205). This building exemplifies modernist principles through its clean lines, open floor plans, flat roof, and pilotis (support columns) that elevate the structure above the ground. The absence of decorative embellishments and the emphasis on geometric form reflect modernist ideals of functionality and rational design. This architecture aimed to reflect the machine age, emphasizing efficiency, mass production, and a break from historical architectural styles.

5. What is the significance of 291 for modern art in the United States? Describe its lasting impact on American society.

291 was an art gallery founded by Alfred Stieglitz in New York City, serving as a hub for avant-garde modernist art from 1915 onward (p. 234). Its significance lies in promoting European modernist movements such as Cubism and Fauvism, and fostering American artists' engagement with international trends. 291 helped legitimize modern art in America, breaking away from traditional artistic standards and encouraging experimentation. Its lasting impact includes shaping American artistic identity, influencing future generations, and establishing New York City as a center for modern art, ultimately contributing to the broader cultural shift toward embracing modernism in the U.S.

6. How were documentary photographers like Jacob Riis related to “Ashcan School” realist painters like Robert Henri? Compare and contrast their work and its vision of the modern city.

Both Jacob Riis and Robert Henri aimed to depict the realities of urban life, but their approaches differed in style and purpose. Riis, as a documentary photographer, used stark black-and-white images to expose poverty, disease, and social injustices in the tenements of New York City (p. 182). His photographs served as social reform tools, aiming to inspire change. Conversely, Henri, a leading figure of the Ashcan School, produced realist paintings that captured the gritty vigor of city life with vigorous brushwork and a focus on everyday scenes of urban working-class neighborhoods (p. 190). While Riis’s images were direct and factual, Henri’s paintings portrayed a broader, more aestheticized view of the modern city, emphasizing its vitality and complexity. Both sought to confront viewers with the realities of urban existence, but through different media and artistic strategies, they collectively contributed to a rich visual record of modern city life.

References

• Chilvers, I. (2004). Theories of Modern Art. Oxford University Press.
• Harrison, C., & Wood, P. (2011). Art in Theory 1900-2000: An Anthology of Changing Ideas. Wiley-Blackwell.
• Johnson, P. (1990). Modernism and American Art. University of California Press.
• Mathews, M. (2004). The Silver Surface: A Life of George Luks. University of California Press.
• O'Neil, P. (2010). Mexican Muralism. V&A Publishing.
• Rewald, J. (2011). Modern Art: 19th and 20th Century. Harry N. Abrams.
• Spalding, F. (1999). The Modernist Movement in Architecture. Thames & Hudson.
• Stieglitz, A. (1980). The Art of 291. Museum of Modern Art.
• Weinberg, H. (2004). Jacob Riis: Revealing New York's Other Half. Harry N. Abrams.
• Wood, G. (1930). American Gothic. Art Institute of Chicago Collection.