Modern Movement

Modernism was an early 20th-century movement in literature, visual arts, and music that emphasized experimentation, abstraction, and subjective experience. Philosophy, politics, architecture, and social issues were all aspects of this movement. Modernism centered around beliefs in a "growing alienation" from prevailing "morality, optimism, and convention" and a desire to change how " human beings in a society interact and live together".

The modernist movement emerged during the late 19th century in response to significant changes in Western culture, including secularization and the growing influence of science. It is characterized by a self-conscious rejection of tradition and the search for newer means of cultural expression. Modernism was influenced by widespread technological innovation, industrialization, and urbanization, as well as the cultural and geopolitical shifts that occurred after World War I. Artistic movements and techniques associated with modernism include abstract art, literary stream-of-consciousness, cinematic montage, musical atonality and twelve-tonality, modernist architecture, and urban planning.

Modernism took a critical stance towards the Enlightenment concept of rationalism. The movement also rejected the concept of absolute originality — the idea of "Creatio ex nihilo" creation out of nothing — upheld in the 19th century by both realism and Romanticism, replacing it with techniques of collage,Eco (1990) p. 95 reprise, incorporation, rewriting, recapitulation, revision, and parody. Another feature of modernism was reflexivity about artistic and social convention, which led to experimentation highlighting how works of art are made as well as the material from which they are created. Debate about the timeline of modernism continues, with some scholars arguing that it evolved into late modernism or high modernism. Postmodernism, meanwhile, rejects many of the principles of modernism.

Overview and definition

Modernism was a cultural movement that impacted the arts as well as the broader ''Zeitgeist''. It is commonly described as a system of thought and behavior marked by self-consciousness or self-reference, prevalent within the avant-garde of various arts and disciplines.Everdell, William, '' The First Moderns: Profiles in the Origins of Twentieth Century Thought'', University of Chicago Press, 1997, . It is also often perceived, especially in the West, as a socially progressive movement that affirms the power of human beings to create, improve, and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology. From this perspective, modernism encourages the re-examination of every aspect of existence. Modernists analyze topics to find the ones they believe to be holding back progress, replacing them with new ways of reaching the same end.

According to historian Roger Griffin, modernism can be defined as a broad cultural, social, or political initiative sustained by the ethos of "the temporality of the new". Griffin believed that modernism aspired to restore a "sense of sublime order and purpose to the contemporary world, thereby counteracting the (perceived) erosion of an overarching ' nomos', or 'sacred canopy', under the fragmenting and secularizing impact of modernity". Therefore, phenomena apparently unrelated to each other such as "Expressionism, Futurism, Vitalism, Theosophy, Psychoanalysis, Nudism, Eugenics, Utopian town planning and architecture, modern dance, Bolshevism, Organic Nationalism — and even the cult of self-sacrifice that sustained the Hecatomb of the First World War — disclose a common cause and psychological matrix in the fight against (perceived) decadence." All of them embody bids to access a "supra-personal experience of reality" in which individuals believed they could transcend their mortality and eventually that they would cease to be victims of history to instead become its creators.

Religion was similarly influenced by new scientific, philosophical and political developments of the late 19th and early 20th centuries, and this led to the development of Catholic modernism. T. S. Eliot was influenced by Catholic Modernism.
Writing in the ''Catholic Encyclopedia'' in 1911, the Jesuit Arthur Vermeersch gave a definition of modernism in the perspective of the Catholic heresiology of his time:

"In general we may say that modernism aims at that radical transformation of human thought in relation to God, man, the world, and life, here and hereafter, which was prepared by Humanism and eighteenth-century philosophy, and solemnly promulgated at the French Revolution."

Modernism, Romanticism, Philosophy and Symbol

Literary modernism is often summed up in a line from W. B. Yeats: "Things fall apart; the centre cannot hold" (in " The Second Coming"). Modernists often search for a metaphysical "center" but experience its collapse. (Postmodernism, by way of contrast, celebrates that collapse, exposing the failure of metaphysics, such as Jacques Derrida's deconstruction of metaphysical claims.)

Philosophically, the collapse of metaphysics can be traced back to the Scottish philosopher David Hume (1711–1776), who argued that one never actually perceives one event causing another; similarly, Hume argued that we never know the self as object, only the self as subject, and we are thus blind to our true natures. Moreover, if we only 'know' through sensory experience—such as sight, touch and feeling—then we cannot 'know' and neither can we make metaphysical claims.

Thus, modernism can be driven emotionally by the desire for metaphysical truths, while understanding their impossibility. Some modernist novels, for instance, feature characters like Marlow in ''Heart of Darkness'' or Nick Carraway in ''The Great Gatsby'' who believe that they have encountered some great truth about nature or character, truths that the novels themselves treat ironically while offering more mundane explanations. Similarly, many poems of Wallace Stevens convey a struggle with the sense of nature's significance, falling under two headings: poems in which the speaker denies that nature has meaning, only for nature to loom up by the end of the poem; and poems in which the speaker claims nature has meaning, only for that meaning to collapse by the end of the poem.

Modernism often rejects nineteenth century realism, ''if'' the latter is understood as focusing on the embodiment of meaning within a naturalistic representation. At the same time, some modernists aim at a more 'real' realism, one that is uncentered. Picasso's protocubist painting, Les Demoiselles d'Avignon of 1907 (see picture above), does not present its subjects from a single point of view (that of a single viewer), but instead presents a flat, two-dimensional picture plane. "The Poet" of 1911 is similarly decentered, presenting the body from multiple points of view. As the Peggy Guggenheim Collection website puts it, 'Picasso presents multiple views of each object, as if he had moved around it, and synthesizes them into a single compound image'.

Modernism, with its sense that "things fall apart," can be seen as the apotheosis of romanticism, if romanticism is the (often frustrated) quest for metaphysical truths about character, nature, a higher power and meaning in the world. Modernism often yearns for a romantic or metaphysical center, but later finds its collapse.

This distinction between modernism and romanticism extends to their respective treatments of 'symbol'. The romantics at times see an essential relation (the 'ground') between the symbol (or the 'vehicle', in I.A. Richards's terms) and its 'tenor' (its meaning)—for example in Coleridge's description of nature as 'that eternal language which thy God / Utters'. But while some romantics may have perceived nature and its symbols as God's language, for other romantic theorists it remains inscrutable. As Goethe (not himself a romantic) said, ‘the idea r meaningremains eternally and infinitely active and inaccessible in the image’. This was extended in modernist theory which, drawing on its symbolist precursors, often emphasizes the inscrutability and failure of symbol and metaphor. For example, Wallace Stevens seeks and fails to find meaning in nature, even if he at times seems to sense such a meaning. As such, symbolists and modernists at times adopt a mystical approach to suggest a non-rational sense of meaning.

For these reasons, modernist metaphors may be unnatural, as for instance in T.S. Eliot's description of an evening 'spread out against the sky / Like a patient etherized upon a table'. Similarly, for many later modernist poets nature is unnaturalized and at times mechanized, as for example in Stephen Oliver's image of the moon busily 'hoisting' itself into consciousness.

Origins and early history

Romanticism and realism

Modernism developed out of Romanticism's revolt against the effects of the Industrial Revolution and bourgeois values. Literary scholar Gerald Graff, argues that, "The ground motive of modernism was criticism of the 19th-century bourgeois social order and its world view; the modernists, carrying the torch of Romanticism."

While J. M. W. Turner (1775–1851), one of the most notable landscape painters of the 19th century, was a member of the Romantic movement, his pioneering work in the study of light, color, and atmosphere "anticipated the French Impressionists" and therefore modernism "in breaking down conventional formulas of representation; though unlike them, he believed that his works should always express significant historical, mythological, literary, or other narrative themes."
However, the modernists were critical of the Romantics' belief that art serves as a window into the nature of reality. They argued that since each viewer interprets art through their own subjective perspective, it can never convey the ultimate metaphysical truth that the Romantics sought. Nonetheless, the modernists did not completely reject the idea of art as a means of understanding the world. To them, it was a tool for challenging and disrupting the viewer's point of view, rather than as a direct means of accessing a higher reality.

Modernism often rejects 19th-century realism when the latter is understood as focusing on the embodiment of meaning within a naturalistic representation. Instead, some modernists aim at a more 'real' realism, one that is uncentered. For instance, Picasso's 1907 Proto-Cubist painting ''Les Demoiselles d'Avignon'' does not present its subjects from a single point of view, instead presenting a flat, two-dimensional picture plane. ''The Poet'' of 1911 is similarly decentered, presenting the body from multiple points of view. As the Peggy Guggenheim Collection comments, "Picasso presents multiple views of each object, as if he had moved around it, and synthesizes them into a single compound image."

Modernism, with its sense that "things fall apart," is often seen as the apotheosis of Romanticism. As August Wilhelm Schlegel, an early German Romantic, described it, while Romanticism searches for metaphysical truths about character, nature, higher power, and meaning in the world, modernism, although yearning for such a metaphysical center, only finds its collapse.

The early 19th century

In the context of the Industrial Revolution (~1760–1840), influential innovations included steam-powered industrialization, especially the development of railways starting in Britain in the 1830s, and the subsequent advancements in physics, engineering, and architecture they led to. A major 19th-century engineering achievement was the Crystal Palace, the huge cast-iron and plate-glass exhibition hall built for the Great Exhibition of 1851 in London. Glass and iron were used in a similar monumental style in the construction of major railway terminals throughout the city, including King's Cross station (1852) and Paddington Station (1854). These technological advances spread abroad, leading to later structures such as the Brooklyn Bridge (1883) and the Eiffel Tower (1889), the latter of which broke all previous limitations on how tall man-made objects could be. While such engineering feats radically altered the 19th-century urban environment and the daily lives of people, the human experience of time itself was altered with the development of the electric telegraph in 1837, as well as the adoption of "standard time" by British railway companies from 1845, a concept which would be adopted throughout the rest of the world over the next fifty years.

Despite continuing technological advances, the ideas that history and civilization were inherently progressive and that such advances were always good came under increasing attack in the 19th century. Arguments arose that the values of the artist and those of society were not merely different, but in fact oftentimes opposed, and that society's current values were antithetical to further progress; therefore, civilization could not move forward in its present form. Early in the century, the philosopher Schopenhauer (1788–1860) (''The World as Will and Representation'', 1819/20) called into question previous optimism. His ideas had an important influence on later thinkers, including Friedrich Nietzsche (1844–1900). Similarly, Søren Kierkegaard (1813–1855) and Nietzsche both later rejected the idea that reality could be understood through a purely objective lens, a rejection that had a significant influence on the development of existentialism and nihilism.

Around 1850, the Pre-Raphaelite Brotherhood (a group of English poets, painters, and art critics) began to challenge the dominant trends of industrial Victorian England in "opposition to technical skill without inspiration." They were influenced by the writings of the art critic John Ruskin (1819–1900), who had strong feelings about the role of art in helping to improve the lives of the urban working classes in the rapidly expanding industrial cities of Britain. Art critic Clement Greenberg described the Pre-Raphaelite Brotherhood as proto-modernists: "There the proto-modernists were, of all people, the Pre-Raphaelites (and even before them, as proto-proto-modernists, the German Nazarenes). The Pre-Raphaelites foreshadowed Manet (1832–1883), with whom modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, holding that its realism wasn't truthful enough."

Two of the most significant thinkers of the mid-19th century were biologist Charles Darwin (1809–1882), author of '' On the Origin of Species through Natural Selection'' (1859), and political scientist Karl Marx (1818–1883), author of ''Das Kapital'' (1867). Despite coming from different fields, both of their theories threatened the established order. Darwin's theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness; in particular, the notion that human beings are driven by the same impulses as "lower animals" proved to be difficult to reconcile with the idea of an ennobling spirituality. Meanwhile, Marx's arguments that there are fundamental contradictions within the capitalist system and that workers are anything but free led to the formulation of Marxist theory.

African art had an important influence on modernist art, which was inspired by their interest in abstract depiction.Murrell, Denise
"African Influences in Modern Art"
''The Metropolitan Museum of Art'', April 2008. Retrieved on 31 January 2013.

The late 19th century

Art historians have suggested various dates as starting points for modernism. Historian William Everdell argued that modernism began in the 1870s when metaphorical (or ontological) continuity began to yield to the discrete with mathematician Richard Dedekind's (1831–1916) Dedekind cut and Ludwig Boltzmann's (1844–1906) statistical thermodynamics. Everdell also believed modernism in painting began in 1885–1886 with post-Impressionist artist Georges Seurat's development of Divisionism, the "dots" used to paint '' A Sunday Afternoon on the Island of La Grande Jatte''. On the other hand, visual art critic Clement Greenberg called German philosopher Immanuel Kant (1724–1804) "the first real modernist", although he also wrote, "What can be safely called modernism emerged in the middle of the last century—and rather locally, in France, with Charles Baudelaire (1821–1867) in literature and Manet in painting, and perhaps with Gustave Flaubert (1821–1880), too, in prose fiction. (It was a while later, and not so locally, that modernism appeared in music and architecture)." The poet Baudelaire's ''Les Fleurs du mal'' (''The Flowers of Evil'') and the author Flaubert's ''Madame Bovary'' were both published in 1857. Baudelaire's essay " The Painter of Modern Life" (1863) inspired young artists to break away from tradition and innovate new ways of portraying their world in art.

Beginning in the 1860s, two approaches in the arts and letters developed separately in France. The first was Impressionism, a school of painting that initially focused on work done not in studios, but outdoors (''en plein air''). Impressionist paintings attempted to convey that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored Paris Salon, the Impressionists organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. In 1863, the Salon des Refusés, created by Emperor Napoleon III, displayed all of the paintings rejected by the Paris Salon. While most were in standard styles, but by inferior artists, the work of Manet attracted attention and opened commercial doors to the movement. The second French school was symbolism, which literary historians see beginning with Charles Baudelaire and including the later poets Arthur Rimbaud (1854–1891) with Une Saison en Enfer (''A Season in Hell'', 1873), Paul Verlaine (1844–1896), Stéphane Mallarmé (1842–1898), and Paul Valéry (1871–1945). The symbolists "stressed the priority of suggestion and evocation over direct description and explicit analogy," and were especially interested in "the musical properties of language."

Cabaret, which gave birth to so many of the arts of modernism, including the immediate precursors of film, may be said to have begun in France in 1881 with the opening of the Society of Incoherent Arts and the Black Cat in Montmartre.

The theories of Sigmund Freud (1856–1939), Krafft-Ebing and other sexologists were influential in the early days of modernism. Freud's first major work was ''Studies on Hysteria'' (with Josef Breuer, 1895). Central to Freud's thinking is the idea "of the primacy of the unconscious mind in mental life", so that all subjective reality was based on the interactions between basic drives and instincts, through which the outside world was perceived. Freud's description of subjective states involved an unconscious mind full of primal impulses, and counterbalancing self-imposed restrictions derived from social values.

The works of Friedrich Nietzsche (1844–1900) were another major precursor of modernism, with a philosophy in which psychological drives, specifically the "will to power" (''Wille zur macht''), were of central importance: "Nietzsche often identified life itself with 'will to power', that is, with an instinct for growth and durability." Henri Bergson (1859–1941), on the other hand, emphasized the difference between scientific, clock time and the direct, subjective human experience of time. His work on time and consciousness "had a great influence on 20th-century novelists" especially those modernists who used the "stream of consciousness" technique, such as Dorothy Richardson, James Joyce, and Virginia Woolf (1882–1941). Also important in Bergson's philosophy was the idea of ''élan vital'', the life force, which "brings about the creative evolution of everything." His philosophy also placed a high value on intuition, though without rejecting the importance of the intellect.

Important literary precursors of modernism included esteemed writers such as Fyodor Dostoevsky (1821–1881), whose novels include ''Crime and Punishment'' (1866) and '' The Brothers Karamazov'' (1880); Walt Whitman (1819–1892), who published the poetry collection ''Leaves of Grass'' (1855–1891); and August Strindberg (1849–1912), especially his later plays, including the trilogy ''To Damascus'' 1898–1901,''A Dream Play'' (1902) and ''The Ghost Sonata'' (1907). Henry James has also been suggested as a significant precursor to modernism in works as early as '' The Portrait of a Lady'' (1881).

Modernism emerges

1901 to 1930

Out of the collision of ideals derived from Romanticism and an attempt to find a way for knowledge to explain that which was as yet unknown, came the first wave of modernist works in the opening decade of the 20th century. Although their authors considered them to be extensions of existing trends in art, these works broke the implicit understanding the general public had of art: that artists were the interpreters and representatives of bourgeois culture and ideas. These "modernist" landmarks include the atonal ending of Arnold Schoenberg's Second String Quartet in 1908, the Expressionist paintings of Wassily Kandinsky starting in 1903, and culminating with his first abstract painting and the founding of the Blue Rider group in Munich in 1911, and the rise of fauvism and the inventions of Cubism from the studios of Henri Matisse, Pablo Picasso, Georges Braque, and others, in the years between 1900 and 1910.

An important aspect of modernism is how it relates to tradition through its adoption of techniques like reprise, incorporation, rewriting, recapitulation, revision, and parody in new forms.

T. S. Eliot made significant comments on the relation of the artist to tradition, including: " shall often find that not only the best, but the most individual parts of poet'swork, may be those in which the dead poets, his ancestors, assert their immortality most vigorously." T. S. Eliot "Tradition and the individual talent" (1919), in ''Selected Essays''. Paperback edition. (Faber & Faber, 1999). However, the relationship of modernism with tradition was complex, as literary scholar Peter Child's indicates: "There were paradoxical if not opposed trends towards revolutionary and reactionary positions, fear of the new and delight at the disappearance of the old, nihilism and fanatical enthusiasm, creativity, and despair."Childs, Pete
''Modernism''
(Routledge, 2000). . p. 17. Accessed on 8 February 2009.

An example of how modernist art can apply older traditions while also incorporating new techniques can be found within the music of the composer Arnold Schoenberg. On the one hand, he rejected traditional tonal harmony, the hierarchical system of organizing works of music that had guided musical composition for at least a century and a half. Schoenberg believed he had discovered a wholly new way of organizing sound based on the use of twelve-note rows. Yet, while this was indeed a wholly new technique, its origins can be traced back to the work of earlier composers such as Franz Liszt, Richard Wagner, Gustav Mahler, Richard Strauss, and Max Reger.

In the world of art, in the first decade of the 20th century, young painters such as Pablo Picasso and Henri Matisse caused much controversy and attracted great criticism with their rejection of traditional perspective as the means of structuring paintings, though the Impressionist Claude Monet had already been innovative in his use of perspective. In 1907, as Picasso was painting , Oskar Kokoschka was writing ''Mörder, Hoffnung der Frauen'' (''Murderer, Hope of Women''), the first Expressionist play (produced with scandal in 1909), and Arnold Schoenberg was composing his String Quartet No.2 in F sharp minor (1908), his first composition without a tonal center.

A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne, which were displayed in a retrospective at the 1907 Salon d'Automne. In Cubist artwork, objects are analyzed, broken up, and reassembled in an abstract form; instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Cubism was brought to the attention of the general public for the first time in 1911 at the Salon des Indépendants in Paris (held 21 April – 13 June). Jean Metzinger, Albert Gleizes, Henri Le Fauconnier, Robert Delaunay, Fernand Léger and Roger de La Fresnaye were shown together in Room 41, provoking a 'scandal' out of which Cubism emerged and spread throughout Paris and beyond. Also in 1911, Kandinsky painted ''Bild mit Kreis'' (''Picture with a Circle''), which he later called the first abstract painting.Richard Sheppard, ''Modernism–Dada–Postmodernism''. Northwestern Univ. Press, 2000 In 1912, Metzinger and Gleizes wrote the first (and only) major Cubist manifesto, '' Du "Cubisme"'', published in time for the Salon de la Section d'Or, the largest Cubist exhibition to date. In 1912 Metzinger painted and exhibited his enchanting '' La Femme au Cheval (Woman with a Horse)'' and ''Danseuse au Café ( Dancer in a Café)''. Albert Gleizes painted and exhibited his '' Les Baigneuses'' (The Bathers) and his monumental ''Le Dépiquage des Moissons'' (Harvest Threshing). This work, along with ''La Ville de Paris'' (''City of Paris'') by Robert Delaunay, was the largest and most ambitious Cubist painting undertaken during the pre-war Cubist period.

In 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke (The Bridge) in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter (The Blue Rider) in Munich. The name came from Wassily Kandinsky's ''Der Blaue Reiter'' painting of 1903. Among their members were Kandinsky, Franz Marc, Paul Klee, and August Macke. However, the term "Expressionism" did not firmly establish itself until 1913. Though initially mainly a German artistic movement, most predominant in painting, poetry and the theater between 1910 and 1930, most precursors of the movement were not German. Furthermore, there have been Expressionist writers of prose fiction, as well as non-German speaking Expressionist writers, and, while the movement had declined in Germany with the rise of Adolf Hitler in the 1930s, there were subsequent Expressionist works.

Expressionism is notoriously difficult to define, in part because it "overlapped with other major 'isms' of the modernist period: with Futurism, Vorticism, Cubism, Surrealism and Dada." Richard Murphy also comments: " hesearch for an all-inclusive definition is problematic to the extent that the most challenging Expressionists," such as the novelist Franz Kafka, poet Gottfried Benn, and novelist Alfred Döblin were simultaneously the most vociferous anti-Expressionists. What, however, can be said, is that it was a movement that developed in the early 20th century mainly in Germany in reaction to the dehumanizing effect of industrialization and the growth of cities, and that "one of the central means by which Expressionism identifies itself as an avant-garde movement, and by which it marks its distance to traditions and the cultural institution as a whole is through its relationship to realism and the dominant conventions of representation." More explicitly: the Expressionists rejected the ideology of realism.
There was a concentrated Expressionist movement in early 20th-century German theater, of which Georg Kaiser and Ernst Toller were the most famous playwrights. Other notable Expressionist dramatists included Reinhard Sorge, Walter Hasenclever, Hans Henny Jahnn, and Arnolt Bronnen. They looked back to Swedish playwright August Strindberg and German actor and dramatist Frank Wedekind as precursors of their dramaturgical experiments. Oskar Kokoschka's '' Murderer, the Hope of Women'' was the first fully Expressionist work for the theater, which opened on 4 July 1909 in Vienna. The extreme simplification of characters to mythic types, choral effects, declamatory dialog and heightened intensity would become characteristic of later Expressionist plays. The first full-length Expressionist play was '' The Son'' by Walter Hasenclever, which was published in 1914 and first performed in 1916.

Futurism is another modernist movement. In 1909, the Parisian newspaper ''Le Figaro'' published F. T. Marinetti's first manifesto. Soon afterward, a group of painters ( Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, and Gino Severini) co-signed the Futurist Manifesto. Modeled on Marx and Engels

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