<abstract xmlns="http://www.w3.org/1999/xhtml"><p>At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.</p></abstract>

At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and proportions to create new artistic currents. But this new trend has questioned the relation of classical arts with its perennial values which can not be overlooked, however radical the desire of young artists to “break” definitively with the past. Thus, in this new artistic context, many of the old art flagship techniques have been questioned and, as is always the case for predicting the “future of art”, the new artistic tendencies are absolutized and others are considered obsolete and declared “death”. The best known example is that of Marcel Duchamp, who, along with his famous ready-made exhibitions, strongly supported the death of art. Finally, the great creators of the past century felt at one point the need to relate to established art in order to better understand the “place” occupied by the generation of new artistic revolutions.

The Beginnings of The Modern Art

“George Enescu” National Universitz of Arts from Iași

Review of Artistic Education

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

{"article-title":"The Beginnings of The Modern Art"}

At the beginning of the 20th century visual artists found in the art the perfect field to experiment with different materials, combinations of new shapes and...

The Beginnings of The Modern Art

Publié en ligne: 07 avr. 2019

Pages: 255 - 261

DOI: https://doi.org/10.2478/rae-2019-0028

Mots clés
the modern art, ready-made, artistic revolutions, experiment, tendencies

© 2019 Mircea Ştefănescu, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

The Beginnings of The Modern Art

Publié en ligne: 07 avr. 2019

Pages: 255 - 261

DOI: https://doi.org/10.2478/rae-2019-0028

Mots clésthe modern art, ready-made, artistic revolutions, experiment, tendencies

© 2019 Mircea Ştefănescu, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 License.

Mots clés
the modern art, ready-made, artistic revolutions, experiment, tendencies