Art HistoryEssay title: Art HistoryWorld War I virtually severed artistic relations between America and Europe. Cultural interchange and patronage was interrupted by problems of social and political urgency, though most artists tended to be antiwar. Visual propaganda was left to the commercial designers and illustrators, while American painters continued in their efforts to consolidate the issues detonated by the Armory show.
Dominant tendency in American painting after World War I towards cubism and abstraction was called “Precisionism”. The artists of this group had been influenced by cubism, which they saw in the work of Marcel Duchamp, a French Dada painter who appeared in New York City after 1915. Unlike European Cubism, where objects tended to break apart visually into numerous planes, Precisionists tried to reduce forms to their simplest shapes, up to the point of being abstract. For all of the artists working in this style, precisionism meant getting rid of all visual excess. Buildings and forms were reduced to basic geometric shapes, and the volume of buildings was adjusted to create a balanced, austere composition. Curves and straight edges were carefully balanced. Often, buildings or objects were isolated and removed from any context so that an abstract quality results. Precisionism was based in realism, but was controlled by geometric simplification stemming from cubism. The
A more advanced conception of the precisionist’s style, from a geometric approach, was found at the intersection of geometric simplification with the application of sculptor and abstract principles to traditional forms of painting.
The traditional technique of the technique of rendering an abstract figure or a simple outline was developed, originally by the masters of this style, who believed in their perfection or incomparableity through a combination of geometric simplification, and composition. They adopted abstract principles of abstract painting, based on natural or natural methods of composition. The geometric principles often found the use of a geometric form in their sculptor’s work, in some cases depicting a circular figure, but in other art forms, such as painting, they utilized the traditional geometric approach, a form of projection.
Drawers’ methods of drawing became increasingly popular by 1890, as a result of the rapid growth of the printing press. In 1890 the American paper manufacturer Howard J. P. Siegel developed a method of making abstract figures that combined geometric simplification, and he developed geometric realism as a technique in which abstract object dimensions, lines and patterns appear on an image. It was also adopted as a common practice at the time. Since this technique was first used in Europe in the 1890’s, the practice evolved into modern work, and today it is used in architecture as well as on the world wide web.
In 1904, as the growth of the printing press increased, the geometric principles for drawings became less and less available to the artists. This resulted in the use of geometric simplification. Using geometric simplification was not only a matter of technical expertise, but also of practical necessity. As the trend of abstraction became more and more prevalent in the years of the 1890’s, the artist began to utilize this practice more and more, which began to translate into new forms. While many art historians would claim that the geometric principles of geometric realism developed slowly and steadily throughout the 1900’s, the earliest artist to use them as a rule was the 17th century European painter, Gustav Lebben. He often used geometric simplification to make abstract figures that appeared in both abstract and traditional forms.
This large figure, built with seven small columns, is believed to have been created entirely from
A more advanced conception of the precisionist’s style, from a geometric approach, was found at the intersection of geometric simplification with the application of sculptor and abstract principles to traditional forms of painting.
The traditional technique of the technique of rendering an abstract figure or a simple outline was developed, originally by the masters of this style, who believed in their perfection or incomparableity through a combination of geometric simplification, and composition. They adopted abstract principles of abstract painting, based on natural or natural methods of composition. The geometric principles often found the use of a geometric form in their sculptor’s work, in some cases depicting a circular figure, but in other art forms, such as painting, they utilized the traditional geometric approach, a form of projection.
Drawers’ methods of drawing became increasingly popular by 1890, as a result of the rapid growth of the printing press. In 1890 the American paper manufacturer Howard J. P. Siegel developed a method of making abstract figures that combined geometric simplification, and he developed geometric realism as a technique in which abstract object dimensions, lines and patterns appear on an image. It was also adopted as a common practice at the time. Since this technique was first used in Europe in the 1890’s, the practice evolved into modern work, and today it is used in architecture as well as on the world wide web.
In 1904, as the growth of the printing press increased, the geometric principles for drawings became less and less available to the artists. This resulted in the use of geometric simplification. Using geometric simplification was not only a matter of technical expertise, but also of practical necessity. As the trend of abstraction became more and more prevalent in the years of the 1890’s, the artist began to utilize this practice more and more, which began to translate into new forms. While many art historians would claim that the geometric principles of geometric realism developed slowly and steadily throughout the 1900’s, the earliest artist to use them as a rule was the 17th century European painter, Gustav Lebben. He often used geometric simplification to make abstract figures that appeared in both abstract and traditional forms.
This large figure, built with seven small columns, is believed to have been created entirely from