It s hould reflect the ideals and is s ues of its tim

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Unformatted text preview: ld reflect the ideals and is s ues of its tim e and be true to its elf, not jus t a flowery, glos s y s urface. For exam ple, through his work, Mondrian was trying to pres ent a s ys tem of s im plicity, logic, and rational order. As a res ult, his pieces did end up looking like a s crabble board. Miro created powerful, s urrealis tic im ages from his dream s and s ubcons cious . Thes e artis ts were trying to evoke a res pons e from s ociety through an expres s ionis tic m anner. Finally,-abs tract artis ts and repres entational artis ts m aintain different ideas about 'reality'. To the repres entational artis t, reality is what he s ees with his eyes . This is the reality he reproduces on canvas . To the abs tract artis t, reality is what he feels about what his eyes s ee. This is the reality he interprets on canvas . This can be illus trated by Mondrian's Trees s eries . You can actually s ee the progres s ion from the early recognizable, though abs tracted, Trees , to his final s olution, the grid s ys tem . A cycle of abs tract and repres entational art began with the firs t s cratchings of prehis toric m an. From the abs tractions of ancient Egypt to repres entational, clas s ical Rom e, returning to abs tractionis m in early Chris tian art and s o on up to the pres ent day, the cycle has been going on. But this day and age m ay witnes s its death through the cam era. With film , there is no need to produce finely detailed, his torical records m anually; the cam era does this for us m ore efficiently. Maybe, repres entational art would ceas e to exis t. With abs tractionis m as the victor of the firs t battle, m ay be a different kind of cycle will be touched off. Pos s ibly, s om e tim e in the dis tant future, thous ands of years from now, art its elf will be phys ically non- exis tent. Som e artis ts today believe that once they have planned and cons tructed a piece in their m ind, there is no s ens e in finis hing it with their hands ; it has already been done and can never be duplicated. 30. The author argues that m any people look down upon abs tract art becaus e they feel that: a . Mo d e m a b s tra ct a rt d o e s n o t p o rtra y w h a t is id e a l a n d re a l. b . Ab s tra ct a rtis ts a re u n s kille d in ma tte rs o f te ch n ica l d ra ftin g . c. Ab s tra ctio n is ts co mp o s e irra tio n a lly. d . All o f th e a b o ve . e .No t Atte mp te d 31. The author believes that people feel com fortable with repres entational art becaus e a . th e y a re n o t e n g u lfe d in b rig h tly co lo u re d ca n va s e s . b . th e y d o n o t h a ve to click th e ir to n g u e s a n d s h a ke th e ir h e a d s in s ymp a th y. c. th e y u n d e rs ta n d th e a rt w ith o u t p u ttin g to o mu ch s tra in o n th e ir min d s d . p a in tin g s like Gu e rn ica d o n o t h a ve a p o in t e .No t Atte mp te d 32. In the author's opinion, Picas s o's Guernica created a s trong dem and for jus tice s ince a . it w a s a p ro te s t a g a in s t th e Ge rma n b o mb in g o f Gu e rn ica . b . P ica s...
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