Like all types of art, sculpture in the early 20th century is experiencing a difficult period of search for new forms. The first violin in this mass sets the search Auguste Rodin. The great master becomes the legislator in the field of sculpture, his proposals meet colleagues and critics and delight. In fact, the whole 20th century sculpture grew out of experiments in Rodin’s Studio.
The wizard, full of originality, realism uncharacteristic of the internal and external speakers, a tangible energy and the cancellation of numerous conventions. However, Rodin remains within the familiar shapes and realistic images. The sculpture is the most “conservative” form of art as long as the aesthetics of the plastics do not interfere with the Cubists.
The Cubists could not stay away from the bulk of art. The nature of this course, the masters had to be closely in two dimensions. So they gravitated to the volume. The first sculptors who decided to break a centuries-old tradition of realism, was perceived by fans and critics very cautious. Picasso, Laurent, Duchamp-Ville and almost no master painter could not resist the temptation to try his hand at plastics.
For this period of sculpture characteristic shifts forms, devoid of plot composition, experiments with different materials. All cubist sculptural innovations quickly came to naught, Europe of the interwar period were in need of a different aesthetics.
Totalitarian regimes 30 years demanded by the sculptors of pathos, the celebration of strength and monumentality. Talented artists from Germany, Italy, the Soviet Union was busy poeticizing of labour, glorification of leaders and competition with colleagues from other countries. Busts and sculptural groups of Arno Breker, the official sculptor of the Nazis, the famous work of Vera Mukhina “worker and collective Farm girl”, a series of faux works of the Italian masters favored by Mussolini – all the result of total intervention policy in creativity.
The undoubted historical value and talent masters do not give grounds to consider the many works of the era of dictatorships is a “breakthrough” in the development of European sculpture. At this time, the wizard trying to reinvent the experience of previous centuries and adapt it to the needs of modern times.
The desire of post-war artists to get away from realism is easily explained by the recently ended world massacre and the collapse of fascist regimes. Reality is too ugly to display it. Master plastics are looking for new forms of expression of beauty in the world. Surrealism for such a search provides a lot of opportunities. The subject image becomes a dream, a hallucination, a Mirage, a vision. Those interested in works of this period may picture to by clicking on this link http://price.ua/catalog4780.html.
The difficulty for many artists was a complete rejection of conventional forms and content. Given many tireless Scarecrow, forced to guard against trivial imitation and outright nonsense. Ernst, Schwitters, ARP – all the best masters of a new direction tended in their works to the same aesthetic standards.
Postmodernism, with its desire for provocation, the game, the illusion was able to digest the entire thousand-year history of sculpture, taking from each style something special. Constantly combining, rearranging, taking inspiration from the new direction, which in fact can be considered a hundred micronarrative, creates a very different from each other works. A multitude of ideas, ambiguity and diversity, provocation, and outright plagiarism, erected on a pedestal “replica eternal.”
Not afraid to experiment, making it a necessary component of the creative process, postmodernism in a hurry to surprise, to shock, to arouse strong feelings in the viewer. Every year stylistic diversity is becoming more complex and hardly amenable to classification.