Composition of Blue Module, Essay Example

Introduction 

The paintings titled:  Composition of Blue Module by Saloua Raouda Choucair and the work titled: Cut with the Kitchen Knife by Hannah Höch were reviewed. The characteristics of Dadaism and Modernism were compared. The qualities that inspired the selection of these two works of art was discussed. The distinctions, connections and similarities of Composition of the Blue Module and Cut with the Kitchen Knife are detailed.

Modernism

Modernism is a visual art movement that was the outcome of the changing philosophical perspectives. The evolving philosophical perspectives were derived from the changes that took place in the late nineteenth and early twentieth centuries. The contributing factors to the development of Modernism were the abrupt growth of the metropolitan centers and the industrialization of nations. At the late 1930s, at about after WWI, visual arts engaged in a new course, created an indistinct direction, which was hard to be predicted. The era of World War One was a contributing factor to Modernism as a philosophical art movement (Appignanesi 17). In general, this was challenging the assumption of reality, realism.  “Late modern” was then created contemporaneously. Modernism was developed as a rebellion against the specific models of traditional art.

Modernism is founded in self-awareness. It rejects the perspective of realism and applies the techniques of the past by means of incorporation, reprise and parody. Modernism influenced artist to experiment with new forms of expression in painting. Modernism is based on the premise that human beings do not visually observe objects, they are only able to perceive reflections of light. Modernism was revolutionary in its perspective. It rebelled against the established order due to the conception that society was not always associated with progress.  Modernism rebelled against what was previously considered as art by the members of the bourgeoisie. These qualities, in addition to the use of geometrical forms and colors are what distinguished Modernism in visual arts (Barnhisel 30).

Dadaism

Dadaism was produced as an outcome of futurism and cubism. Dadaism involved cutting segments of paper items and creating collages. The everyday objects that were contained as mundane were imparted into Dadaism collages. The Dadaist artists applied the use of glue and scissors in order to create art. The objective of Dadaism in visual art was to apply everyday objects and mount them into collages. The creation of Dada art was perceived as a social expression. In the works of art titled: Cut with the Kitchen Knife, the Dadaist influence is apparent. The Dadaist art was a rebellion against the bourgeoisie order, while responding to the growth of the metropolitan areas and industrialization (Huelsenbeck 462).

History of Dadaism

Dada, also known as Dadaism, was founded in Zurich in 1916 at the Cabaret Voltaire. It began as a movement from 1916 to 1923, which seemed to be very short period of time, but it caused a great influence in art. During WWI, most of the artists from the European continent were attracted by Zurich. Switzerland has always been renowned as a neutral nation. The quality of Switzerland’s neutrality had enabled these artists to create art which was applied in an abstract manner. The art was intended to challenge and critique the cultural, social and political concepts of the era. The onset of World War One caused many artists to disassociate from what had previously been considered as art by the members of the bourgeoisie (Ball XXIV). The common tendency of Dada is considered as violent rather than being artistic or aesthetic. In other words, it often narrated as an anecdotal style which is full of tales of drinking, sex, scandal and games. Conversely, Dada can also stands for unity, affirmation and negation as it has the power to evoke people’s spirits easily. It has once being presented as ‘manifestation of a recurrent transhistorical fascination’. However, it depends on your mentality. Dada can be nothing and it can be everything.

History of Modernism

The artists who initially applied the Modernist technique were inspired by Cubism. In the Cubist perspective, the objects are decomposed and reconstructed in an abstracted manner. The artists’ intention in Modernism is to perceive the objects from a variety of perspectives. Modernism is renowned for its use of forms, lights and shadows. The cubist precursor of Modernism was initially displayed in public in Paris by Jean Metzinger, Roger de la Fresnaye, Henri Le Fauconnier, Robert Delaunay, Albert Gleizes and Fernand Léger. Young Pablo Picasso emerged with the first Modernist artwork titled: Les Mademoiselles D’ Avignon in 1907. Picasso’s masterpiece was among the first Modernist artworks which denied the application of the conventional perspective as a method of creating paintings (Ganteführer – Trier 17).

Composition in Blue Module

The painting titled: Composition in Blue Module is modernist due to its use of light. In addition, the painting applied the use of geometrical forms. The painting follows the genre of Modernism that had been previously established. These characteristics included the geometrical forms and the capacity of being able to view the painting from more than one perspective. Choucair was highly influenced by the Cubist artist Fernand Léger (Khoury 200; Tate 1).  From the artwork, we can see duplication has taken place.  A very obvious geometric abstraction is shown, simple shapes interwoven and multi-layered by using the two basic elements of Islamic design. As a result, it turned in a wonderful overall abstract form. The pattern seems so complex but simple. It is interesting how the basic elements – Straight line and the curve; such a basic technique can reinterpret a brand new composition. It is a breakthrough piece with somber blue palette, purples and lighter shades. The subtle shifts of color allow this piece of work without a tonal.  This composition is one of her series production known as ‘Fractional Modules’.  Choucair is a Lebanese artist, she tends to draw figure paintings. Since she went to Paris and admired by painter Fernand Léger’s drawing skills whom influence her moves from figure paintings to her abstract composition.

Cut in the Kitchen Knife

The collage titled: Cut with the Kitchen Knife is a work which falls under the Dada category. It is a social statement that was created in 1919. There is a feminist accent to the work. The men in the collage are demonstrated in authoritative states. There is one exception at the lower right hand of the collage where a man’s head is pasted backwards on a feminine body. There is the term Dada that has been cut and glued to various points of the collage. There are wheels and bearings on the collage which may have been a critique of the process of industrialization that had been taking place. It can be observed that the context and the confusion of the era with regards to the expansion of industrialization is evident is the collage titled: Cut with the Kitchen Knife (Biro 77)

Conclusion

The elements that motivated the selection of these works of art were their feminine perspectives. At the time of the creation of both works, women were not completely acknowledged as being equal to men in the artistic forums. The similarities that both works demonstrate is a rebellion against the established perception of visual art during the eras that they had been created. The connection is a rejection of the established perception of visual art.  The denial of the established forms caused the artists to experience introspections and create visual art which was a form of social expression. The two works of art have the common element of wanting to challenge the established order. Dadaism and Modernism were created in order to challenge and critique the established order of visual art.

Works Cited

“Arts Curriculum.” http://www.guggenheim.org/new-york/education/school-educator-programs/teacher-resources/arts-curriculum-online?view=item&catid=716&id=150

Appignanesi, Richard and Chris Garratt. Introducing Postmodernism: A graphic guide. Lanham, MD: National book Network, Inc., 2005. Print.

Ball, Hugo. Flight out of time: A Dada diary. Berkeley, CA: University of California Press, 1974. Print.

Barnhisel, Greg. Cold War modernists: Art Literature, and American diplomacy. New York, NY: Columbia University Press, 2015. Print.

Biro, Matthew. The Dada cyborg: Visions of the new human in Weimar Berlin. Minneapolis, MN: University of Minnesota Press, 2009. Print.

‘”Composition in Blue Module’, Saloua Raouda Choucair.”http://www.tate.org.uk/art/artworks/choucair-composition-in-blue-module-t13308/text-display-caption

“Dada and Art History.”  http://arthistory.net/artstyles/dada/dada1.html

Dickerman, Leah with S.Wikovsky, Matthew. (Eds.). New York: National Gallery of Art Washington, DC. P1-3

Ganteführer – Trier, Anne. Cubism. London, UK: Taschen Koln, 2004. Print.

Huelsenbeck, Richard. “En Avant Dada: A History of Dadaism (1920).” In Laurence Rainey (Ed.), Modernism: An Anthology. (463- 477). Malden, MA:  Blackwell Publishing, 2005. Print.

Khoury, Nuha N. N. “Art.” In Dwight F. Reynolds, The Cambridge Companion to Modern Arab Culture. (200- 208). Cambridge, MA: Cambridge University Press, 2015. Print.

Lucie-Smith, Edward. Movements in art since 1945. New revised edition. .London: Thames and Hudson, 1984. Print.

Morgan, Jessica. Saloua Raouda Choucair. London: Tate Publishing, 2013. Print.

Tate. “Saloua Raouda Choucair Composition in Blue Module 1947- 1951.” Tate, 2015. Web.  3 April 2015. http://ww.tate.org.uk/art/artworks/choucair-composition-in-           bluem odule-t13308.

Wood, Paul. Conceptual Art Movements in Modern Art. London: Tate Publishing, 2003. Print.

Lucie-Smith, Edward. Movements in art since 1945.  New revised edition. London:  Thames and Hudson, 1984. Print.