The painters of the last quarter of the nineteenth century have been freed from the exact representation of reality. The painting became for them the only reality: "A painting, before being a workhorse, a naked woman or any anecdote is essentially a flat surface covered with colors in a certain order assembled (Maurice Denis) In the twentieth century painters now enjoy a totality.They play with the colors, the forms the surface of the painting.Some, like Picasso, always keep in their works links with the real world.The objects represented can be deformed, tortured, they still have the freedom to recognize.
For others, the break with reality is complete abstract or non-figurative painters chose to drop the mooring that holds us as much by routine as by felt mentality down to earth of perception "(André Breton) The first work Kanky's abstract painting is in 1g10, and between the two world wars, non-figurative painting is illustrated by artists such as Mondrian and Klee, but it is not really recognized until after 1945 because misunderstanding surrounds the most often the pictorial research of the "abstract." The experiments are multiplying however, but the artists of our time are wondering the art is more and more a commodity, the tables reach exorbitant prices.In the best cases, they are locked up in the museums frequented especially by the privileged ones of the culture.The art, cut of the public seems useless to some if it does not transform the frame of the works men's lives.
Musicians of the nineteenth century also broke with tradition. Claude Debussy, who renews the musical language at the beginning of the century, is currently recognized as a precursor. But the most radical revolution is the work of Viennese Arnold Schoenberg and his pupils and Ber any meeting of sounds can be musical. Now, currently, musicians are experimenting da directions. Stockhausen in Germany, Boule ns all z and Xenaki France use as sound material both the sounds emitted by the musical instruments of the most diverse civilizations, as recorded noises of all kinds that they deform often electronically.
For others, the break with reality is complete abstract or non-figurative painters chose to drop the mooring that holds us as much by routine as by felt mentality down to earth of perception "(André Breton) The first work Kanky's abstract painting is in 1g10, and between the two world wars, non-figurative painting is illustrated by artists such as Mondrian and Klee, but it is not really recognized until after 1945 because misunderstanding surrounds the most often the pictorial research of the "abstract." The experiments are multiplying however, but the artists of our time are wondering the art is more and more a commodity, the tables reach exorbitant prices.In the best cases, they are locked up in the museums frequented especially by the privileged ones of the culture.The art, cut of the public seems useless to some if it does not transform the frame of the works men's lives.
Musicians of the nineteenth century also broke with tradition. Claude Debussy, who renews the musical language at the beginning of the century, is currently recognized as a precursor. But the most radical revolution is the work of Viennese Arnold Schoenberg and his pupils and Ber any meeting of sounds can be musical. Now, currently, musicians are experimenting da directions. Stockhausen in Germany, Boule ns all z and Xenaki France use as sound material both the sounds emitted by the musical instruments of the most diverse civilizations, as recorded noises of all kinds that they deform often electronically.
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