Summary of Harrison, C and Wood, P (1997) 'Art in Theory: 1900-1990.' Oxford, Blackwell. pp125-9

The Idea of the Modern world.

The modern world sprung from and summed up the late 19th and early 20th century. It was able to stand alongside the achievements of the classical tradition. Expressionism was linked directly to this and artists of the avant-garde drew great inspiration from expression. This, though, was an expression of the 'self'. Artists of the time were beginning to be more realistic in the dipiction of who they were in comparison to the tradition of romanticism and escapism which would not parrallel with what was realistic, it was more of a dream world.

This modern change was making its way across Europe but stemmed and took inspiration from Paris, France, which stood as the epitamy of a modern society. Avante Garde art was also becoming thoroughly internationalised and the visial arts developed greatly in German speaking countries. Countries, such as italy and Russia, were quite late in modernising but, still, did attempt to do so even though they were relatively backward societies. Expressionism, Futurism and Cubism were aspects of this modern style and could be seen developing gradually all over Europe. Moderism was growing but was still over shaddowed by that of traditional and cultural values.

Modernization - scientific and technological advancement. In developing countries the new was out doing the old quicker than ever. Modernity - The social and Cultural change. This was the actual experience for the person and the effects it had on their own lifestyle. Life was infact losing depth and freedom due to the development of machinery and technology. In relation to this there was infact an opposing view which was that of histerical exhileration due to this change. People were able to experience things they had never done so before and the rush of wanting more and the idea of consumerism then developed.

There was a contrasting view to both alienation and exhileration which saw moderism as more of a selfish movement. The working class and, with it, socialism wanted moderism to not give up on the struggle to keep changing throughout the century. The socialist view was that the world should be changed practically to move forward.

As cubism developed through avante-garde art and this changing modern world so too did the socialists become aggitated. Cubism, although abstract and new, did not depict that of any social relevance. It seemed to be art for arts sake, and although intentionally being modern, it was also only understood by those who were educated on it. This, to socialists, seemed to contradict what modernism was trying to achieve which was a more realistic view on life. Yet cubism itself being a new art, a new way of expressing broke through the barrier of escapism. Artists were able to draw inspiration from what was around them but had no limitation on what and how they expressed that. In short, art has got to change, and take new dimensions, like being abstract in cubism, to progress with the changing world.

Here we are left with an on going tension. Artists and designers want to be for the people and produce something which can be enjoyed by everyone yet have a balance between this and progression into something new, which, at first, may not be understood and seems pretenscious but is a signifier of the world at the time and how they feel in response to it.