An observer able to look at art as a portion of a unified reality from the whole human experience can see a much broader view of art rather than the evolution of its language and its spectacular ap- pearance. The observer would also be able to draw a thick line between the experiments and the innovations of Post-Impressionist artists such as van Gogh, Gauguin and Cézanne and what actu- ally succeeded them in the fine art sphere. This separation signified a genuine artistic talent and an exclusive technical skill. Artists were capable of recognizing possibilities and limitations of this talent and skill in breaking away from almost three hundred years of rigid traditions and over- done realistic imagery which affirmed the Socio- Political superiority of a corrupted European aris- tocracy. . Post-Impressionist artists were determined to re- ject the new value system and leave the workforce of various industries in search of ordinary-sources of inspiration in order to create some overwhelm- ingly extraordinary artwork. This proved for the first time in the history of art that there could be an alternative way of looking at and depicting the world, while being faithful to reality, not in a superficially optical sense, but rather in a much more general sense incorporating all the visible and invisible materials and energies that can af- fect the whole human experience. This was an art that moved way beyond satisfying the inferiority complex of the political and financial authorities as the usual sponsors of the arts. The Post -Impressionists anonymity in the art world during their time and their constant strug- gle to maintain a minimum materia! life, and the heavy load of physical labour spent on painting never allowed them toarticulate and philosophize their ideas and register them as their own. This underestimation happened despite the obvious success of Post-Impressionists in pursuing their personal artistic developments in a high quality and always upward process, a process far from losing originality, far from stagnation. But these ‘unarticulated ideas were exactly what Modernist artist would claim as their own in the coming decades. Planet of the Arts Volume 7 Issue 6 The rise of Matisse and the kind of art that he created idealized the myths surrounding Modern- ism and identified the dilemmas within the move- ment in relation both to the human experience and Fine Art sphere . The move toward less realistic imagery and more abstract forms seemed nothing more than an empty slogan while the abstraction was only applied to the surface of the art object and failed to include the content and the intentions occupying the mind of che artist. In fact abstraction in Modernism was nothing but a means tosimplify the act of making art in to one which the artist would be free from spending endless hours to create a special technical process. This idea interested artists who were desperately looking for some time to manage an efficient life ina world which tended to transform time into acommodity. This freedom also enabled the artist tospend more time conceptualizing and verbaliz- ing the art while at the same time simplifying the process of making it. Fauvist artists looked at Gauguin’s paintings and took the idea of simplified natural forms depicted with heavy outlines filled with large areas of unnatural chromatic colours freely moving in and out of forms. Both artists’ works characterize the Modern treatment of the canvas; Crude brush- work that seems far from the optical reality of the subject. Gauguin and Matisse both try to use the painting’s title in the best possible way to add content to their art, but a deeper look makes me credit Gauguin over Matisse; Gauguin not only made primitive oriented art which was savage in its spirit and its surface, but he was also honest in his artistic concepts, the energy that triggered him to move his art and his life out of neverending Paris night cafe talks also let him enter the real mysteries of living a genuine savage experience. German Expressionism, the most powerful of the movements within Modernism, found inspira- tion in van Gogh and Munch. Using complemen- tary colours, dealing with the psychological depths of human experience, and the extensive use of expressive lines, marks and forms, weren’t new inventions by the German expressionists. They had been reflected long before in the pure feelings of van Gogh and Munch toward both their life and their art.” Cubism owes its roultiple points of reference to Cézanne’s ideas and images. Still faithful to nature as the only valid source ot inspiration, Cézanne signified the importance of the different planes - that interact and shape the object and the world around us. Twenty years later, Braque, in search of a new language, found himself in L’Estaque which had basically served for Cézanne as asource of visual inspiration for his art. Cubism’s success lies in its determination to blend Picasso’s non- French approach in painting with the broad ideas of Cézanne whichsubsequently pushed them closer to the limits of the painting medium. page 7 Abstraction destroyed the whole pictorial lan- guage developed over three thousand years of human experience for the sake of variety in sur- face. It made the artist technically unable to redo something that had been done before in the world of Fine Art. Through the reign of Modernism, ideas were killed long before their actual death in the life of different classes, genders, different mi- norities and nationalities within the whole hu- man experience. Modernism based its philosophy upon the appre- hensive ideas of a transforming period in human experience and later, in the precess of making art about a specificexperience, sacrificed the broad philosophy of the initial thoughts and limited itself to variety of surface, an idea so far removed from the nature of art that it would soon be challenged by the rise of the Post Modernism in the mid 1960's. By involving art and the artist in the process of criticism, Modernist freed itself from any objec- tive criticism by human experience but what it ended up loosing in the end was the ability to objectively criticize the human experience. Even the most critical of movements, social realism, after the victory of Boisheviks lost its sharp edge of questioning and became a speaker to promote a certain idea and its days were over in the capitalist world where disastrous mistakes in Bolshevik ex- perience had pushed the Western artist away from a purely political analysis of human experience. Modernism lacked a broad philosophy which was able to look and respond to the whole world, an organized forum of individual experiences to cre- ate a considerable space in the field of investiga- tion. Abstraction can be interesting when it is considered an addition to the exhausting realities of outside world but Modernism’s inward retreat towards spirit seems more as an escape to not deal with the exhausting realities of the outside world. The Academy’s openness toward Modernism in the 1920’s cannot be read as the success of the movement in convincing its ideas about trans- forming of art to Academies. After the introduc- tion of photography, painting’s fudamental func- tion, the depiction of the world as accurate as possible, was not only jeopardized but actually taken over by photography. Painting, in order to survive, didn’t have any choice but to transform the medium’s function and its appearance. With its popularity among aspiring young artist who were trying to explain the new world, Modernism seemed to be the only alternative capable of taking over the classical way of teaching art within the Academy. Modernism in general wasn’t a big step forward for fine arts. It isolated both art and artist in the small world of fine art and reduced its audience from a large number of average people who could participate in art to a small number of intellectuals who already understood the experi- ence and may have looked at art as_ highly conceptual entertainment. The rise of Modern- ismsignifies the separation of Fine Arts from other more functional media as different entertainment for different social classes. It is important to note that the trend towards abstraction and distortion in Modernism was ac- celerated and expanded while human experience was rapidly moving towards a perfect Realism. Advancements in other image-oriented sciences such as chemistry, astronomy and biology inevita- bly made humans more aware of the visible reali- ties. The Modernist movement, which initially originated from industrial revolution, lost the space of art in the average person’s life to other parts of the human experience more functional in the urban industrialised society. It was later in the post -war industrialized world that the cancer-like growth of advertisement took over the ideas of modernism and brought them into the everyday life of the average person with the new medium of commercial design and the different function of serving the commodities. This was when Post- Modernism entered the sphere of arts. ‘An observer able to look at ars a portion of a unified reality from the whole human experience canseea much broader view ofart rather than the evolution ofits language and its spectacular ap- pearance. The observer wouldalsobe abletodraw a thick line berween the experiments and the innovations of Post-Impressionist artists such as van Gogh, Gauguin and Cézanne and whac actu ally succeeded chem in the fine art sphere. This separation signified a genuine artistic talent and an exclusive technical skill. Arist were capable of recognising possibilities and limitations ofthis talene and skill in breaking away from almost three hundred years of rigid traditions and over done realistic imagery which affirmed the Socio- Political superiority ofa corrupted European ars tocracy. Post-Impresionist artist were determined to re- jectthe new value system and leave the workforce ‘of various industries in search of ordinanysources ‘of inspiration in order ro create some overwhelm: ingly extraordinary artwork. This proved forthe fis ime inthe history of ar tha there could be an altemative way oflooking at and depicting the world, while being faithful ro reality, not ina superficially optical sense, bur rather in a much, more general sense incorporating all the visible and invisible materials and energies that can af the whole human experience. Thiswasanart that moved way beyond satisfying the inferiorcy complex of the political and financial authorities as the usual sponsors ofthe ars. = The Post -Impressionists anonymity in the art world during theie time and their constant strug. le to maintaina minimum materia life, and che hheavy load of physical labour spenc on painting :neverallowed them roariculateand philosophize their ideas and regiscer them as theit own. This underestimation happened despite the obvious suecess of Post-Impresioniss in pursuing their personal artistic developments in a high quality and always upward process, a process far from losing originality, far ftom stagnation. But these “unarticulaed ideas were exactly what Modernist artist would claim as their own in the coming decades. Planet of the Arts Volume 7 ‘The rise of Marise and the kind of art that he created idealized the myths surrounding Modern {smand identified che dilemmas within the move ‘ment in relation both o che human experience and Fine Are sphere . The move toward less realistic imagery and more abstract forms seemed ‘nothing more than an empty slogan while the abscraction was only applied tothe surface of the ar object and failed ro incluce the content and the intentions occupying the mindof:heartist. In, fact abstraction in Modemism was nothing but, ‘means rcsimplify the act of making art in to.one which the artist would be free from spending endlesshoursto create aspecial technical proces. “This idea interested artists who were desperately ‘ooking for some time to manage an eficient life ina world which tended to transform time into commodity. This freedom also enabled the aris rospend more time conceptualizing and verbaliz- ing the are while atthe same time simplifying the process of making it. Fauviscartiss looked ar Gauguin’spainings and took the idea ofsimplifed narural forms depicted with heavy outlines filed with large areas of ‘unnatural chromatic colours feely moving in and ‘our of forms. Boch artists’ works characterize the Modern treatment of the canvas; Crude brush- work that seems far from the optical reality ofthe subject. Gauguin and Matis both try rouse the painting's ttle in the best posible way co add content ro thei art, but a deeper look makes me «credit Gauguin over Matisse; Gauguin not only made primitive oriented are which was savage in its piric and its surface, but he was also honest in hisaristicconcepts, the energy that riggered him to. move his art and his life out of neverending Paris night cafe talks also let him enter the ral "mysteries ofliving a genuine savage experience ‘German Expressionism, the most powerful of the movements within Modernism, found inspira- tion in van Gogh and Munch. Usingcomplemen- tary colours, dealing with the psychological depehs ‘of human experience, and the extensive use of expressive lines, marks and forms, weren't new inventions by the German expressionists. They ‘had been reflected long before in the pure feelings cofvan Goghand Munch toward och heielifeand their art.” —~ —7 bis omes its muiple points of reference to (Cézanne'sideasand images. Stil faithful onacure as the only valid source of inspiration, Cézanne signified the imporance of che diferent planes that interac and shape the object and the world around us. Twenty years later, Braque in search of a new language, found himself in L'Estoque which had basically erved for Cane asasource (of visual inspiration for his art. Cubism’s success lies in its determination to blend Picaso's non- French approach in painting with the broad ideas ‘of Cézanne whichsubsequenty pushed them closer tothe limits ofthe painting medium. Issue § page 7 Abstraction destroyed the whole pictorial lan- suage developed over thrce thousand years of human experience for the sake of variety in su- face. Iemade the artist technically unable to redo something that had been done before inthe world cf Fine Art. Through the reign of Modernism, ideas were killed long before their actual death in the life of diferen clases, genders, different mi- norities and nationalities within the whole hu- man experience. “Modernism based is philosophy upon the apre hensive ideas of transforming period in human experience and later, inthe provess of making art about a specificexperience,sarificed the broad philosophy of the inital choughts and limited itselfo varity of surface, an idea so far removed from the nature of art that it would soon, be challenged by the rise ofthe Post Modernism in the mid 1960's. yJJ By involving art and the artist in the process of criticism, Modernsin freed iself fom any objec- tive criticism by human experience bue what ic tended up loosing in che end was the ability to objectively eritcize the human experience. Even the most critical of movements, social realism, afterthe victory of Boisheviks loses sharp edge of questioning and became a speaker ro promote a certain idea and its days were overin the capitalist world where disastrous mistakes in Bolshevik ex: perience had pushed the Western aristaway from 1 purely political analysis of human experience. ¥¥¥ Modernism lacked a broad philosophy which was able to look and respond to the whole world, an organized forum of individual experiences ro cre- ate a considerable space in the field of investiga tion. Abstraction can be interesting when it is considered an addition tothe exhausting realities of outside world but Modernism’s inward reteat towards spirit seems more as an escape to not deal with the exhaustingreaites ofthe outside world The Academy's openness toward Modernism in the 1920's cannot be read a the success ofthe movement in convincing its ideas about trans- forming of arto Academies. After the introduc tion of phocography, paintings fudamental func- tion, the depiction of the world as accurate as possible, was not only jeopardized bur actually taken over by photography. Painting, in order to survive, didnt have any choice but ro transform the medium's function and is appearance. With its popularity among aspiring young artist who were trying explain the new work, Modernism seemed to be the only alternative capable of takingovertheclasical wayofteachingart within the Academy, Modernism in general wasn'ta big step forward forfine ats. Ir isolated both art and artist in the small world of fine arc and reduced irs audience from a large number of average people who could participate n at toa small number of inellectuals who already understood the exper- cence and may have looked at art as highly ‘conceptual entertainment. The rise of Modern: ismsigifis the separation ofFine Art fromother ‘mote functional media a differencenertainment for different social classes Tes important to note thatthe trend towards abstraction and distortion in Modernism was a ‘elerated and expanded while human experience was rapidly moving towards a perfect Realism Advancements in other image-orienred sciences such as chemistry, tronomy and biology inevita bly made humans more aware ofthe visible eal fies. The Modernise movement, which inital crginated ffom industrial revolution, lose the space of art in the average person’ life to other parsofthe human experience mor funetionalin the urban industrialised society Q Te was later in the post -war industrialized world thar the cancer-like growth of advertisement took over the ideas of modernism and brought them into the everyday life ofthe average person with the new medium of commercial design and the diferene function of serving the ‘commodities. This was when Post- Modernism envered the sphere ofan.