Note - Lecture Two - Richard Miles

Modernity and Modernism                                                                        Richard Miles, 2011               

1. ‘Modern’ as a term is important to explore for the reason that it has become ingrained in the cultural consciousness, popularised and institutionalised (take for example the popular awareness this country has for such an institution as Tate Modern). The word ‘modern’ has received usage in English from the 16^th C. By the mid 19^th C. the term meant ‘contemporary’, thus, between 1843-1860, John Ruskin in his volume of writings ‘Modern Painters’, was really using the term to refer to painters of the day, such as Pre~Raphaelites, who we today would not consider to be ‘modern artists’. However, by the end of the 19^th C. and into the early 20^th C., the term ‘modern’ began to take on a flavour of something ‘improved’, ‘better than before’. This 20^th C. meaning of ‘modern’ as something ‘improved’ is inextricably linked to a modern consumer culture in which products are sold on the basis of a ‘new is better’ philosophy: take for example washing powder and the way its manufacturers rattle on in their adverts; “new improved”, “whiter than ever before”. Thus we can conclude that the term ‘modern’ implies positive meanings, so much so, that even politicians – Tony Blair for example – will talk about “a ‘modernised’ Labour Party” and “a ‘modern’ Britain”.

2. Modernity. The idea of ‘modern’ then, is linked to the idea of progress. The idea of progress is central to our understanding of ‘modernity’ and the significant changes that took place broadly between 1750-1950. This process of modernisation did not, obviously, happen overnight, although we can fix it historically as being aligned to the processes of industrialisation and urbanisation. Central features of ‘modernity’ are: The City – the city has become the site for ‘modern’ experience and developed as a magnet for those in the country during the period of industrialisation. Communication – with the advent of rapid transport systems, rail and road (the rail network had become fully established by 1840), steamships and the telegraph, communications flourished, changing the character of society (people’s mobility – but also the mobility of the printed image). Effective communications are necessary to promote the idea of change. Progress – implicit in the notion of modernity is the idea that change is for the better. The goal of modernity has been to create a better life for people. There is therefore a utopian ideal inherent within the idea of modernity. Rationality & Reason – aligned to the ideas of progress are the ideas that the only way to improve humanity is to reject religious systems of rule and replace them with the notion of the civilised state. Scientific progress and intellectual investigation (Enlightenment concepts), are taken as being a far better route to further our existence than religion. We therefore see in the period in question a secularisation of our society; fewer people go to Church or follow religion, and societies are today ruled by governments, with the Church playing much more of a minor role.

3. Modernism is the term used to describe the cultural expressions of modernity in relation to the experience of modernity. Theoretical features identified with modernism in art & design include: SOCIAL MORALITY- In essence, there was a ‘utopian’ flavour to the modernist ‘project’. TRUTH -  In design, it was agreed that designs should not be illusionary or create false impressions. TECHNOLOGY - Modernists embraced new technologies. Also, design initiative had to allow for the mass production of goods – thus, simple forms were preferred over complex ones.  FUNCTION - The idea that design was functional was of prime importance. And, a key idea within modernist design was that the form of an object should be dictated by its function; “Form Follows Function”. The shift away from ornate decoration was politically inspired – fancy decoration and ornamentation was equated with the bourgeoisie and decadent frippery. PROGRESS - Implicit in the notion of modernity and modernism is the idea of change for the better. The goal of modernity and modernism has been to create a better life for people. The modernist project therefore sought to embrace the tools of technology. In the aftermath of World War 1 (The Great War 1914-1918), it was felt that such a tragedy and waste of life could not happen again. The feeling therefore in the 1920’s was one of optimism and that modernism would direct the way towards a progressive society. ANTI-HISTORICISM - Previous styles tended to draw from older historical styles; e.g., Victorian gothic and classical styles. The modernists attempted to eschew historical references altogether. INTERNATIONALISM - For the modernist, it was an appealing idea that a design/artwork would be instantly recognisable to an international audience. Part of this internationalist tendency derived from the post WW1 attitude towards the need to bring countries together. TRANSFORMATION OF CONSCIOUSNESS - There was a belief held amongst modernists that design and art could change the way people think. Underlying the Town Planning Movement and mass housing projects was the idea that such projects would improve the people who made use of them. THEOLOGY - Modernism was adopted almost as a religion. It constituted a set of beliefs which sat within a context where people felt they were living in a ‘new age’. The term ‘Zeitgeist’ refers to this feeling of “the Spirit of the Age”.

Bibliography

Meecham, P. & Sheldon, J. (2000)     Modern Art : A Critical Introduction  london routledge

dawtrey, l.  (1996)                      investigating modern art  london open university

frascina, f & harris, j. (1992)            art in modern culture london, phaidon       

WOODHAM, J                                              20^TH CENTURY DESIGN, OXFORD

Slide List,

John Ruskin

William Holman Hunt The Hireling Shepherd (1852)

Paris Exposition Universalle – 1900

Paris Exposition Universalle – 1900 – trottoir Roullant

View of Paris – Postcard

View of Paris Photograph – 1900

Caillebotte Paris A Rainy Day (1877)

Caillebotte – Jeune Homme (1875)

Caillebotte – A Balcony (1880)

Manet – The Balcony (1868)

Psychology Lab c. 1880s

Caillebotte – Le Pont de L’Europe (1876)

Seurat – Isle de la Grande Jatte (1886)

Degas Absinthe Drinker (1876)

Manet -  Bar at the Folies Bergere (1881)

Kaiserpanorama

Kaiserpanorama

William Powell-Frith The Railway Station (1862)

Monet – Gare St. Lazare (1876-7)

Alfred Stieglitz – In the New York Central Yards (1905)

Rodchenko – Gathering For Demonstration (1928)

Charles Marey – Running Man c. 1880s

Giacomo Balla – Girl Running on a Balcony (1912)

Giacomo Balla – Dynamism of a Dog on a Leash (1912)

Picasso – Les Demoiselles D’Avignon (1907)

Cutlery from the Great Exhibition 1851 –

Bauhaus Style Cutlery

Bauhaus teapot

Bauhaus College of Building at Dessau

Walter Gropius House – Dining Room / and Bauhaus Lamp

Mies Van der Rohe- Barcelona Chair

Mies Van der Rohe – Portrait of Mies in Chair

Marcel Breuer – B3, Wassily Chair

Examples of Bauhaus Book Design

Le Corbusier - Plan Voisin

Herbert Bayer – Bauhaus Typeface

Stanley Morrison- Times New Roman Typeface

Fraktur Typeface