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There is no doubt that "the way in the XX century" was inconsistent. The modernist style partially belonged to both the past and the future. That it gave to the future, "was repeatedly endured" and used. Modernist style reminiscences in the XX century are found repeatedly though the vanguard sometimes and fought against them. Anyway. The art nouveau remains on the horizon of modern art culture.

At sources of a modernist style not resolution of the relations "mass" and "unique", "craft" and "factory", "design" and "decor" is visible. Such situation gave it a peculiar coloring, defined intensive creative search, demanded the social and esthetic analysis. But retraction of a modernist style in commodity functioning, in the sphere of industrial production created effect of a preodolennost of contradictions: began to win against an element "mass", "factory", "constructive". The commodity fetishism destroyed a modernist style, to be exact speaking, destroyed a modernist style of the first generation. Finally interest in a design, the critic of a decorativism was created by favorable prerequisites for art updating. On an outcome of a modernist style protofunctionalistic tendencies ripened, the new art systems preceding art of the XX century were born.

Collision of the graphic and not graphic beginning led to reorganization of an ornament. The ornament was not opposed to a form as in eclecticism, but was part it, symbolical and structural, as if "nervous" system of object. It always the arabesque constructed on an intense combination of lines with partial use of graphic motives. The leading role because she was able "to speak" as its expressiveness was developed on the basis of the theory of "vchuvstvovaniye" was assigned to the line. O. Redon wrote about an arabesque as about the imagination activator. Similarly understood O. Berdsli's ornament. The line was appreciated because, hinting at life of a form, it seemed an element dematerializovanny, abstract. The arabesque became a universal form of expression and experience of the world. "Gesture of the line", according to van de Velde, was spiritual. In a modernist style lines long, or lasting in parallel, or, and the line dotted which in itself expressed the convention were cultivated. The arabesque was opposed to the principle of imitation as to the principle not spiritual. It was in essence, denying classical prospect.