Avant-Garde Art, Urban Capitalism and Modernization

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Introduction

The avant-garde artists are significant to the modern society because they provided experimental and innovative arts, which transformed social, cultural, economic, and political aspects of the society. Essentially, the avant-garde artists formed the basis of modernism and post-modernism as their works focused on capitalism, modernization, and industrialization. Through their artistic works, avant-garde artists advocated for social, political, economic, and cultural reforms in the society, and thus, they acted as peoples guards.

Their desire and urge to protect the society emanated from their interests to transform society in the wake of capitalism, modernization, and industrialization. Analysis of the works of avant-garde artists in different periods reveals their contributions in transforming and transitioning the society from avant-garde period to modernism. Notable works of avant-garde artists shaped modern society because they had major impacts on social, cultural, economic, and political aspects. Therefore, this essay discusses the artistic works of avant-garde artists derived from different periods in aspects such as urban capitalism, modernization, and industrialization.

Cubism

Robert Delaunay, Eiffel Tower (1911)

Robert Delaunay (1885-1941) was a famous avant-garde artist who contributed to the growth and advancement of Cubism in Europe. One of his works, the Eiffel Tower (1911), reflects modernization, industrialization, and urban capitalism in Europe, particularly Paris. Evidently, the Eiffel Tower is one of the notable works of Delaunay, which fall under the Cubist period. Although the tower has been constructed, the artwork done has enhanced its significance in the modernization of Paris and European countries in line with the aspirations of Cubists.

In depicting the unique tower, Delaunay used Cubist arts, which entail three-dimensional representation of an abstract or real object using cubes. Benamou describes the tower as a global watchtower since it is a symbol of modernism in Paris (94). The whole world associates the tower with modernization because it carried the identity of Paris. Given that Paris is one of the dominant hubs in Europe, the tower is a symbol that depicts diverse aspects of modernism. The construction of the tower and the existence of Cubist arts have improved the depiction of modernism in Paris and Europe during the twentieth century.

The aspects of engineering and architecture are apparent since the tower has unique structural features, which makes it an iconic structure in Paris. Benamou adds that the tower has become a symbol of architectural and engineering design in Paris and Europe because it portrays great transformation from Cubism to modernism and postmodernism (96). Delaunay used his artistic skills in illustrating different views of the tower with the objective of providing comprehensive architectural features. Critical analysis of the different artistic views reveals both the architectural and industrial designs.

The uniqueness of the tower highlights its architectural designs, which reflect the advancements in the construction industry. Moreover, the materials used in the construction of the tower portray the growth of manufacturing sector. Hence, architectural design and the nature of materials used in the construction of the tower shows the advancements in urbanization and industrialization.

Pablo Picasso, Factory, Horta de Ebbo (1909)

Pablo Picasso (1881-1973) is one of the avant-garde artists who pioneered Cubism and made a considerable contribution to its growth and development during the twentieth century. In his work, Factory, Horta de Ebbo (1909), Picasso depicted industrialization during the Cubist period. As Picasso existed during the twentieth century when the world was undergoing a rapid transformation from Agrarian Revolution to Industrial Revolution, he depicted the transformation using Cubist arts.

Factory, Horta de Ebbo depicts a three-dimensional view of a factory using cubes, which are landmarks of Cubism. Benamou perceives that Factory, Horta de Ebbo illustrates the emergence of Industrial Revolution, which changed the mode of production from communism to capitalism (112). Industries produce massive products, which drive capitalist economies and support capitalism. In essence, the depiction of Factory, Horta de Ebbo shows an industrial setting that is common in the modern society dominated by capitalism.

Furthermore, Factory, Horta de Ebbo illustrates the architectural modernization of buildings to fit industrial requirements. From the artwork, it is apparent that Picasso aimed to demonstrate the changes the society expected in an urban setup. The view of the artwork depicts an urban environment filled with series of buildings that indicate urbanization. From the artwork, the shapes of the buildings and towering industrial chimneys depict advanced architectural designs of modernized cities.

Comparison of architectural designs in diverse countries and cities shows that congestion of buildings depicts an urban environment. Benamou argues that Cubist artists sought to illustrate the dynamic changes in the society by depicting modern structures and industrial progress in their arts (102). Through the art, Picasso captured the expected modernization changes in the form of a factory and advanced building designs that have dominated the modern society. Thus, expected changes were the modernization of buildings in line with the advancement of knowledge and technology.

Constructivism

Vladimir Tatlin, Monument to the Third International (1920)

Vladimir Tatlin (1885-1953) was an eminent avant-garde artist who made a significant contribution to modernization and industrialization during the twentieth century. As a painter and an architect, Tatlin made his contribution to the period of Constructivism by creating the Monument to the Third International (1920) in Russia. In 1920, Tatlin joined the movement of Soviet Constructivism and designed his great work, the Monument to the Third International, which depicts modernization and industrialization of Russia immediately after the Russian Revolution.

Tatlin applied his architectural skills in constructing a huge monument using iron and steel. According to Gopal, Tikhvinsky, and Abu-Lughod, the monument has become a landmark and an emblem of architecture and industrialization in Russia during the period of Constructivism (430). The construction of the monument was a harbinger of the industrial revolution in Russia, which was characterized by diverse engineering technologies. In the monument, Tatlin captured the advancements of industrialization that Russia had achieved during the Constructivist period.

Moreover, the Monument to the Third International has become a landmark of communism, which opposes capitalist ideologies. Gopal, Tikhvinsky, and Abu-Lughod assert that the monument represents the aspirations and goals of communists and the Communist Party in Russia and across the world (413). Great proponents of Communism used the monument as a symbol of their presence and dominance during the Russian Revolution, which brought major changes in Russia and Europe.

In essence, the monument rejects capitalist ideologies because they promote greed and selfishness in the accumulation of wealth among few individuals in the society. According to Tatlin, the monument has national and international significance because it depicts the Russian Revolution, Communism, and Constructivist art (Gopal, Tikhvinsky, and Abu-Lughod 413). The avant-garde artists regard the monument as an invaluable artistic work because it represents the evolution of social, industrial, and economic aspects of Russia. The monument has great significance for it represents Constructivist art in Russia, which depicts industrialization, modernization, and communism.

Suprematism

Kazimir Malevich, Flower Girl (1903)

Kazimir Malevich (1878-1935) was a famous avant-garde artist in the Suprematist period. He pioneered Suprematism in Russian and contributed significantly to its growth and expansion in the realm of arts. In one of his works, Flower Girl (1903), Malevich demonstrates modernization by depicting a girl dressed in the modern fashion and holding a bunch of flowers. The dressing code signifies modernity because it does not have ancient elements of fashion.

The dressing code of the girl and the bunch of flowers in her hand portrays the artwork in a beautiful and colorful manner. In the background, there are silhouettes of people in a social event dressed in a similar manner as the girl in the foreground. The people in the background appear to be in a social and colorful event as indicated by their dressing code and the presence of flowers. Overall, the dressing code, flowers, and the crowd of people depict modernization.

The Flower Girl illustrates a social event that happens in an urban area as indicated by the story buildings at the background. The story buildings have architectural designs, which are similar to the modern buildings. In this case, the buildings depict not only modernization but also industrialization and capitalism. Crone, Malevich, and Moos state that Suprematist artists use architectural structures in demonstrating modernization, urbanization, and the vigor of capitalism (57).

The nature of building materials and the designs of buildings reflect the extent of industrialization. Given that capitalism promotes the growth of cities and towns, the buildings in the artwork illustrate an urban setup driven by capitalism. The artwork depicts an urban environment as indicated by the dressing code, flowers, crowds, and the nature of buildings at the background. In contrast, the portrayal of a socialist environment is a rural setup with deprived buildings. Therefore, Flower Girl is an avant-garde art, which depicts modernization and capitalism in aspects such as dressing code, crowd, and buildings.

Rene Magritte, the Son of Man (1964)

Rene Magritte (1898-1967) was a Belgian painter who heavily draws his artworks from the movements of Futurism and Cubism. His portrait of the Son of Man (1964) is a painting of himself that a section of Christians interpreted to mean the transformation of Jesus Christ because of the name. The painting symbolizes the modernization of the dress code. Nowadays, in workplaces such as banks, there is an official dress code unlike in the past. Anghel asserts that the bowler hat, tie, shirt, coat, and trousers are modern day official wear for men, a change from the pre-industrial revolution suits that had jewels decorating them (134).The adoption of the official dress code in most organizations and religious groups signifies the relevance of the artwork in shaping modern Christianity and lifestyles of people.

The working class has undergone a major transformation, as the wearing of a suit is no longer associated with menial jobs. The transformation indicates a change in the perception of the dress code earlier associated with Christians (Anghel 240). Evidently, people holding managerial positions or administrative work usually clad in suits, unlike their counterparts who mostly perform manual labor. The change in cloth used to make suits shows a change in the fashion industry.

The cloth has changed from the traditional cotton to wool, corduroy, linen, and silk. The transformation of the fashion industry was concurrent with the textile industry. In England, the cotton industry was the most vibrant during the onset of the industrial revolution. Additionally, modern day suits are custom-made to suit different weather conditions. Furthermore, suits symbolize class, position, and power among the leaders, the rich, and middle-class donning them. During the era of the pre-industrial revolution, the ruling class, lords, and rich merchants, who were mostly capitalists, wore suits.

Conclusion

Artists have made significant contributions to the modern society because they have influenced the discourses in social, economic, political, technological, and political realms. This essay analyzed some of the works of various avant-garde artists, who were prominent during Cubist, Constructivist, Suprematist, Futurist, and Surrealist periods. The essay examined artistic works of Robert Delaunay (Eiffel Tower), Pablo Picasso (Factory, Horta de Ebbo), Vladimir Tatlin (the Monument to the Third International), Kazimir Malevich (Flower Girl), Antonio SantElia (House with External Elevators), Salvador Dali (Lobster Telephone), and Rene Magritte (the Son of Man). The examination of avant-garde artists reveals that they depicted themes of modernization, industrialization, urbanization, and capitalism amongst other themes, which revolutionized and advanced arts during the twentieth century.

Works Cited

Anghel, Ghenadie. Doomed to internalization and modernization of corporate culture. New York: Springer, 2012. Print.

Benamou, Michel. Wallace Stevens and the Symbolist Imagination. London: Wiley & Sons, 2015. Print.

Cope, David. Tinman: A life explored. New York: Norton, 2013. Print.

Crone, Rainer, Kazimir Malevich, and David Moos. Kazimir Malevich: The Climax of Disclosure. London: Reaktion, 2008. Print.

Feenberg, Andrew, and Michel Callon. Between reason and experience: Essays in technology and modernity. New York: MIT press, 2011. Print.

Gopal, Sarvepalli, Sergei Tikhvinsky, and Lila Abu-Lughod. History of Humanity: Scientific and Cultural Development. Paris: UNESCO, 2008. Print.

Ross, Leslie. Language in the Visual Arts: The Interplay of Text and Imagery. New York: Cengage Learning, 2014. Print.

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