Forskjell mellom versjoner av «Rosenberg, H. "The fall of Paris" 1»
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'''The Style of Today''' | '''The Style of Today''' | ||
| − | During the course of the twenthieth Century, some "exuberant" artistic mouvements too place in Europe and in particular in Paris, described as the Holy Place for artists <ref>Rosenberg, ''Tradition of the New,'' 209</ref>. Paris was described by Rosenberg as a passive city could be possessed and owned by artists, and that was the succes for it becoming an art Capital. This passivity that impregnated the city was a good pretext for international artists, students and refugees to settle in, and therefore it became a pioneer for culture in the same way that America was for its economy<ref>Rosenberg, ''Tradition of the New'', 210</ref>. | + | During the course of the twenthieth Century, some "exuberant" artistic mouvements too place in Europe and in particular in Paris, described as the Holy Place for artists <ref>Rosenberg, ''Tradition of the New,'' 209</ref>. Paris was described by Rosenberg as a passive city could be possessed and owned by artists, and that was the succes for it becoming an art Capital. This passivity that impregnated the city was a good pretext for international artists, students and refugees to settle in, and therefore it became a pioneer for culture in the same way that America was for its economy<ref name=":0">Rosenberg, ''Tradition of the New'', 210</ref>. |
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| + | This intellectual mileu had made possible what was called international culture: the city received influences from this international "guests" and its art and cafes came out in a Visual way which was not Parisian, not European but International. The definition for this sort of Development in a city's look and culture is what Rosenberg defines as the Modern<ref name=":0" />. Consequently this concept of Modern started inherently to be associated with Paris, and therefore to create style which became largely criticised by the conservatives and patriotics .<ref>Rosenberg, ''Tradition of the New'', 211</ref> The city of Paris was in a sense a playground for the individual artist which wanted to Experiment within this Modern, | ||
'''The Intellectual Form of Defeat''' | '''The Intellectual Form of Defeat''' | ||
Revisjonen fra 27. sep. 2017 kl. 16:47
Harold Rosenberg: The Fall of Paris 1940
The Style of Today
During the course of the twenthieth Century, some "exuberant" artistic mouvements too place in Europe and in particular in Paris, described as the Holy Place for artists [1]. Paris was described by Rosenberg as a passive city could be possessed and owned by artists, and that was the succes for it becoming an art Capital. This passivity that impregnated the city was a good pretext for international artists, students and refugees to settle in, and therefore it became a pioneer for culture in the same way that America was for its economy[2].
This intellectual mileu had made possible what was called international culture: the city received influences from this international "guests" and its art and cafes came out in a Visual way which was not Parisian, not European but International. The definition for this sort of Development in a city's look and culture is what Rosenberg defines as the Modern[2]. Consequently this concept of Modern started inherently to be associated with Paris, and therefore to create style which became largely criticised by the conservatives and patriotics .[3] The city of Paris was in a sense a playground for the individual artist which wanted to Experiment within this Modern,
The Intellectual Form of Defeat
litteraturliste
Harrison & Wood
Rosenberg, Harold. Tradition of the New, London and New York, 1962, pp.209-20
