Artistic Revolution of Style
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But not all artistic revolutions were political. Revolutions of style have also abruptly changed the art of a culture. For example, when the careful, even tedious, art techniques of French neo-classicism became oppressive to artists living in more exuberant times, a stylistic revolution known as "Impressionism" vitalized brush strokes and color. Edgar Degas, Claude Monet, Pierre-Auguste Renoir burst onto the French culture, effecting a revolution with a style that has become commonplace today.
An artistic revolution can be begun by a single artist, but unless that artist gains some understanding, he becomes an iconoclast. The first Abstract Expressionists were considered madmen to give up their brushes and rely on the sheer force of energy to leave an image, but then the import of atomic bombs, all atomic energy, became realized, and art found no better way of expressing its power. Jackson Pollock is the artist best known for starting that revolution.
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Famous quotes containing the words artistic, revolution and/or style:
“Realism should only be the means of expression of religious genius ... or, at the other extreme, the artistic expressions of monkeys which are quite satisfied with mere imitation. In fact, art is never realistic though sometimes it is tempted to be. To be really realistic a description would have to be endless.”
—Albert Camus (1913–1960)
“History in the making is a very uncertain thing. It might be better to wait till the South American republic has got through with its twenty-fifth revolution before reading much about it. When it is over, some one whose business it is, will be sure to give you in a digested form all that it concerns you to know, and save you trouble, confusion, and time. If you will follow this plan, you will be surprised to find how new and fresh your interest in what you read will become.”
—Anna C. Brackett (1836–1911)
“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”
—Cyril Connolly (1903–1974)