The Return of Contemporary Art Realism As an Emergence of Fine Art in Every Age
Abstract
Many attacks on Realist Paintings, with emergence of photographic techniques, and the emergence of non-objective art that has a Cold War background between America and Russia. Many artists and critics feel that Realism is no longer sufficient to represent a new spirit after World War II. Disillusionment with war and rationality also made Adorno reject the beautiful and pleasing art of Realism style. Artists who emerged victorious in the 1950s who rejected past creeds of art, such as 'art for the people' or 'art for social reform', instead they opted for personal expression and social alienation. Such trends occur in the world of philosophy, that the theory of correspondence truth based on conformity to reality, has been abandoned. The philosophers replaced it with the Philosophy of Language. But in every period, art style realism always reappears in new forms, such as Pop Art, Photo Realism, Superrealism and Hyperrealism. This article wants to illustrate how realism is rejected and in what way realism always reappears along with its causes and also in the final section will review development of Hyperrealism in Indonesia.
Downloads
References
Adorno. Theodor. (1997). Aesthetic Theory. terj. Robert Hullot-Kentor. USA: Continuum, University of Minnesota.
Arvon. Henri. (1970). Marxist Esthetics. Terj. Ikramullah. Yogyakarta: Resist Book. (2010).
Bazin. Andre. (1967). The Ontology of the Photographic Image. dalam Andre Bazin, Hugh Gray (terj.), What Is Cinema?, Vol. 1, London: University of California Press Ltd.
Brendan Prendeville. Realism in 20th Century Painting. New York: Thames & Hudson Inc, 2000.
Claussen. Detlev. (2008). One Last Genius. Harvard: The Belknap Press.
Coates. Robert M. (1944). Assorted Modern. The New Yorker, 23 Desember 1944.
Dermawan T. Agus. (1999). Dede Eri Supria, Elegi Kota Besar. Jakarta: Yayasan Seni Rupa AiA.
Doss. Erika. (2002). Twentieth-Century American Art. New York: Oxford University Press.
Grenspun. Joanne. (1998). Chuck Close. New York: The museum of Modern Art.
Grosenick. Uta., Burkhard Riemschneider. (2005). Art Now, 81 Artist at the Rise of the New Millenium. Koln: Taschen Gmbh.
Lindsay. Christine. (1980). Superrealist Painting & Sculpture. New York: William Morrow.
Read. Herbert. (1991). A Concise History of Modern Painting. New York: Thames and Hudson.
Rorty. Richard. (1979). Philosophy and the Mirror of Nature. New Jersey: Princeton University Press.
Rorty. Richard. (1980). Pragmatism, Relativism and Irrationalism, dalam Paul K. Moser & Arnold Vander Nat, ed. Human Knowledge Classical and Contemporary Approaches. Oxford: Oxford University Press
Smith. Edward Lucie. (2003) American Realism. New York: Thames & Hudson Inc.
Stokes. Christopher. (1982). The Photograph and Superrealism. Illinois: Eastern Illionis University, 1982.
Copyright (c) 2020 Anna Susilowati
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
Authors who publish with Visualita agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive public distribution and display of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors wishing to include items (such as images or other media, or any creative works of others whether previously published or not) must contact the original copyright holder to obtain explicit permission to publish these items in Visualital. Writing permission should include: the title(s) of any copyrighted work, original place of publication if applicable, and an acknowledgement of having read Visualita copyright notice. Authors are responsible for obtaining this permission and keeping it in their own records for later verification.