It was a very ambitious movement, which had a brief life (seven years), and only through the architecture of Le Corbusier did it gain a large international reputation. Purist paintings were shown, within its lifetime, as far away from Paris as Prague, but the great post-war impact in painting and sculpture came from De Stijl, Constructivism, and Surrealism. The high years of the movement were the years of Theo van Does- burg’s first Parisian sermons on De Stijl, and of André Breton and Tristan Tzara (1920—25). It was, at the same time, against such competition that Purism was able to offer a genuine and independent alternative both to the post-war Cubists of the Paris School and to De Stijl.
They lie behind De Stijl and Constructivism as well as Purism, but combined with them, in L’ Esprit Nouveau, is a hostility to extremes that is alien to those movements and which antagonizes informed opinion: the elemental abstractions of De Stijl make the bottles and jugs of purist still-lives seem timid: Mondrian is dramatically quiet, the Purists are simply quiet. Though mild to the informed, the movement seems extreme to the formed: it is after all Puritan and restrictive in precisely the same way as De Stijl.
It is difficult to gain sympathy for Purism because it is so easy to see it for what it is not: a Le Corbusier villa too easily arouses the Borromini in us, an Ozenfant still-life, the Rubens in us. Only when we have accepted what Purism is not, with understanding rather than regret, can we begin to see and enjoy what it is.
Ozenfant and Jeanneret aimed their art at a definite point, but they did not claim that in this was revealed some objectively valid Truth. Ozenfant was adamant: we cannot, he says, be certain that the order revealed to us by reason — i.e. science — exists apart from us, is more than a reflection of the structure of our own minds and senses.
In this light, functionalism becomes a new extension of Renaissance Humanism with the emphasis on proportion, based on a retreat from God into the sphere of Man alone. The proportions which give men beauty in their thinking, in their listening and their seeing are thought of as directly related to the order of their bodies, the structure of their sense organs and of their minds, but they are no longer related to God.
The starting point for this notion is the same as that of the Renaissance, the human body: in itself, it is believed to reveal the older men search for. Every organ is the result of constant adaptation to functional needs: ‘One is able to ascertain a tendency towards certain identical features, responding to constant functions.’
That emotion was called ‘passion’ by Jeanneret in the articles on which his internationally influential book Vers une Architecture was based. ‘Passion ‘ was the artist’s ability to grasp the order intuitively in the disorder of his surroundings, to find art in the material world of natural and man-made objects.
Fauvism 3. Synthetic Cubism 4. What is Art 5. Minimalism 6. Philosophy of Art 7. Banksy’s painting 8. Facts about Paul Gauguin 10. 11.Famous Quotes by Pablo Picasso 12. Leonardo da Vinci quotes 13.George Keyt 14. Gulam Mohammad Sheikh 15. female influential Artist 16. Why did Van Gogh cut off his ear 17. The Starry Night 1889 18. most expensive paintings 19. The Stone Breakers 20. 21. Contemporary art 22. What is Digital Art 23. Art of Indus Valley Civilization 24. Essential tools and materials for painting 25. Indus Valley 26. 27. Mesopotamian civilizations28. 29. 30. THE LAST SUPPER 31. Impressionism 32.Hand Painted Wine Glasses 34. George Keyt
1.Proto- Renaissance: History and characteristics 2. HighRenaissance 3. Orphism 6. Futurism 7. Impressionism: A Revolutionary Art Movement 8. Post Impressionism 9 Fauvism | Influence on Fauvism 10. Cubism | Cezannian Cubism | Analytical Cubism | Synthetic Cubism 11. Romanticism 12. Rococo: Art, Architecture, and Sculpture 13. Baroque art and architecture 14. Mannerism 15. Dadaism: Meaning, Definition, History, and artists 16. Realism: Art and Literature 17. DADAISM OUTSIDE ZURICH 18. BAPTISM OF SURREALISM 19. OPART 20. MINIMALISM