Barr, Alfred H. 1941. “Modern Art Makes History, Too.” College Art Journal 1 (1): 3-6.
The reasoning on the relevance of art regarding its role during individual periods and the impact on the overall context of art history is the basis of the article by Barr (1941). The author assesses how much the perception of art has changed in the last hundred years prior to the publication of the article (Barr 1941). He argues that the 20th century has become a turning point for many people involved in creative activities (Barr 1941). Particular attention is paid to comparing modern trends and views of the academic community on the relevance of studying past eras. As Barr (1941, 4) states, studying the Renaissance art and its values is natural, but “such values are not permanent.” Art is a dynamic and multifaceted direction with many branches and genres, and this would be naive to assume that humanity should stop at the study of medieval culture. One of the main ideas that the researcher wants to convey is that modern art deserves no less attention than its earlier eras (Barr 1941). An appeal to university academics completes the argument and calls for a fairer assessment of contemporary artistic achievements.
In his work, Barr (1941) adheres to a free style and does not resort to deep analysis. Instead, he makes personal judgments and compares the work of his contemporary Picasso with Rembrandt by arguing that the contribution of the former to art cannot be underestimated (Barr 1941). A superficial evaluation allows conveying the context of the problem raised and explaining the current trend in the academic community. Thus, an individual assessment disclosed through comparative analysis is the main research method that reveals personal concern rather than research interest.
Clark, Vernon. 1941. “The Guernica Mural – Picasso and Social Protest.” Science & Society: 72-78.
In his article, Clark (1941) examines one of the most outstanding works of the world-renowned painter and founder of the Cubist style Pablo Picasso – The Guernica. The author conducts an in-depth analysis of this art object and notes that the mural deserves much more attention and discussion than a superficial assessment (Clark 1941). The key subtext of The Guernica is anti-war propaganda designed to show the observer the horrors of war. The impossibility of allowing repetition of the bloody events of 1937 is the leitmotif. To conduct an in-depth analysis of this piece of art, Clark (1941) asks a number of questions that are the basis of his research and help evaluate the mural from different perspectives. While discussing the role of The Guernica in history, the researcher calls it the culmination of Picasso’s work at the time of article publication (Clark 1941). As he states, “Picasso has needed to resort to the most drastic muting methods, the most remote allusions, the most involved de-emotionalizing mechanisms” (Clark 1941, 73). An unusual style conveyed through colors and structural composition emphasizes the artist’s individuality and emphasizes his genius.
As the main research method, Clark (1941) uses the search for symbols as the markers to interpret Picasso’s creative message. The author compares critics’ views with individual opinions and notes that The Guernica stands outside criticism and should be seen as the work characterizing Picasso as “the unchallenged master of abstract art” (Clark 1941, 78). At the same time, in the article, there is no deep assessment of the compositional characteristics of the mural in addition to the basic assessment of shades and plot. This means that the focus is on individual perception and appreciation.
Jackson, J. Leroy. 1935. “Art History and the Art Teacher.” Design 37 (4): 34-37.
Teaching art history requires not only knowledge of different periods and styles but also a broad outlook that allows comparing and contrasting individual art objects and their impact on the public. In the article in question, Jackson (1935) focuses on the issue of knowledge dissemination in art teaching and provides examples of selected works by Patricia Barto, which are created in the same style. Despite their monochrome, these canvases convey emotions and are filled with energy, which allows arguing that even simplicity can reflect beauty. As Jackson (1935) states, scientific progress and constant movement forward have influenced the nature of art history teaching and largely determined the interests of the target audience. At the same time, the author is convinced that beauty is timeless (Jackson 1935). The argument is given that one of art teachers’ main tasks is “to cultivate an intelligent enjoyment of the intentions of the artists of all periods and the varied qualities of their work” (Jackson 1935, 37). As a result, the conclusion is offered that such an educational industry is not superficial and purely subjective but deep.
Personal reasoning forms the basis of the article, and no particular research method is dominant. However, Jackson (1935) uses the existing experience as a tool that is often utilized in phenomenological research, which, in turn, allows the author to express the stated position with authority. One of the main theses is that there is a direct correlation between students’ educational level and their ability to perceive and understand art. Therefore, the role of an art teacher is not only to offer learning materials but also stimulate interest in them, thereby enhancing students’ academic potential.
Robinson, Francis W. 1941. “Two Works by Paul Cezanne.” Bulletin of the Detroit Institute of Arts of the City of Detroit 20 (4): 31-33.
Paul Cezanne, known as one of the most prominent impressionists of the 19th century, left a huge artistic legacy. In his article, Robinson (1941) focuses on Cezanne’s still lifes and, in particular, the oil painting The Three Skulls as one of the artist’s memorable art objects. The author notes that in his work, Cezanne often resorted to skulls as vivid natural items, and these elements played a large role in his art (Robinson 1941). As a justification, Robinson (1941) discusses the impressionist style of plasticity and notes that the metaphysical meaning of skulls allowed the artist to convey hidden meanings and ideas. Particular attention is paid to the composition of the canvas; gloomy skulls against a bright and warm background are catchy elements, and “every inch of the canvas is alive with controlled color” (Robinson 1941, 32). To explain the subject matter of the painting, Robinson (1941) mentions the late period of Cezanne’s life when The Three Skulls was created and emphasizes the originality of the canvas. The painting is presented as a masterpiece of not only the artist himself but also of the entire genre of impressionism.
The thematic analysis of Cezanne’s painting is the main method that Robinson (1941) uses in this article. In addition to The Three Skulls, several other canvases are mentioned. However, the main emphasis is on this painting as an object of art that does not leave observers indifferent and evokes mixed feelings. Based on the style of the article, one can conclude that Robinson (1941) favors Cezanne’s creativity and unusual style and seeks to highlight his genius. Therefore, despite historical and biographical references, the research is subjective and evaluative.
Sweet, Frederick A. 1941. “Woman with Mirror by Picasso.” Bulletin of the Art Institute of Chicago (1907): 106-107.
The evaluation of the painting Woman with Mirror by Pablo Picasso is the main topic of Sweet’s (1941) article. The author not only analyzes this world-famous painting in the context of the Spanish artist’s work but also compares the painting with those of Cezanne by finding common and distinctive features (Sweet 1941). One of the main topics is the assessment of the impacts that influenced Picasso and prompted him to create Woman with Mirror. Sweet (1941) states that fresco art was one the background that prompted the artist to paint this picture, and specific elements of the composition, in particular, the linearity of forms and shades, prove this idea. Woman with Mirror personifies his gradual transition to a new style, and one can notice both the early drawing techniques inherent in Picasso and his later strokes characteristic of Cubism. Sweet (1941) does not go into praise of the painting and describes its compositional and historical characteristics rather than expresses personal views and judgments. As a result, the influence of other prominent artists has been suggested as one of the key factors driving Picasso to create Woman with Mirror.
A historical analysis allows Sweet (1941) to highlight the unique factors that became the key drivers and motives for Picasso to create the painting in question. At the same time, the uniqueness of Woman with Mirror is offered as a given, and the assessment of the canvas from the perspective of its role in world culture is high. Sweet (1941) highlights several striking elements of the painting and pays attention to the history of its creation in comparison with the trends of the time. Therefore, despite the lack of obvious complementarity in the article, the assessment of Picasso’s painting is positive.
References
Barr, Alfred H. 1941. “Modern Art Makes History, Too.” College Art Journal 1 (1): 3-6.
Clark, Vernon. 1941. “The Guernica Mural – Picasso and Social Protest.” Science & Society: 72-78.
Jackson, J. Leroy. 1935. “Art History and the Art Teacher.” Design 37 (4): 34-37.
Robinson, Francis W. 1941. “Two Works by Paul Cezanne.” Bulletin of the Detroit Institute of Arts of the City of Detroit 20 (4): 31-33.
Sweet, Frederick A. 1941. “Woman with Mirror by Picasso.” Bulletin of the Art Institute of Chicago (1907): 106-107.