When one thinks about approach, words like method, creation, and technique come to mind. The different approaches to the creation of art were reflected in the variety of artistic movements that defined the period between 1900 and 1980. Two different pieces that encompass varied approaches to art are Les Demoiselles d’Avignon by Pablo Picasso and Fountain by Marcel Duchamp. Both of these works are largely influential in the span of modern art for their innovation in representation and method of depiction. Pablo Picasso is perhaps one of the principal artists that pioneered Cubism during the twentieth century— Cubists disregarded the traditional notion of perspective and principally relied on the abstraction of form. Les Demoiselles d’Avignon
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Although the group didn’t outright reject it, Duchamp’s ‘sculpture’ was hidden during the gallery because the curators had difficulty accepting it as art. By then, Duchamp was already creating what he called ‘readymades’, in which commonplace objects would be minimally altered and displayed as art. These creations challenged the concept of retinal art— art that was purely reliant on visuals or aesthetics— and helped establish the artist’s spot as one of the forefront artists of the Dada movement. The pang of nihilism due to the first world war accompanied by the rise of cubism thanks to Picasso and Braque, brought forth the new movement of Dadaism, which opposed the artistic standard of the time by principally challenging what was to be considered art. This challenge altered the approach of careful planning and executing that artists had cherished since the beginning of time. The piece, simply a ceramic urinal turned on its side with a sloppily-signed ‘R. Mutt’ in black paint, inherently differed from the rest of the art displayed at the beginning of the 20th century. “The onlooker has the last word, and it is always posterity that makes the masterpiece.” Duchamp once stated, in describing his renowned work. The Fountain is principally significant for its non representational nature, which opposes the abstraction used by Picasso in Les
Although the group didn’t outright reject it, Duchamp’s ‘sculpture’ was hidden during the gallery because the curators had difficulty accepting it as art. By then, Duchamp was already creating what he called ‘readymades’, in which commonplace objects would be minimally altered and displayed as art. These creations challenged the concept of retinal art— art that was purely reliant on visuals or aesthetics— and helped establish the artist’s spot as one of the forefront artists of the Dada movement. The pang of nihilism due to the first world war accompanied by the rise of cubism thanks to Picasso and Braque, brought forth the new movement of Dadaism, which opposed the artistic standard of the time by principally challenging what was to be considered art. This challenge altered the approach of careful planning and executing that artists had cherished since the beginning of time. The piece, simply a ceramic urinal turned on its side with a sloppily-signed ‘R. Mutt’ in black paint, inherently differed from the rest of the art displayed at the beginning of the 20th century. “The onlooker has the last word, and it is always posterity that makes the masterpiece.” Duchamp once stated, in describing his renowned work. The Fountain is principally significant for its non representational nature, which opposes the abstraction used by Picasso in Les