Center De Pompidou: Bonafide Modern Art of 20th

National Museum of Modern Art offers one of the most comprehensive panoramas of history of Art in the 20th and the 21st centuries.

Spread over the two floors of the building, the display invites the visitor to transfer the major sequence of modernity through a broad broad spectrum of the field including plastic arts, photography, Cinema, film, video, design sculpture, and even architecture.

The centre architect Renzo piano and RICHARD ROGERS

took a daring step of showcasing what the architect usually hides. Thus the supporting structure and pipes are outside highlighted in vibrant color.

Blue corresponds to air supply, yellow to electrical devices and red to the elevators and their machinery.

The modern collection devoted to the founding episode of Modern Art from 1905 to 1965, open the visit. Each room, leading onto the next, leading into the next, showcases of major figure or the current of a period.

A movement is known as “Avant -gardens” challenge the traditional cannons, and notably The Illusionist representation of the word using perspective, to the benefit of experimentation, from geometric form two non-figurative painting, from collage to assemblage.

On the other side, the contemporary collection reflects the digits of the past 50 in the different fields of creations.

Artist invented new ways of making art, using their own bodies, “poor” or recycled materials, the industrial processes or new technologies.

This display, a reflection of the artistic life of our time, reveals the development of the arts that is as effervescent as it is unpredictable and increasingly globalized and mixed.

Fauvism: Center De Pompidou

The fauvist painters sought to capture reality instantly. Their spontaneous brushwork, unique framing, and vibrant colors applied directly from the tube, portray their raw, passionate perception of life.

Neo-Primitivism: Center De Pompidou

In the 1910s, several artists, united through their interest in folk art, adopted a deliberately naive, expressive style. They were inspired by traditional images, objects related to ruler cultural and primitive art sculptures.

Henri Matisse

All his life, Henri Matisse pursued harmony between line and pure color as the subject of his paintings. “My line drawing is the most direct and purest translation of my emotion.

Simplification of the medium allows this he explains medium worked in stages on the same pattern or form, which little by little became more and more sterilized and abstract, A major figure, he had its influence on numerous artist throughout the 20th century

CUBISM: Center De Pompidou

Cubism initiated by George Braque and Pablo Picasso in 1907, cubism was most and just a new technique, it reflected a new state of mind. The artist sought a new window of perception by fragmentation reality.

By playing with volume, light, and material, they integrated different viewpoints of the same reality into rhythmic, dynamic composition, which sometimes touched on the boundaries of abstractions

From 1918, other artists such as Juan Gris and Fernand Leger re-appropriated the shape, forms possibilities brought to the life by Cubism and began to avoid them. “Modern man lives more and more in overpowering geometric order” Fernand Leger.

Abstraction: Center De Pompidou

Fauvist and Cubist studies encouraged some artists to adopt a new visual vocabulary, in which colors, geometric shapes and their expression of lines became the very subject of the painting

These infinitely combinable components opened a large scope for expression by creating a correspondence between other expressive domains such as music, dance, and biology, in an often cosmic and spiritual environment. “To create work is to create a word” Wassily Kandinsky.

Suprematism and constructivism:

Kazimir Malevich, a founder of Suprematism, proposed to go beyond figuration, leading to a painting “without object” inviting the viewer to set things” in motion by philosophical thoughts”

On the other hand, constructivism celebrated modern beauty through the functional utilization of materials.

De Stijl: Center De Pompidou

was firstly a Dutch journal that brought together artists who wished to create a “total art”.Indeed, in the three primary colors and the straight line of paintings from a Universal language that extends into the everyday environment through furniture, architecture and urban planning.

Piet Mondrian refers to search “neoplastic”, in which modern man could evolve
“Art will disappear as if life find more balance”.
Mondrian said