Abstract
The purpose of this paper is to discuss how is Avant-garde the revolution of poetry? In terms of poetry, avant-garde is a dynamic genre that is constantly evolving. In art, the avant-garde is a term that means anything new or different. Avant-garde is a phrase used to denote avant-garde poetry or avant-garde music that utilizes previously unknown genre fusions. Avant-garde poetry today comes in a wide variety of forms. We’ll talk about avant-garde poetry’s definition, history, and several subgenres. This paper discusses Creationism, an aesthetic movement that started around 1912 in Latin America, Spain, and France and was founded in Paris. Creationism, often referred to as Creacionismo, was a literary movement that shortly existed in the early 20th century. This literary movement was founded in France around 1912 by a Chilean Poet known as Vicente Huidobro was based upon a poem written by the Chilean (“Creacionismo | Spanish Literature”). Creationism thrived on the idea of a poem being able to exist on its own as a new creation that lacks the ability to praise other things, please readers, or be comprehended by the author. In the founding year of the movement, Huidobro developed a close relationship with a French national known as Pierre Reverdy, who helped him expand the influence of the movement in France. Creationism went further to influence more poets in Spain, such as Juan Larrea and Gerardo Diego Cembaya. The followers of the creationism movement perceive the function of the poet as a creator of an imaginary world as opposed to describing the world in its natural form (Philips, 43). The creationists poets employed different poetry techniques that often combined words irrationally.
Introduction
Creationism, often referred to as Creacionismo, is a movement that started in 1912 based on a poem written by a Chilean poet known as Vicente Huidobro. When referring to artists, groups, or styles, the phrase “avant-garde” in historically is used to denote those who are thought to be far ahead of the others in terms of their subject matter, technique, or method of implementation. It is a fairly broad description, in part because no one agrees on WHO or WHAT constitutes an artist being ahead of his time. Being avant-garde is experimenting with techniques or new artistic methods in order to create fine artwork. But what, exactly, do you mean by “better art”? Does it imply, for example, a more visually appealing painting? What if it’s more profound? Or would you prefer something that’s more vividly colored? There is a slew of questions.
The Avant-Garde Art Movement’s History
In Italy, there was a major departure from Byzantine and even Gothic painting in their portrayal of the Biblical Holy Family. By the 16th century, nudity had become not only accepted but even revered in art, as evidenced by Masaccio’s Expulsion from Eden and Donatello’s hypermodern bronze statue David. With the exception of Caravaggio, whose vegetable and fruit portraits revitalized the humanistic movement in painting), the Renaissance’s hypermodern traditions were replaced by imitation, repetition,and utter conformism (Bürger). The Catholic Church backed the major European Academies of Fine Arts, which established a rigid set of standards and traditions that artists broke at their risk; those who defied the rules were barred from participating in artistic discovery, exemplified by Rembrandt’s powerfully emotive portraiture and Jan Vermeer’s and others’ new genre paintings of remarkable realism. Artists didn’t start experimenting again until the Revolutionary War was passed. It all started with a painting of the countryside. Barbizon School painter Corot and others helped establish a new Plein-Air tradition, while the German symbolist painter Caspar David Friedrich infused new romanticism into his landscapes, and the English genius JMW Turner elevated the genre still further. Painting from history’s past, such as Goya’s Third of May, 1808, became avant-garde because it lacked heroic figures and an uplifting message. Impressionism, the first major movement in contemporary art, followed as the next truly avant-garde school and flipped color standards on their head (Osborne). When the artist perceives the temporary effect of sunshine, grass can turn crimson and haystacks blue. Impressionism may be ubiquitous today, but it was scandalous in the 1870s among the general public and the artistic elite. To them, the only thing that mattered was that the grass was green and the haystacks were yellow.
Early 20th-Century Avant-Gardes in Art
Revolutionary movements and styles emerged in art during the early twentieth century. First, there was Fauvism (1898-1908), whose color palettes were so outlandish and unnatural that its admirers were dubbed’wild animals’. And then there was Analytical Cubism , which many critics regard as the most influencial of the avant-garde movements due to its rejection of linear perspective in favor of a two-dimensional picture plane, shocking European art academies and visitors to the New York Armory Show and the Paris Salon des Indépendants. German Expressionism, as exemplified by Brucke and Der Blaue Reiter (1911-14), was the avant-garde style in Dresden, Munich, and Berlin. Meanwhile, Futurism in Milan presented a special fusion of modernism and movement(Shivani). To name only a few notable avant-garde art dealers in Paris from the 1900s to the 1930s, there was, Ambroise Vollard, Solomon R. Guggenheim Daniel-Henry Kahnweiler, Peggy Guggenheim, and, Paul Guillaume all of whom were active in the city (1898-1979). The Sturm Gallery in Walden, Germany, was a major expressionist avant-garde hub. Of all movements,. For the Dadaists, bourgeois norms in visual art were mostly irrelevant, as they preferred a heady mix of anarchist and hypermodernism. Among the latter’s innovations were a number of radical concepts that are now considered mainstream, like the fabrication of trash art from “found objects”. In fifty years before their postmodernist successors were born, artists produced not just Performance Art but also Happenings and Conceptual Art. Surrealism, Dada’s less obstinate successor, amused but finally failed to keep up the pressure for change. Creationism thrived on the idea of a poem being able to exist on its own as a new creation that lacks the ability to praise other things, please readers, or be comprehended by the author. In the founding year of the movement, Huidobro developed a close relationship with a French national known as Pierre Reverdy, who helped him expand the influence of the movement in France. Creationism went further to influence more poets in Spain, such as Juan Larrea and Gerardo Diego Cembaya.
Avant-Garde Mid-Century Modern Art
During the 1940s and 1950s, avant-gardism came and went. This was partly due to the fact that abstract art predominated, yet abstraction offered very little in the way of fresh ideas. While Mark Rothko and Jackson Pollock introduced action painting to the United States, and Robert Motherwell and Barnett Newman added a story to their abstract works, abstraction had lost its luster by the mid–the 1960s. Minimalism tried to make it more powerful by simplifying it, but the general public was uninterested. In the 1960s pop art was the aesthetic that changed art to be accessible once again, was far more popular among them. There were some notable exceptions to this, like Andy Warhol and the sculptor Claes Oldenburg and Robert Rauschenberg. (Andy Warhol’s Pop Art from the 1960s and 1970s has further information.) Although Arte Povera’s assemblages, installations, and performance art all used simple materials to emphasize the movement in Italy, Louise Nevelson’s (1899-88) wooden assemblages and Arman’s (1928-2005) ‘accumulations’ contributed to pop culture in the United States. A taste of avant-gardism was served up in Europe in the 1950s and 1960s by artists like Jean Dubuffet, Yves Klein, and Swiss sculptor Jean Tinguely, who worked with Alexander Calder to develop kinetic art (see Art Brut). John Cage (1912-92), a composer and printmaker, was a key player in avant-garde art throughout the 1950s and 1940s.
Postmodernism emerged in the 1960s and 1970s as a distinct style of contemporary art. New styles of contemporary art rose as a result, most of it considered avant-garde by certain standards. Art photography, such as that of Robert Mapplethorpe (1946-89) and Nan Goldin, as well as installation art, such as that of Joseph Beuys (1921-86), Bruce Nauman (1921-86), Christian Boltanski (1921-86), Richard Wilson (1921-86), and Martin Creed (1921-86), were all examples of these new artforms. Ice Sculpture is perhaps the most recent word in “found items,” as far as non-commercial contemporary art forms go. As seen by the Serbian artist Marina Abramovic’s daring performances, extreme body art is one of the most current artistic fads.
Cesar Vallejo: poem Los Heraldos Negros & Espergesia
Vallejo’s debut poem, The Black Heralds, drew far more positive reviews than his follow-up, Trilce, did upon publication in 1922. The Black Heralds has gotten a lot of attention because of its passionate investigation of intersections (Pérez)
Nicolás Guillen: poem Balada de los Abuelos & Tu no sabe ingle
Guillén employs the ballad form to convey the speaker’s inner turmoil as his white grandfather and black grandfather speak to him in “Balada de Los dos abuelos” from West Indies Ltd. First, the speaker discusses his two paternal grandfathers, conjuring up vivid images of each one (Fulk).
Vicente Huidobro: poem Altazor
The poem portrays a series of “falls” in terms of language, critical thought, metaphor, and gravitational force in order to chart the falling protagonist’s “Viaje en paracadas” (Weintraub). A significant “event” in the poem is found in the theoretical configurations of falling and gravitation, which are inextricably linked to cosmological regions and the language fluctuations that give them form in the work of this heavenly poet. Several critical approaches to Altazor’s poem’s “illegible” conclusion exist, and this essay examines the scientific imaginary with which the poem shares significant early twentieth-century discoveries in theoretical and experimental particle physics to reconsider the impact of a linguistic event on Altazor’s gravitational field. I’ll investigate how Altazor implies the historical and discursive transition from Newtonian to quantum cosmologies by referencing the historical backdrop of the quantum/relativistic paradigm shift in physics that occurred concurrently with the poem’s composition.
Luis Pales Matos: poem Danza Negra
Theodore “Luis” Palés A daring new sound emerged in the Caribbean throughout the second decade of the twentieth century, particularly in Puerto Rico. This included a different type of poetry altogether. This entailed a form of musical poetry. In Puerto Rico, the bomba drum beat was used, whereas the son drum beat was used in Cuba. The poets used onomatopoeia, repetition, rhythm, and rhyme to produce a powerful, emotive, and occasionally amusing language. The black race was a major theme in this poet’s work of poetry. Instead of focusing on Europe or the white community, it looked at the black community’s issues. Afro-Caribbean culture was celebrated, including the sounds, music, and traditions of the continent (Calderon). It extolled the virtues of the mulata, the pinnacle of female beauty. It recognized the emergence of identification: that of an American and an Antillean. Some of the French-speaking islands joined the initiative, as did a few English-speaking ones.
To summarize everything that has been stated so far, Creationism grew on the concept of a poem existing independently as a fresh creation incapable of praising other things, pleasing readers, or being grasped by the author. During the movement’s formative years, Huidobro had a close friendship with a French national known as Pierre Reverdy, who assisted him in expanding the movement’s influence in France. Further, creationism influenced a number of poets in Spain, including Juan Larrea and Gerardo Diego Cembaya. According to creationists, the poet’s role is to create an imaginary world rather than to describe the world in its natural state. The creationist poets used a variety of poetic methods, frequently combining words arbitrarily. Various poets have contributed to the growth of Avant-garde as one of the most exciting poetry subgenres in recent memory. As long as poetry is being taught, those who contributed have been recognized as some of the greatest composers of all time. The avant-garde has never been more mainstream as it is today. To write poems, people use various types of styles.
Works Cited
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calderon, Elsa. “97.01.03: La Presencia Africana En El Caribe: Un Análisis de La Poesía Afroantillana (the African Presence in the Caribbean: An Analysis of African-Antillean Poetry).” Teachersinstitute.yale.edu, teachersinstitute.yale.edu/curriculum/units/1997/1/97.01.03.x.html. Accessed 23 Oct. 2021.
Fulk, Alanna. Two Terms of the Cuban Counterpoint: Transculturation in the Two Terms of the Cuban Counterpoint: Transculturation in the Poetry of Nicolás Guillén Poetry of Nicolás Guillén.
Pérez, Rolando. “Vallejo on Language and Politics.” Letras Hispanas, vol. 5, 2008, gato-docs.its.txstate.edu/jcr:614b9de0-a857-4cb4-acbc-16c22a19e7d1/perez.pdf. Accessed 23 Oct. 2021.
Phillips, Brian M., and Leticia Pérez Alonso. “The Impact of Vicente Huidobro and Ramón Gómez de la Serna in the Spanish Avant-Garde: Visualization and Rhetorical Artifice.” Cincinnati Romance Review 43 (2017). https://www.academia.edu/download/54934154/The_Impact_of_Vicente_Huidobro
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Osborne, Peter. The Politics of Time: Modernity and Avant-Garde. Google Books, Verso Books,2011,books.google.com/books?hl=en&lr=&id=T7pvDwAAQBAJ&oi=fnd&pg=PR7&dq=avant+garde&ots
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Shivani, Anis. “The Distinctive Realm of Avant-Garde Poetry.” DAWN.COM, 3 July 2016, www.dawn.com/news/1268824. Accessed 23 Oct. 2021.
Weintraub, Scott. Cosmic Impacts and Quantum Uncertainties: Altazor and the Fall Cosmic Impacts and Quantum Uncertainties: Altazor and the Fall “From” Reference “From” Reference. 2010.
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