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Art Movement

Art Movement


Dadaism was an art form that was born out of anarchy and hatred for the social and political values that existed during the time. The aforementioned is sufficient to note that Dadaism was not a form of art like Cubism but was more of a protest movement with a manifesto against the establishments. Early impressionist was considered radicals since they did not follow the rules of academic painting. They painted what they saw at that moment, instead of the academic rules, which required one to come up with a picture after a thorough study in the studio. It is critical to note that individuals tend to associate impressionism with the lack of morality in their artistic works. This is because of the deviation that artistic during the period took; that is, they did not integrate Christian values in their artistic works (Hauser, 2005). These artists could carry their canvas out there and paint whatever they see that is there at that moment, which is very different from a regular artist who could come up with a picture from the studio after thorough preparation and research. They were interested in showing modern life in their paintings rather than the traditional and historical themes (Olson, 2018). Impressionists did not aim to be precise in detail as in the realistic style, but the primary concern of the impressionist was to attract the emotions of the one seeing the painting. In this case, by focusing on nature, it was evident that the images from the tree impressionist artist-enhanced physical and mental wellbeing because of the emotional connection that individuals had with the beautiful scenic environment.

Additionally, it is imperative to note that both these artists’ work occurred concurrently because of the urge to make changes. Firstly, impressionism was revolutionary, and the primary responsibility was to overhaul the social establishment that required individuals to participate in painting in specific ways. Likewise, Dadaism was also a revolutionary movement that would help restructure the social establishment that was already violating the rights of people. Their simultaneous existence was mainly because most of the individuals believed that there was a need to integrate changes to enhance the rights of individuals in society. Impressionism tends to champion for the rights of those who would want to express their artwork without following particular traditional ideals. On the other hand, Dada’s weapons of choice were through provoking and confronting the establishment. Firstly, the establishment was the traditional artistic values and also went straight ahead to attack the gratification of the conservatives.

Furthermore, they also attacked the traditional art world, which was part of the system, as it was considered equally responsible and thus the urgent need to topple the system. The situation is sufficient to note that Dada probed the value of all the traditional art and also believed that the existence of traditional art because they equated the existence as the indulgence of the bourgeoisie. The inordinate objective of the art and was never paralyzed by the civilizations and limitations of traditional values.  The consequence of Dada was to generate an environment in which art was thriving to the twinkling and not paralyzed by the ethnicities and limitations of recognized values.

Moreover, it is worth noting that the two art movements were very divergent, especially during the First World War. Firstly, Dadaism was antiwar, and they would call out all the aspects of the war, and most of the artists were exiled because of their anti-war principles.  Zurich was one of the regions that most of the Dadaism artists sought refuge, and it here that some of the writers and his companion Emmy Heming have opened the Cabaret Voltaire, which was a more radical element. Most of the Dadaist artists were increasingly concerned by the carnage that was caused by World War (“Dadaism”). It is worth noting that it as an unremitting slaughter, which was evidence of the nationalist’s authorities failing the society and increased corruption. However, it is worth noting that impressionism had no real retaliatory approach towards the World War. Most of the artists during the time mainly focused on the ideals that would help encourage people to desist from the war. Most of the impressionist artists were not engaged in politics so much as opposed to those of Dadaism error, which had to seek refuge in exile because of their colossal confrontation of the established societies.


“Dadaism”. (n.d). Retrieved from: movements/dadaism.htm

Olson, D. W. (2018). Monet in Le Havre: Origins of Impressionism. In Further Adventures of the Celestial Sleuth (pp. 97-123).

Hauser, Arnold. (2005). Social History of Art, Volume 4: Naturalism, Impressionism, the Film Age. Routledge.

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