Vitalist Modernism

Faced with ‘a queasy sickening feeling that all was not right’, by the fin-de-siècle many Modernists in America, Australia, Britain, Canada and Europe expanded the field of art into raw nature, ethnic communities and tribal cultures as vitalisers of energy that could be emotionally and creatively li...

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Main Authors: Brauer, F., Keshavjee, S.
Format: Other/Unknown Material
Language:unknown
Published: 2019
Subjects:
Online Access:https://repository.uel.ac.uk/item/8440y
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spelling ftuniveastlon:oai:repository.uel.ac.uk:8440y 2023-05-15T16:51:16+02:00 Vitalist Modernism Brauer, F. Keshavjee, S. 2019 https://repository.uel.ac.uk/item/8440y unknown conference-item 2019 ftuniveastlon 2023-01-29T07:30:08Z Faced with ‘a queasy sickening feeling that all was not right’, by the fin-de-siècle many Modernists in America, Australia, Britain, Canada and Europe expanded the field of art into raw nature, ethnic communities and tribal cultures as vitalisers of energy that could be emotionally and creatively liberating. Following theories of Vitalism by Henri Bergson, Hans Driesch, Alois Riegl and Friedrich Nietzsche, ‘the vital state’ (‘l’élan vital’) became widely engaged for its conception of life as a constant process of metamorphosis, impelled by the free flow of energies able to generate what Bergson called ‘creative evolution’. Imbricated within Neo-Lamarckian ecological evolutionary theories, Vitalism was also embraced for being anti-rationalist and anti-mechanistic, particularly in its opposition to Thomas Huxley’s conception of plants and animals as machines, and its reconception of them as inspiring organisms within unspoiled nature, perpetually mutating into increasingly complex species and solidarist colonies following the Transformist concept of ‘life-force’. Pitched against mechanistic productivity and repressive materialism, Vitalism spawned an expanding field of Modernist art in which artists embraced nature, intuition, instinct, spontaneity, chance, intense emotion, memory, unconscious states, uncanny vibrations, and a psychology of time. This pursuit was enhanced by the further expansion of art into Anthroposophy, Organicism, Supernaturalism, Magnetism, Eurhythmics, Freikorperkultur, Heliotherapy, Herbalism, Homeopathy, Naturopathy, Nudism, Theosophy and Vegetarianism, free dance plus regenerative new sports and physical cultures. The artists exploring this expanded field were doing so, as this session will reveal, within cultures as geopolitically widespread as Britain, China, France, Iceland, Oslo, Switzerland and the Soviet Union. Other/Unknown Material Iceland University of East London (UEL): ROAR Canada
institution Open Polar
collection University of East London (UEL): ROAR
op_collection_id ftuniveastlon
language unknown
description Faced with ‘a queasy sickening feeling that all was not right’, by the fin-de-siècle many Modernists in America, Australia, Britain, Canada and Europe expanded the field of art into raw nature, ethnic communities and tribal cultures as vitalisers of energy that could be emotionally and creatively liberating. Following theories of Vitalism by Henri Bergson, Hans Driesch, Alois Riegl and Friedrich Nietzsche, ‘the vital state’ (‘l’élan vital’) became widely engaged for its conception of life as a constant process of metamorphosis, impelled by the free flow of energies able to generate what Bergson called ‘creative evolution’. Imbricated within Neo-Lamarckian ecological evolutionary theories, Vitalism was also embraced for being anti-rationalist and anti-mechanistic, particularly in its opposition to Thomas Huxley’s conception of plants and animals as machines, and its reconception of them as inspiring organisms within unspoiled nature, perpetually mutating into increasingly complex species and solidarist colonies following the Transformist concept of ‘life-force’. Pitched against mechanistic productivity and repressive materialism, Vitalism spawned an expanding field of Modernist art in which artists embraced nature, intuition, instinct, spontaneity, chance, intense emotion, memory, unconscious states, uncanny vibrations, and a psychology of time. This pursuit was enhanced by the further expansion of art into Anthroposophy, Organicism, Supernaturalism, Magnetism, Eurhythmics, Freikorperkultur, Heliotherapy, Herbalism, Homeopathy, Naturopathy, Nudism, Theosophy and Vegetarianism, free dance plus regenerative new sports and physical cultures. The artists exploring this expanded field were doing so, as this session will reveal, within cultures as geopolitically widespread as Britain, China, France, Iceland, Oslo, Switzerland and the Soviet Union.
format Other/Unknown Material
author Brauer, F.
Keshavjee, S.
spellingShingle Brauer, F.
Keshavjee, S.
Vitalist Modernism
author_facet Brauer, F.
Keshavjee, S.
author_sort Brauer, F.
title Vitalist Modernism
title_short Vitalist Modernism
title_full Vitalist Modernism
title_fullStr Vitalist Modernism
title_full_unstemmed Vitalist Modernism
title_sort vitalist modernism
publishDate 2019
url https://repository.uel.ac.uk/item/8440y
geographic Canada
geographic_facet Canada
genre Iceland
genre_facet Iceland
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