Industrialisation and Art- week 7

1.Define the Industrial Revolution and Industrialism.

I think Industrial Revolution is a change of economy and society structures by technical innovation in the eighteenth century all of western Europe.

The industrial Revolution may be defined as the application of power-driven machinery to manufacturing. It had its beginning in remote times, and is still continuing in some places. In the eighteenth century all of western Europe began to industrialize rapidly, but in England the process was most highly accelerated. England's head start may be attributed to the emergence of a number of simulataneous factors.


2.Research Monet's painting 'Impression Sunrise'(1873) to analyze the work in relation to Industrialisation.

'Impression Sunrise' (1873)



Monet drawed this picture with impression while he saw Le havre port at home. This is why this work's name is 'Impression Sunrise'. We can see simple expression in this and basis of impressionism which do not use black. It is innovative experiment that we can draw darkness without black so some people who belive that night is black criticize Monet's scientific persuation which is light problem. Monet wanted to give us impression with light and shadow. I think...That can belong to in relation to factors of Industrialisation such as Technological change since 1700 and Electric Power.

( in Resource book p116)
Electric Power is that it was not until 1873 that a dynamo capable of prolonged operation was developed, but as early as 1831 Michael Faraday demonstrated how electricity could be mechanically produced. Through the nineteenth century the sue of electric power was limited by small productive capacity, short transmission lines, and high cost. Up to 1900 the only cheap electricity was that produced by generators making use of falling water in the mountains of southeastern France and northern Italy. Italy, without coal resources, soon had electricity in every village north of Rome. Electric current ran Italian textile looms and, eventually, automobile factories. As early as 1890 Florence boasted the world's first electric streetcar.

The electrification of Europe proceeded apace in the twentieth century. Russia harnessed the Dneiper River and the Irish Free State built power plants no the River Shannon. Germany was supplied with electricity in the 1920's, and by 1936 Great Britain had built and "electric grid" completely covering the country. Electrecity was a major factor in the phenomenally rapid industrialization of Russia in the 1930's.

3.Olafur Eliasson's 'Weather Project'(2006) is a contemporary work that relates to Monet's famous landscape.


-http://www.tate.org.uk/modern/exhibitions/eliasson/about.htm

The subject of the weather has long shaped the content of everyday conversation. The eighteenth-century writer Samuel Johnson famously remarked ‘It is commonly observed, that when two Englishmen meet, their first talk is of the weather; they are in haste to tell each other, what each must already know, that it is hot or cold, bright or cloudy, windy or calm.’ In The Weather Project, the fourth in the annual Unilever Series of commissions for the Turbine Hall, Olafur Eliasson takes this ubiquitous subject as the basis for exploring ideas about experience, mediation and representation.

In this installation, The Weather Project, representations of the sun and sky dominate the expanse of the Turbine Hall. A fine mist permeates the space, as if creeping in from the environment outside. Throughout the day, the mist accumulates into faint, cloud-like formations, before dissipating across the space. A glance overhead, to see where the mist might escape, reveals that the ceiling of the Turbine Hall has disappeared, replaced by a reflection of the space below. At the far end of the hall is a giant semi-circular form made up of hundreds of mono-frequency lamps. The arc repeated in the mirror overhead produces a sphere of dazzling radiance linking the real space with the reflection. Generally used in street lighting, mono-frequency lamps emit light at such a narrow frequency that colours other than yellow and black are invisible, thus transforming the visual field around the sun into a vast duotone landscape.