PrepTest 29, Section 4, Question 4

For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.

So fundamental is this break with tradition that it is not surprising to discover that these artists�among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia�are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.

No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.

It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries�and still retain that power over modern viewers�but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.

For some years before the outbreak of World War I, a number of painters in different European countries developed works of art that some have described as prophetic: paintings that by challenging viewers' habitual ways of perceiving the world of the present are thus said to anticipate a future world that would be very different. The artistic styles that they brought into being varied widely, but all these styles had in common a very important break with traditions of representational art that stretched back to the Renaissance.

So fundamental is this break with tradition that it is not surprising to discover that these artists�among them Picasso and Braque in France, Kandinsky in Germany, and Malevich in Russia�are often credited with having anticipated not just subsequent developments in the arts, but also the political and social disruptions and upheavals of the modern world that came into being during and after the war. One art critic even goes so far as to claim that it is the very prophetic power of these artworks, and not their break with traditional artistic techniques, that constitutes their chief interest and value.

No one will deny that an artist may, just as much as a writer or a politician, speculate about the future and then try to express a vision of that future through making use of a particular style or choice of imagery; speculation about the possibility of war in Europe was certainly widespread during the early years of the twentieth century. But the forward-looking quality attributed to these artists should instead be credited to their exceptional aesthetic innovations rather than to any power to make clever guesses about political or social trends. For example, the clear impression we get of Picasso and Braque, the joint founders of cubism, from their contemporaries as well as from later statements made by the artists themselves, is that they were primarily concerned with problems of representation and form and with efforts to create a far more "real" reality than the one that was accessible only to the eye. The reformation of society was of no interest to them as artists.

It is also important to remember that not all decisive changes in art are quickly followed by dramatic events in the world outside art. The case of Delacroix, the nineteenth-century French painter, is revealing. His stylistic innovations startled his contemporaries�and still retain that power over modern viewers�but most art historians have decided that Delacroix adjusted himself to new social conditions that were already coming into being as a result of political upheavals that had occurred in 1830, as opposed to other artists who supposedly told of changes still to come.