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European Fine Art

Modris Ekstein’s approach to avant-garde culture contrasts the ideas of the French artist Adolph-William Bouguereau. Bourguereau’s view of art was certainly the more accepted standard of fine form whereas Ekstein understood the new changes in art, or the modernist art movement. Ekstein analysis of the avant-garde production of Rites of Spring and Bouguerau’s uplifting painting Return of Spring help to expose the deep contrast and divide between the “academic classical” and the revolutionary modernist art movements. Both of these pieces properly represent both the academic and modernist art movements in Europe in pre-World War I Europe. The Rites of Spring symbolized the importance of the viewer’s perspective. A truly great piece of art, by the guidelines of modern artists, brought the spectator and the work together into art. The work alone was not sufficient. Classical academic art was quite the contrary. The audience's role was only to view the exposition, not to become entangled in it. An exposition that caused any sort of reaction from the viewer was heavily looked down upon by art critics. This divide of two art forms marked a important moment in the history of art.
As young artist, Bouguereau carefully studied the form and technique of the classics and steeped himself in classical academic sculpture and painting. Bouguereau had a very polished, refined technique that represented the height of achievement in French classical academic traditions. His sophisticated style was most appreciated at the time, and he received numerous accolades for his work. Contemporary connoisseurs of art also liked his charming subjects. Angelic figures were a favorite among art critics and people who thought of as “respectable” fans of art. In general, Bouguereau produced works that appealed to the mood of mainstream Nineteenth century and early Twentieth century audiences and Return of Spring is no exception. The painting certainly...

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