During the 20th century, art schools had turned their attention away from previous movements within the community that followed a pattern of styles and similar themes in their representations. , such as that found in the early Renaissance and post-Impressionist period, to a more open, multi-layered, multi-interpretation view of art that took the world by storm after World War II and that l are found in more recent movements that all serve to break down the barriers between what is and is not considered art by critics and largely formal art organizations that overestimate the importance of earlier "old-fashioned" movements. and their central role in setting unreasonably high standards for what qualifies as art and what is just conjecture, so to speak. Often finding itself at a crossroads when it comes to more avant-garde artistic endeavors that challenge representation, the art world diverges between those still fixed on the overarching framework of well-established ideas of premodern art and the progressive schools which are at the crossroads. at the head of the “new art”. Revolutionary artists such as Théodore Géricault, Vincent Van Gogh and Pablo Picasso, although not traditionally considered avant-garde, indeed shook the art world after being recognized for their contributions, and opened the way for future artists who will reform and revolutionize art with their talents. Say no to plagiarism. Get a tailor-made essay on “Why violent video games should not be banned”?Get the original essay Théodore Géricault questioned representation through his own ultra-realism in tragic scenes, such as that of The Raft of the Medusa depicting the few surviving castaways, shipwrecked and on the verge of death; but it's not until a few stranded men discover a ship not far away that their last hope is sailing towards them. Géricault's use of darker hues conveys a more serious and inherently negative mood, which only adds more to the performance and emphasizes the somber atmosphere that has taken over the scene. Added to this are the exquisite details of the sailors and their emaciated bodies, as if they had been starving for weeks and dancing on a very thin line between life and death as they seemed to drift in and out of consciousness. As the devil is in the details, so to speak, Géricault positions the corpses at the ends of what remains of the ship, as they slide into the oblivion of a grave at sea to give off a supernatural effect, as if death literally surrounded. and engulf them one by one, until there are none left to call for help and they all end up in Davy Jones' locker. With the sky darkening and the waves crashing against the wreckage, Géricault simulates a real-world catastrophe through his background change, which inadvertently paves the way for modern visual artists to make likewise in their own fields, such as cinema, where a slow change from a tranquil background to something more threatening is necessary to get a sense of what is happening. Géricault Van Gogh is perhaps one of the most notorious artists of the modern period, despite his fame spreading until after his untimely death. Celebrated for his “bizarre” twists on mundane, everyday scenes, Van Gogh sought to reimagine those same scenes through his own perspective and personal understanding of the world around him. More precisely, its famous swirls, like.