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European stylistic influence on early twentieth century South African painters

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dc.contributor.author Mannering HK en
dc.date.accessioned 2016-09-22T08:13:37Z
dc.date.available 2016-09-22T08:13:37Z
dc.date.created 1992 en
dc.date.submitted 1995 en
dc.identifier.uri http://hdl.handle.net/20.500.11892/25688
dc.description.abstract Explores how early 20th century South African artists were influenced by the trends they encountered while studying and travelling in Europe. The variation in style from their early work in South Africa to work executed in Europe and upon their return to South Africa is marked. Even though their work was often ridiculed and snubbed, these artists continued developing European ideas and, in turn, spreading these to fellow South African artists through avenues such as local exhibitions. A comparison of the early and later works by particular South African artists illustrates the extent of European influence on early twentieth century South African artistic style. This is seen in the style of artists such as Naud�, Goodman and Caldecott, who were attracted to Impressionism. Critical analysis of the Everards' work shows that they too were influenced by the styles of the Impressionists and Post-Impressionists. Artists like Stern and Laubser, who, it has been established, also had their roots in traditional trends, were greatly influenced by Expressionism and Fauvism. It is shown that The New Group would not have been able to function without the groundwork and experience from early 20th century South African artists.South African artists, dissatisfied with the staid environment in local circles, felt the need to travel abroad for fresh stimulation. This need allowed for a historical investigation into the results, beneficial or otherwise, of the influence of European modernism on early twentieth century South African painters. Because of the numerous practising artists in South Africa at the time, it has been found necessary to give cohesion to the artists discussed and, therefore the most pertinent have been grouped into artistic movements. Thus, H. Naud�, R.G. Goodman and H.S. Caldecott are discussed in conjunction with Impressionism. B. Everard, R. Everard-Haden and J.H. Pierneef are compared to the Post-Impressionists and finally, I. Stern and M. Laubser are equated with the Fauves and Expressionists. To ascertain the true effect of European stylistic influence, a comparative analysis of work executed before European visits and upon the artists' return is imperative. Simultaneously, as part of the analysis, reference is also made to any work executed by these artists while in Europe. European movements of the period are also reviewed, enabling precise grouping and better understanding of the styles adopted by the chosen group of early twentieth century South African artists. Some attention is given to the impact these artists had on South African art upon their return, as this confirms the degree of European influence and facilitates the classification of styles adopted by the selected group. In conclusion, to establish the extent to which European art was influential, a brief synopsis shows the changes in local groups, once these artists had re-established themselves in South Africa. en
dc.language English en
dc.subject Fine arts and History of art en
dc.subject Art of painting (including portrait painting and iconography) en
dc.title European stylistic influence on early twentieth century South African painters en
dc.type Masters degree en
dc.description.degree MA en

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