Editing Modernism (section)

=== Attacks on early modernism ===
{{anchor|Criticisms of modernism}}
[[File:Franz Marc-The fate of the animals-1913.jpg|thumb|right|upright=1.15|[[Franz Marc]], ''[[Fate of the Animals|The fate of the animals]]'', 1913, oil on canvas. The work was displayed at the exhibition of [[Degenerate art|"Entartete Kunst"]] ("degenerate art") in [[Munich]], [[Nazi Germany]], 1937.]]
Modernism's stress on [[freedom of expression]], experimentation, [[Radicalism (historical)|radicalism]], and [[primitivism]] disregards conventional expectations. In many art forms this often meant startling and alienating audiences with bizarre and unpredictable effects, as in the strange and disturbing combinations of motifs in Surrealism or the use of extreme [[Consonance and dissonance|dissonance]] and atonality in modernist music. In literature this often involved the rejection of intelligible plots or characterization in novels, or the creation of poetry that defied clear interpretation. Within the [[modernism in the Catholic Church|Catholic Church]], the specter of [[Protestantism]] and [[Martin Luther]] was at play in anxieties over modernism and the notion that doctrine develops and changes over time.<ref name="Lamport Gordon Marty 2017 p. 525">{{cite book | last1=Lamport | first1=M.A. | last2=Gordon | first2=B. | last3=Marty | first3=M.E. | title=Encyclopedia of Martin Luther and the Reformation | publisher=Rowman & Littlefield Publishers | issue=v. 2 | year=2017 | isbn=978-1-4422-7159-3 | url=https://books.google.com/books?id=Ih8wDwAAQBAJ&pg=PA525 | access-date=2023-05-11 | page=525 | archive-date=11 May 2023 | archive-url=https://web.archive.org/web/20230511220140/https://books.google.com/books?id=Ih8wDwAAQBAJ&pg=PA525 | url-status=live }}</ref>

From 1932, [[socialist realism]] began to oust modernism in the Soviet Union,<ref name="Sergei V. Ivanov pp. 28"/> where it had previously endorsed Russian Futurism and [[constructivism (art)|Constructivism]], primarily under the homegrown philosophy of [[Suprematism]].

The [[Nazism|Nazi]] government of Germany deemed modernism [[narcissism|narcissistic]] and nonsensical, as well as "Jewish" (see [[Antisemitism]]) and "Negro".<ref>Kühnel, Anita. [https://www.moma.org/collection/details.php?theme_id=10077 "Entartete Kunst", from ''Grove Art Online''] {{Webarchive|url=https://web.archive.org/web/20150509014614/http://www.moma.org/collection/details.php?theme_id=10077 |date=9 May 2015 }}, MoMA website.</ref> The Nazis exhibited modernist paintings alongside works by the [[mental illness|mentally ill]] in an exhibition entitled "[[Degenerate Art]]". Accusations of "formalism" could lead to the end of a career, or worse. For this reason, many modernists of the post-war generation felt that they were the most important bulwark against totalitarianism, the "[[sentinel species|canary in the coal mine]]", whose repression by a government or other group with supposed authority represented a warning that individual liberties were being threatened. Louis A. Sass compared madness, specifically [[schizophrenia]], and modernism in a less fascist manner by noting their shared disjunctive narratives, surreal images, and incoherence.<ref>Sass, Louis A. (1992). ''Madness and Modernism: Insanity in the Light of Modern Art, Literature, and Thought''. New York: Basic Books. Cited in Bauer, Amy (2004), "Cognition, Constraints, and Conceptual Blends in Modernist Music", in ''The Pleasure of Modernist Music''. {{ISBN|1-58046-143-3}}.</ref>