Abstract

In this study, the history of ideas and art into the social history of the road, take Bergson stretches a philosophical point, namely, to interpret the two major schools of modern painting: Fauvism and the futuristic of representative artists - Matisse and thin Qiu Nepalese and others in the "Bergson fashion" during the painting theory and creative. Want this to be the initial presentation of modern painting and philosophy of Bergson and meaning in the same culture system of interaction and the development of the situation; shared by modern painting "modern" one of the important qualities that can more aptly be interpreted as: Cezanne in his later years as a pilot, a full change of the Bergson-style "rolling style" of the specific artistic expression, as distinct from the current focus on the more general form of modern painting style of analysis or discussion. Henri Bergson's philosophy shares great importance in the late 19 and early 20 centuries in French. This is the point of departure I will take in this article to interpret the main proponents of two artistic movements in the new century : Fauvism and Futurism . With this I will show the multiple styles of modem art with Bergsonian visions. My argument is the analogy between Bergson's philosophy and the developments of modem art in the period 1900-14. I will analyze both their notions in terms of "appearance and reality" metaphysics-wise and also the Bergson vogue in cultural sociology. This thesis will also compare their use of abstract philosophical symbols and concrete artistic symbols respectively. Consequently, a principal characteristic of their paintings could better be interpreted as the multiple formal expressions and innovative developments of "Durée style"