section_path: Origins and early history/Romanticism and realism
section_name: Romanticism and realism
paragraph_text: Romanticism and realism
  
  Modernism developed out of Romanticism's revolt against the effects of the Industrial Revolution and bourgeois values. Literary scholar Gerald Graff, argues that, "The ground motive of modernism was criticism of the 19th-century bourgeois social order and its world view; the modernists, carrying the torch of Romanticism."
  
  While J. M. W. Turner (1775–1851), one of the most notable landscape painters of the 19th century, was a member of the Romantic movement, his pioneering work in the study of light, color, and atmosphere "anticipated the French Impressionists " and therefore modernism "in breaking down conventional formulas of representation; though unlike them, he believed that his works should always express significant historical, mythological, literary, or other narrative themes." However, the modernists were critical of the Romantics' belief that art serves as a window into the nature of reality. They argued that since each viewer interprets art through their own subjective perspective, it can never convey the ultimate metaphysical truth that the Romantics sought. Nonetheless, the modernists did not completely reject the idea of art as a means of understanding the world. To them, it was a tool for challenging and disrupting the viewer's point of view, rather than as a direct means of accessing a higher reality.
  
  Modernism often rejects 19th-century realism when the latter is understood as focusing on the embodiment of meaning within a naturalistic representation. Instead, some modernists aim at a more 'real' realism, one that is uncentered. For instance, Picasso's 1907 Proto-Cubist painting Les Demoiselles d'Avignon does not present its subjects from a single point of view, instead presenting a flat, two-dimensional picture plane. The Poet of 1911 is similarly decentered, presenting the body from multiple points of view. As the Peggy Guggenheim Collection comments, "Picasso presents multiple views of each object, as if he had moved around it, and synthesizes them into a single compound image."
  
  Modernism, with its sense that "things fall apart," is often seen as the apotheosis of Romanticism. As August Wilhelm Schlegel, an early German Romantic, described it, while Romanticism searches for metaphysical truths about character, nature, higher power, and meaning in the world, modernism, although yearning for such a metaphysical center, only finds its collapse.