section_path: After 1945
section_name: After 1945
paragraph_text: After 1945
  
  While The Oxford Encyclopedia of British Literature states that modernism ended by c. 1939 with regard to British and American literature, "When (if) modernism petered out and postmodernism began has been contested almost as hotly as when the transition from Victorianism to modernism occurred." Clement Greenberg sees modernism ending in the 1930s, with the exception of the visual and performing arts, but with regard to music, Paul Griffiths notes that, while modernism "seemed to be a spent force" by the late 1920s, after World War II, "a new generation of composers— Boulez, Barraqué, Babbitt, Nono, Stockhausen, Xenakis " revived modernism". In fact, many literary modernists lived into the 1950s and 1960s, though generally they were no longer producing major works. The term " late modernism " is also sometimes applied to modernist works published after 1930. Among the modernists (or late modernists) still publishing after 1945 were Wallace Stevens, Gottfried Benn, T. S. Eliot, Anna Akhmatova, William Faulkner, Dorothy Richardson, John Cowper Powys, and Ezra Pound. Basil Bunting, born in 1901, published his most important modernist poem, Briggflatts in 1965. In addition, Hermann Broch 's The Death of Virgil was published in 1945 and Thomas Mann 's Doctor Faustus in 1947. Samuel Beckett, who died in 1989, has been described as a "later modernist". Beckett is a writer with roots in the Expressionist tradition of modernism, who produced works from the 1930s until the 1980s, including Molloy (1951), Waiting for Godot (1953), Happy Days (1961), and Rockaby (1981). The terms " minimalist " and " post-modernist " have also been applied to his later works. The poets Charles Olson (1910–1970) and J. H. Prynne (born 1936) are among the writers in the second half of the 20th century who have been described as late modernists.
  
  More recently, the term "late modernism" has been redefined by at least one critic and used to refer to works written after 1945, rather than 1930. With this usage goes the idea that the ideology of modernism was significantly re-shaped by the events of World War II, especially the Holocaust and the dropping of the atom bomb.
  
  The post-war period left the capitals of Europe in upheaval, with an urgency to economically and physically rebuild and to politically regroup. In Paris (the former center of European culture and the former capital of the art world), the climate for art was a disaster. Important collectors, dealers, and modernist artists, writers, and poets fled Europe for New York and America. The surrealists and modern artists from every cultural center of Europe had fled the onslaught of the Nazis for safe haven in the United States. Many of those who did not flee perished. A few artists, notably Pablo Picasso, Henri Matisse, and Pierre Bonnard, remained in France and survived.
  
  The 1940s in New York City heralded the triumph of American Abstract Expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early modernism via great teachers in America like Hans Hofmann and John D. Graham. American artists benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst and the André Breton group, Pierre Matisse 's gallery, and Peggy Guggenheim 's gallery The Art of This Century, as well as other factors.
  
  Paris, moreover, recaptured much of its luster in the 1950s and 1960s as the center of a machine art florescence, with both of the leading machine art sculptors Jean Tinguely and Nicolas Schöffer having moved there to launch their careers—and which florescence, in light of the technocentric character of modern life, may well have a particularly long-lasting influence.