What Achievements Were Made in Art and Literature in the Late 1800s?

The Rise of Modernism

Modernism was a philosophical movement of the tardily 19th and early on 20th centuries that was based on an underlying belief in the progress of social club.

Learning Objectives

Summarize the ideas that institute Modernism

Cardinal Takeaways

Cardinal Points

• Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed by the horror of World War I.
• Modernism was essentially based on a utopian vision of human being life and social club and a conventionalities in progress, or moving frontward.
• Modernist ideals pervaded art, architecture, literature, religious religion, philosophy, social organization, activities of daily life, and fifty-fifty the sciences.
• In painting, modernism is defined by Surrealism, late Cubism, Bauhaus, De Stijl, Dada, German language Expressionism, and Matisse too as the abstractions of artists like Piet Mondrian and Wassily Kandinsky, which characterized the European art scene.
• The end of modernism and beginning of postmodernism is a hotly contested issue, though many consider it to have ended roughly around 1940.

Modernism is a philosophical movement that, along with cultural trends and changes, arose from enormous transformations in Western society during the belatedly 19th and early on 20th centuries. Amongst the factors that shaped modernism were the development of mod industrial societies and the rapid growth of cities, followed past the horror of World War I.
Modernism was essentially based on a utopian vision of homo life and society and a belief in progress, or moving forrad. Information technology assumed that certain ultimate universal principles or truths such equally those formulated past religion or science could be used to understand or explain reality.

Modernist ideals were far-reaching, pervading fine art, architecture, literature, religious faith, philosophy, social organization, activities of daily life, and fifty-fifty the sciences. The poet Ezra Pound'south 1934 injunction to "Get in new!" was the touchstone of the movement'southward approach towards what information technology saw as the now obsolete culture of the past. In this spirit, its innovations, like the stream-of-consciousness novel, atonal (or pantonal) and twelve-tone music, divisionist painting and abstract art, all had precursors in the 19th century.

In painting, during the 1920s and the 1930s and the Great Depression, modernism is defined by Surrealism, tardily Cubism, Bauhaus, De Stijl, Dada, German Expressionism, and Modernist and masterful color painters like Henri Matisse likewise as the abstractions of artists like Piet Mondrian and Wassily Kandinsky, which characterized the European fine art scene. In Germany, Max Beckmann, Otto Dix, George Grosz, and others politicized their paintings, foreshadowing the coming of Earth State of war II, while in America, modernism is seen in the form of American Scene painting and the social realism and regionalism movements that contained both political and social commentary dominated the fine art world.

Modernism is defined in Latin America by painters Joaquín Torres García from Uruguay and Rufino Tamayo from United mexican states, while the muralist movement with Diego Rivera, David Siqueiros, José Clemente Orozco, Pedro Nel Gómez, and Santiago Martinez Delgado, and Symbolist paintings by Frida Kahlo, began a renaissance of the arts for the region, characterized by a freer use of color and an emphasis on political messages. The terminate of modernism and beginning of postmodernism is a hotly contested issue, though many consider information technology to have ended roughly effectually 1940.

Les Desmoiselles D'Avignon by Picasso, 1907: Picasso is a ubiquitous example of a modernist painter.

Mail service-Impressionism

Postal service-Impression refers to a genre that rejected the naturalism of Impressionism in favor of using color and form in more than expressive manners.

Learning Objectives

Compare and contrast Post-Impressionist techniques with those of Impressionism

Cardinal Takeaways

Central Points

• Post-Impressionists extended the employ of bright colors, thick application of paint, distinctive brush strokes, and existent-life subject field matter, and were more than inclined to emphasize geometric forms, distort forms for expressive effect, and to employ unnatural or capricious colors in their compositions.
• Although they were oftentimes exhibited together, Postal service-Impressionist artists were not in agreement apropos a cohesive move, and younger painters in the early 20th century worked in geographically disparate regions and in various stylistic categories, such as Fauvism and Cubism.
• The term " Mail- Impressionism " was coined by the British artist and art critic Roger Fry in 1910, to depict the development of French fine art since Manet.

Cardinal Terms

• Mail-Impressionism: (Art) a genre of painting that rejected the naturalism of impressionism, using color and grade in more expressive manners.
• Post-Impressionist: French art or artists belonging to a genre after Manet, which extended the way of Impressionism while rejecting its limitations; they continued using vivid colors, thick application of paint, distinctive brush strokes, and real-life subject thing, but they were more inclined to emphasize geometric forms, to misconstrue form for expressive consequence, and to use unnatural or capricious color.
• post-and-lintel: A simple construction method using a header or architrave as the horizontal member over a edifice void (lintel) supported at its ends by two vertical columns or pillars (posts).

Move from Naturalism

Postal service-Impression refers to a genre of painting that rejected the naturalism of Impressionism, in favor of using color and form in more expressive manners. The term "Mail-Impressionism" was coined by the British artist and fine art critic Roger Fry in 1910 to describe the development of French art since Manet. Post-Impressionists extended Impressionism while rejecting its limitations. For case, they continued using bright colors, thick application of pigment, distinctive brush strokes, and real-life subject affair, but they were also more inclined to emphasize geometric forms, misconstrue forms for expressive effect, and to utilize unnatural or capricious colors in their compositions.

Significant Artists of Post-Impressionism

Post-Impressionism developed from Impressionism. From the 1880s onward, several artists, including Vincent Van Gogh, Paul Gauguin, Georges Seurat, and Henri de Toulouse-Lautrec, envisioned unlike precepts for the use of color, blueprint, grade, and line, deriving these new directions from the Impressionist example. These artists were slightly younger than the Impressionists, and their work contemporaneously became known as Post-Impressionism. Some of the original Impressionist artists also ventured into this new territory. Camille Pissarro briefly painted in a pointillist manner, and even Monet abandoned strict en plein air painting. Paul Cézanne, who participated in the first and third Impressionist exhibitions, developed a highly private vision emphasizing pictorial structure; he is most often called a postal service-Impressionist. Although these cases illustrate the difficulty of assigning labels, the work of the original Impressionist painters may, by definition, be categorized as Impressionism.

Wheat Field with Crows by Van Gogh, 1890: Vincent Van Gogh used swirling brush strokes in many of his Post-Impressionist works.

A Various Search for Direction

The Post-Impressionists were dissatisfied with the triviality of field of study matter and the loss of construction in Impressionist paintings, although they did not hold on the style frontwards. Georges Seurat and his followers, for instance, concerned themselves with Pointillism, the systematic use of tiny dots of color. Paul Cézanne ready out to restore a sense of guild and structure to painting by reducing objects to their basic shapes while retaining the brilliant fresh colors of Impressionism. Vincent van Gogh used vibrant colors and swirling castor strokes to convey his feelings and his state of listen. Hence, although they were often exhibited together, Post-Impressionist artists were not in understanding concerning a cohesive movement, and younger painters in the early 20th century worked in geographically disparate regions and in various stylistic categories, such every bit Fauvism and Cubism.

A Sunday Afternoon on the Island of La Grande Jatte by Georges-Pierre Seurat, 1884–86: Georges Seurat's works are Pointillist, using systematic dots of color to create form and structure.

Cézanne

Cézanne was a French, Post-Impressionist painter whose work highlights the transition from the 19th century to the early 20th century.

Learning Objectives

Discuss the evolution and influence of Cézanne's style of painting during the Post-Impressionist movement

Cardinal Takeaways

Key Points

• Cézanne'southward early piece of work is oftentimes concerned with the figure in the landscape, often depicting groups of large, heavy figures. In Cézanne's mature piece of work in that location is a solidified, almost architectural style of painting. To this end, he structurally ordered his perceptions into uncomplicated forms and color planes.
• This exploration rendered slightly dissimilar, nonetheless simultaneous, visual perceptions of the aforementioned phenomena to provide the viewer with a dissimilar aesthetic experience.
• Cezanne 's "Dark Period" from 1861–1870 contains works that are characterized by dark colors and the heavy apply of black.
• The lightness of his Impressionist works contrast sharply with the dramatic resignation institute in his final menses of productivity from 1898–1905. This resignation informs several still life paintings that depict skulls as their subject.

Cardinal Terms

• Cezanne: Paul Cézanne (1839–1906) was a French artist and Post-Impressionist painter whose piece of work laid the foundations of the transition from the 19th century conception of artistic endeavor to a new and radically different world of art in the 20th century.
• Impressionism: A 19th-century art move that originated with a group of Paris-based artists. Impressionist painting characteristics include relatively small, thin, nevertheless visible brush strokes, open limerick, emphasis on authentic depiction of lite in its changing qualities (often accentuating the effects of the passage of time), common, ordinary subject matter, inclusion of movement equally a crucial chemical element of man perception and experience, and unusual visual angles.
• Post-Impressionism: (Fine art) a genre of painting that rejected the naturalism of impressionism, using color and class in more expressive manners.

Introduction

Paul Cézanne (1839–1906) was a French artist and Post- Impressionism painter whose work began the transition from the 19th century conception of creative endeavor to a new and radically different world of fine art. Cézanne's often repetitive brushstrokes are highly feature and conspicuously recognizable. He used planes of colour and small-scale brushstrokes to course complex fields and convey intense written report of his subjects.

Early on Work

Cézanne'south early work is often concerned with the figure in the mural, frequently depicting groups of large, heavy figures. Later, he became more interested in working from direct observation, gradually developing a low-cal, airy painting mode. Nevertheless, in Cézanne's mature work, there is development of a solidified, nearly architectural manner of painting. To this end, he structurally ordered whatever he perceived into uncomplicated forms and color planes.

Cézanne was interested in the simplification of naturally occurring forms to their geometric essentials, wanting to "treat nature past the cylinder, the sphere, the cone." For example, a tree trunk may exist conceived of every bit a cylinder and an apple tree or orange as a sphere. Additionally, his desire to capture the truth of perception led him to explore binocular graphic vision. This exploration rendered slightly different, all the same simultaneous, visual perceptions of the aforementioned phenomena, providing the viewer with a different artful feel of depth.

Dark Period

Cezanne'due south "Night Period" in 1861–1870 was comprised of works that are characterized by night colors and the heavy use of black. They differ sharply from his earlier watercolors and sketches at the École Spéciale de dessin at Aix-en-Provence in 1859. In 1866–67, inspired by the example of Courbet, Cézanne painted a series of paintings with a palette knife. He later on called these works, mostly portraits, une couillarde (a coarse word for ostentatious virility). All in all, works of the Dark Period include several erotic or violent subjects.

The Black Marble Clock, 1869–1871: The Black Marble Clock, with its heavy utilise of black and nighttime colors, exemplifies the type of work Cézanne created during his "Dark Period" in his early on career.

After the start of the Franco-Prussian War in July 1870, Cézanne'due south canvases grew much brighter and more reflective of Impressionism. Cézanne moved between Paris and Provence, exhibiting in the first (1874) and third Impressionist shows (1877). In 1875, he attracted the attending of collector Victor Chocquet, whose commissions provided some financial relief. On the whole, however, Cézanne'south exhibited paintings attracted hilarity, outrage, and sarcasm.

Jas de Bouffan, 1876.: Under Pissarro'due south influence, Cezanne's works became much brighter and Impressionist in style.

The lightness of his Impressionist works contrast sharply with his dramatic resignation in his final menses of productivity from 1898–1905. This resignation informs several still life paintings that describe skulls as their subject.

Pyramid of Skulls, c. 1901: The dramatic resignation to death informs several notwithstanding life paintings Cézanne made between 1898 and 1905.

Cézanne'due south explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Gris, and others to experiment with ever more circuitous multiple views of the same subject area. Cézanne thus sparked one of the most revolutionary areas of creative enquiry of the 20th century, one which was to affect the evolution of modernistic fine art. A prize for special accomplishment in the arts was created in his memory. The "Cézanne medal" is granted by the French city of Aix en Provence.

Vorticism

Vorticism, an offshoot of Cubism, was a brief modernist movement in British art and poesy of the early 20th century.

Learning Objectives

Describe the short-lived Vorticism move in Britain

Key Takeaways

Fundamental Points

• The motility of Vorticism rejected the typical landscapes and nudes popular at the fourth dimension in favor of a geometric manner tending towards abstraction.
• The motility was appear in 1914 in its first upshot of Blast, Vorticism'due south official literary mag, which declared the movement's manifesto.
• Vorticism diverged from Cubism and Futurism. It tried to capture movement in an image. In Vorticist paintings, modern life is shown as an array of assuming lines and harsh colors cartoon the viewer 's eye to the center of the sail.

Cardinal Terms

• Industrial Revolution: The major technological, socioeconomic, and cultural change in the tardily 18th and early 19th century when the economic system shifted from one based on transmission labor to one dominated by machine manufacture.
• Vorticism: An offshoot of Cubism; a curt-lived modernist move in British art and poetry of the early on 20th century, based in London merely international in make-upward and ambition.

Vorticism was a cursory modernist movement in British art and poetry during the early 20th century. It was based in London but was international in make-upwards and appetite. As a move, Vorticism rejected the typical landscapes and nudes of the fourth dimension in favor of a geometric style tending towards abstraction.

The Vorticism group began with the Insubordinate Art Centre established past Wyndham Lewis equally a pause with other traditional schools, and had its intellectual and creative roots in the Bloomsbury Group, Cubism, and Futurism. Lewis saw Vorticism as an independent alternative to Cubism, Futurism, and Expressionism. Though the style grew out of Cubism, information technology is more closely related to Futurism in its embrace of dynamism, the automobile age, and all things modernistic. Even so, Vorticism diverged from both Cubism and Futurism in the way it tried to capture movement in an image. In Vorticist paintings, modern life is shown as an array of bold lines and harsh colors drawing the viewer's eye to the center of the sail.

The Lake: Lawrence Atkinson, i of the signatories of BLAST, painted The Lake (pen and watercolor on newspaper) circa 1915–20 inspired by Vorticism.

The Vorticists published two issues of the literary magazine Boom, edited by Lewis, in June 1914 and July 1915. Information technology contained work by Ezra Pound, T. Southward. Eliot, and by the Vorticists themselves. Its typographical adventurousness was cited by El Lissitzky equally one of the major forerunners of the revolution in graphic pattern in the 1920s and 1930s.

Blast Cover: The cover of the 1915 BLAST demonstrates the Vorticist Movement's use of geometric style and sharp angles in impress and blueprint.

Paintings and sculpture shown at the Rebel Art Centre in 1914, before the germination of the Vorticist Group, were considered "experimental work" by Lewis, Wadsworth, Shakespear and others, who used athwart simplification and abstraction in their paintings. This piece of work was contemporary with and comparable to abstraction by continental European artists such as Kandinski, František Kupka, and the Russian Rayist Group. The Vorticists held merely one official exhibition in 1915 at the Doré Gallery in London. Subsequently this, the movement broke upwardly, largely due to the onset of Earth War I and public apathy towards their work.

Symbolism

Symbolism was a late 19thcentury fine art motion of French, Russian, and Belgian origin.

Learning Objectives

Discuss Symbolism'due south utilize of artwork as a search for absolute truths

Key Takeaways

Fundamental Points

• Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles that were attempts to correspond reality in its gritty particularity, and to elevate the humble and the ordinary over the platonic. Symbolism, on the other hand, favored spirituality, the imagination, and dreams.
• Symbolists believed that art should stand for absolute truths that could only be described indirectly. Thus, they wrote and painted in a very metaphorical and suggestive manner, endowing detail images or objects with symbolic meaning.
• Symbolist artists stressed the ability of personal subjectivity, emotions and feelings rather than any reliance on realism to suggest larger truths.
• Symbolism expressed scenes from nature, homo activities, and all other real world phenomena that are non depicted for their own sake, but rather as perceptible surfaces created to represent their esoteric affinities with primordial ideals.

Key Terms

• symbolism: Symbolism was a late 19th century art movement of French, Russian and Belgian origin in poetry and other arts. Symbolism is the practice of representing things by symbols, or of investing things with a symbolic meaning or character. A symbol is an object, action, or idea that represents something other than itself, often of a more abstruse nature. Symbolism creates quality aspects that make literature like verse and novels more than meaningful.

A Move Toward Meaning

Symbolism was a late 19th century art move of French, Russian, and Belgian origin that manifested in poetry and other arts. The term "symbolism" is derived from the word "symbol" which comes from the Latin symbolum, a symbol of organized religion, and symbolus, a sign of recognition. Symbolism was largely a reaction against naturalism and realism, anti-idealistic styles that were attempts to represent reality in its gritty particularity, and to elevate the humble and the ordinary over the ideal. Symbolism, on the other manus, favored spirituality, the imagination, dreams, emotions, and the personal subjectivity of the artist every bit a tool to illustrate larger truths. Thematically, Symbolist artists tended to focus on themes surrounding the occult, decadence, melancholy, and expiry.

The Suicide of Dorothy Hale by Frida Kahlo, 1939: While this painting was a commission, it all the same demonstrates Kahlo'south signature use of symbolism to express her subjective truth.

A Search for Subconscious Truth

Symbolists believed that fine art should represent absolute truths that could merely be described indirectly. Thus, they wrote and painted in a very metaphorical and suggestive way, endowing particular images or objects with symbolic significant. Jean Moréas published The Symbolist Manifesto ("Le Symbolisme") in Le Figaro on xviii September 1886 (come across 1886 in poetry). Moréas announced that symbolism was hostile to "obviously meanings, declamations, false sentimentality, and affair-of-fact description," and that its goal was to "clothe the Ideal in a perceptible course " whose "goal was not in itself, but whose sole purpose was to express the Platonic." In other words, symbolism expressed scenes from nature, human activities, and all other real globe phenomena not for their own sake, but equally perceptible surfaces created to represent their esoteric affinities with primordial ideals.

La mort du fossoyeur: La mort du fossoyeur ("The death of the gravedigger") past Carlos Schwabe is a visual compendium of symbolist motifs. Death and angels, pristine snowfall, and the dramatic poses of the characters all limited symbolist longings for transfiguration "anywhere, out of the world."

The symbolist style has oftentimes been confused with decadence and, past the late 1880s, the terms "symbolism" and "decadence" were understood to exist near synonymous. Though the aesthetics of the styles tin exist considered similar in some means, the two remain distinct. The symbolists emphasized dreams, ethics, and fantastical discipline matter, while the Decadents cultivated précieux, ornamented, or hermetic styles, and morbid field of study matters. The symbolist painters were an important influence on expressionism and surrealism in painting, 2 movements that descend directly from symbolism proper.

The harlequins, paupers, and clowns of Pablo Picasso 'due south "Blueish Catamenia" show the influence of symbolism, and especially of Puvis de Chavannes. In Kingdom of belgium, symbolism became then popular that information technology came to be idea of as a national style: the static strangeness of painters like René Magritte can be considered every bit a direct continuation of symbolism. The piece of work of some symbolist visual artists, such equally Jan Toorop, directly afflicted the curvilinear forms of art nouveau.

The Caress: Belgian symbolist Fernand Khnopff's The Caress

Fine art Nouveau

Art Nouveau was an international way of art and architecture that was most popular from 1890–1910.

Learning Objectives

Describe the origins and characteristics of Art Noveau

Key Takeaways

Key Points

• Art Nouveau was an international fashion of art and compages that was most popular from 1890–1910. The proper noun "Art Nouveau" is French for "new fine art." The origins of Art Nouveau are establish in the resistance of the artist William Morris to the cluttered compositions and the revival tendencies of the 19th century.
• A reaction to academic art of the 19th century, Art Nouveau was inspired by natural forms and structures, exemplified by curved lines, asymmetry, natural motifs, and intricate embellishment.
• Fine art Nouveau is considered a "total style," meaning that information technology pervaded many forms of art and design such every bit architecture, interior design, the decorative arts, and the visual arts. According to the philosophy of the way, art should strive to be a mode of life.

Key Terms

• Art Nouveau: Art Nouveau is an international philosophy and style of art, architecture, and applied art—especially the decorative arts—that was about popular during 1890–1910.
• japonisme: The influence of Japanese art and civilization on European fine art.
• syncopated: A variety of music rhythms that come unexpected.

Background

Art Nouveau is an international manner of art and architecture that was most popular from 1890–1910 Advertising. The name Art Nouveau is French for "new art." A reaction to bookish art of the 19th century, it was inspired by natural forms and structures, not but in flowers and plants, just also in curved lines. It is also considered a philosophy of piece of furniture design. Art Nouveau furniture is structured according to the whole building and made office of ordinary life. Art Nouveau was most popular in Europe, but its influence was global. It is a very varied style with frequent localized tendencies.

Art Nouveau: Barcelona: The Casa Batlló, already built in 1877, was remodelled in the Barcelona manifestation of Art Nouveau, modernisme, past Antoni Gaudí and Josep Maria Jujol during 1904–1906.

Earlier the term Art Nouveau became mutual in France, le fashion moderne ("the modernistic style") was the more frequent designation. Maison de l'Fine art Nouveau was the name of the gallery initiated during 1895 past the High german art dealer Samuel Bing in Paris that featured exclusively modernistic fine art. The fame of his gallery was increased at the 1900 Exposition Universelle, where he presented coordinated installations of modern furniture, tapestries and objets d'art. These decorative displays became then strongly associated with the style, that the proper noun of his gallery later on provided a ordinarily used term for the entire manner. Also, Jugend (Youth) was the illustrated weekly magazine of art and lifestyle of Munich, founded in 1896 by Georg Hirth. Jugend was instrumental in promoting the Fine art Nouveau style in Germany. As a consequence, Jungenstil, or Youth Style, became the German give-and-take for the style.

Origins of Fine art Nouveau

The origins of Art Nouveau are found in the resistance of the artist William Morris to the cluttered compositions and revivalist tendencies of the 19th century. His theories helped initiate the Art Nouveau move. About the same time, the flat perspective and strong colors of Japanese forest block prints, especially those of Katsushika Hokusai, had a strong effect on the formulation of Fine art Nouveau. The Japonisme that was pop in Europe during the 1880s and 1890s was specially influential on many artists with its organic forms and references to the natural world.

Although Fine art Nouveau caused distinctly localized tendencies equally its geographic spread increased, some general characteristics are indicative of the form. A clarification published in Pan magazine of Hermann Obrist's wall hanging Cyclamen (1894), described information technology every bit "sudden fierce curves generated by the crack of a whip," which became well known during the early spread of Fine art Nouveau. Later on, the term "whiplash" is frequently applied to the characteristic curves employed by Fine art Nouveau artists. Such decorative "whiplash" motifs, formed by dynamic, undulating, and flowing lines in a syncopated rhythm, are found throughout the architecture, painting, sculpture, and other forms of Fine art Nouveau design.

Art Nouveau as a Total Style

Fine art Nouveau is now considered a "full style," meaning that information technology can be seen in compages, interior design, decorative arts (including jewelry piece of furniture, textiles, household silver, and other utensils and lighting), and the visual arts. According to the philosophy of the style, fine art should strive to be a way of life, and thereby encompass all parts. For many Europeans, it was possible to alive in an Art Nouveau-inspired business firm with Art Nouveau piece of furniture, silverware, crockery, jewelry, cigarette cases, etc. Artists thus desired to combine the fine arts and applied arts, even for utilitarian objects.

Desk and Chair past Hector Guimard, 1909–12: The curving, serpentine woodwork seen on this desk-bound is characteristic of Art Nouveau, which often drew stylistic influence from the natural world.

Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the 19th century. Art Nouveau designers selected and "modernized" some of the more abstract elements of Rococo style, such as flame and shell textures. They also advocated the apply of very stylized organic forms every bit a source of inspiration, expanding their natural repertoire to use seaweed, grasses, and insects.

The doorway at place Etienne Pernet, 24 (Paris 15e), 1905 by Alfred Wagon, architect.: The asymmetrical and curvilinear influence of the natural world is again seen in the ironwork of this doorway at Place Etienne Pernet in Paris.

In Art Nouveau painting, two-dimensional pieces were fatigued and printed in popular forms such equally advertisements, posters, labels, and magazines. Japanese wood-block prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, too inspired Art Nouveau painting. Some line and curve patterns became graphic clichés that were afterwards constitute in works of artists from many parts of the world.

The Peacock Brim past Aubrey Beardsley, 1893: Aubrey Beardsley is an artist known for his posters and oftentimes associated with Fine art Nouveau due to his use of elaborate decorative pattern and sweeping curvilinear line.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-rise-of-modernism/

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