Some of the Trends in Art During the Late 19th Century

Mod Fine art
Definition, Characteristics, History, Movements.
Chief A-Z INDEX

Important Art Works

Movement In Squares (1961).
Past Bridget Riley, Op-Art Movement.

Eiffel Tower, Champ de Mars, Paris.
An icon of modernist architecture
designed by Gustave Eiffel.

Weeping Adult female (1937)
By Picasso, now regarded as the
greatest of 20th Century Painters.

What is Modernistic Fine art? (Definition)

There is no precise definition of the term "Modern Art": it remains an elastic term, which can accomodate a diverseness of meanings. This is not besides surprising, since we are constantly moving forward in time, and what is considered "modern painting" or "modern sculpture" today, may non exist seen as modern in fifty years time. Still, it is traditional to say that "Modern Art" means works produced during the estimate flow 1870-1970. This "Mod era" followed a long menses of domination past Renaissance-inspired academic art, promoted by the network of European Academies of Fine Art. And is itself followed by "Contemporary Art" (1970 onwards), the more avant-garde of which is also called "Postmodern Art". This chronology accords with the view of many art critics and institutions, but not all. Both the Tate Modernistic in London, and the Musee National d'Art Moderne at the Pompidou Centre in Paris, for instance, accept 1900 as the starting indicate for "Modern Art". Also, neither they, nor the Museum of Modern Art in New York, make whatsoever stardom betwixt "modernist" and "postmodernist" works: instead, they encounter both as phases of "Modern Fine art".

Incidentally, when trying to empathize the history of art it's important to recognize that art does not modify overnight, but rather reflects wider (and slower) changes taking place in society. It also reflects the outlook of the artist. Thus, for instance, a work of art produced as early as 1958 might exist incomparably "postmodernist" (if the artist has a very avant-garde outlook - a practiced example is Yves Klein's Nouveau Realisme); while another work, created past a bourgeois artist in 1980, might be seen equally a throw-back to the time of "Modern Fine art" rather than an instance of "Contemporary Art". In fact, information technology'due south probably true to say that several dissimilar strands of art - significant several sets of aesthetics, some hypermodern, some old-fashioned - may co-be at any one time. Also, information technology'southward worth remembering that many of these terms (like "Modernistic Art") are only invented after the event, from the vantage point of retrospect.

Annotation: The 1960s is generally seen equally the decade when artistic values gradually changed, from "modernist" to "postmodernist". This means that for a period of time both sets of values co-existed with each other.

For important dates, encounter: History of Art Timeline ( 2.5 million BCE on)

What were the Origins of Modern Art?

To sympathize how "modern art" began, a little historical background is useful. The 19th century was a time of significant and rapidly increasing change. As a result of the Industrial Revolution (c.1760-1860) enormous changes in manufacturing, transport, and technology began to affect how people lived, worked, and travelled, throughout Europe and America. Towns and cities swelled and prospered as people left the land to populate urban factories. These manufacture-inspired social changes led to greater prosperity but likewise cramped and crowded living conditions for most workers. In turn, this led to: more need for urban architecture; more than need for applied art and design - come across, for example the Bauhaus School - and the emergence of a new course of wealthy entrepreneurs who became art collectors and patrons. Many of the world'south all-time art museums were founded by these 19th century tycoons.

In addition, two other developments had a direct effect on fine art of the period. Showtime, in 1841, the American painter John Rand (1801–1873) invented the collapsible tin paint tube. Second, major advances were fabricated in photography, assuasive artists to photograph scenes which could then exist painted in the studio at a later date. Both these developments would greatly benefit a new way of painting known, disparagingly, as "Impressionism", which would have a radical outcome on how artists painted the earth around them, and would in the procedure go the showtime major school of modernist art.

As well equally affecting how artists created art, 19th century social changes also inspired artists to explore new themes. Instead of slavishly following the Hierarchy of the Genres and being content with bookish subjects involving faith and Greek mythology, interspersed with portraits and 'meaningful' landscapes - all subjects that were designed to drag and instruct the spectator - artists began to make art well-nigh people, places, or ideas that interested them. The cities - with their new railway stations and new slums - were obvious choices and triggered a new course of genre painting and urban landscape. Other subjects were the suburban villages and holiday spots served by the new rails networks, which would inspire new forms of landscape painting by Monet, Matisse and others. The genre of history painting also changed, thanks to Benjamin West (1738-1820) who painted The Death of General Wolfe (1770, National Gallery of Fine art, Ottowa), the first 'contemporary' history painting, and Goya (1746-1828) whose Third of May, 1808 (1814, Prado, Madrid) introduced a footing-breaking, non-heroic idiom.

The 19th century also witnessed a number of philosophical developments which would take a significant outcome on fine art. The growth of political thought, for example, led Courbet and others to promote a socially witting class of Realist painting - run across also Realism to Impressionism). Also, the publication of The Interpretation of Dreams (1899) by Sigmund Freud, popularized the notion of the "subconscious mind", causing artists to explore Symbolism and later Surrealism. The new self-consciousness which Freud promoted, led to (or at least coincided with) the emergence of High german Expressionism, as artists turned to expressing their subjective feelings and experiences.

When Did Modernistic Art Begin?

The appointment most ordinarily cited as marking the birth of "modern art" is 1863 - the year that Edouard Manet (1832-83) exhibited his shocking and irreverent painting Le Dejeuner sur l'herbe in the Salon des Refuses in Paris. Despite Manet's respect for the French Academy, and the fact it was modelled on a Renaissance work by Raphael, it was considered to be one of the almost scandalous pictures of the flow.

But this was merely a symbol of wider changes that were taking place in various types of art, both in France and elsewhere in Europe. A new generation of "Modern Artists" were fed up with following the traditional academic art forms of the 18th and early 19th century, and were starting to create a range of "Modern Paintings" based on new themes, new materials, and assuming new methods. Sculpture and architecture were also affected - and in time their changes would be fifty-fifty more revolutionary - but fine art painting proved to be the outset major battleground between the conservatives and the new "Moderns".

What is the Main Characteristic of Modern Fine art?

What we call "Mod Art" lasted for an entire century and involved dozens of different fine art movements, embracing almost everything from pure brainchild to hyperrealism; from anti-art schools similar Dada and Fluxus to classical painting and sculpture; from Fine art Nouveau to Bauhaus and Popular Art. So great was the diverseness that it is difficult to think of whatsoever unifying characteristic which defines the era. But if there is anything that separates modern artists from both the before traditionalists and later postmodernists, information technology is their belief that fine art mattered. To them, art had real value. By contrast, their precedessors simply assumed it had value. After all they had lived in an era governed by Christian value systems and had simply "followed the rules." And those who came after the Modern menstruation (1970 onwards), the so-called "postmodernists", largely rejected the idea that art (or life) has any intrinsic value.

In What Ways was Modern Fine art Different? (Characteristics)

Although there is no single defining feature of "Modern Art", it was noted for a number of important characteristics, as follows:

(1) New Types of Art

Mod artists were the beginning to develop collage art, assorted forms of assemblage, a multifariousness of kinetic art (inc mobiles), several genres of photography, animation (drawing plus photography) land art or digging, and operation art.

(ii) Employ of New Materials

Modern painters affixed objects to their canvases, such as fragments of newspaper and other items. Sculptors used "found objects", like the "readymades" of Marcel Duchamp, from which they created works of Junk art. Assemblages were created out of the nigh ordinary everyday items, like cars, clocks, suitcases, wooden boxes and other items.

(3) Expressive Use of Colour

Movements of modern art similar Fauvism, Expressionism and Color Field painting were the offset to exploit color in a major manner.

(4) New Techniques

Chromolithography was invented by the poster artist Jules Cheret, automatic drawing was developed past surrealist painters, as was Frottage and Decalcomania. Gesturalist painters invented Activeness Painting. Pop artists introduced "Benday dots", and silkscreen press into fine fine art. Other movements and schools of modern fine art which introduced new painting techniques, included: Neo-Impressionism, the Macchiaioli, Synthetism, Cloisonnism, Gesturalism, Tachisme, Kinetic Art, Neo-Dada and Op-Fine art.

How Did Modern Fine art Develop Between 1870 and 1970?

1870-1900

Although in some ways the last tertiary of the 19th century was dominated by the new Impressionist style of painting, in reality there were several pioneering strands of modern fine art, each with its own particular focus. They included: Impressionism (accuracy in capturing effects of sunlight); Realism (content/theme); Academic Fine art (classical-style true-life pictures); Romanticism (mood); Symbolism (enigmatic iconography); lithographic poster art (bold motifs and colours). The final decade saw a number of revolts against the Academies and their 'Salons', in the class of the Secession motion, while the late-1890s witnessed the turn down of "nature-based art", like Impressionism, which would before long lead to a rise in more serious "message-based" art.

1900-14

In many ways this was the most exciting menstruation of modern art, when everything was yet possible and when the "machine" was still viewed exclusively as a friend of man. Artists in Paris produced a cord of new styles, including Fauvism, Cubism and Orphism, while German artists launched their own school of expressionist painting. All these progressive movements rejected traditionalist attitudes to art and sought to champion their own particular agenda of modernism. Thus Cubism wanted to prioritize the formal attributes of painting, while Futurism preferred to emphasize the possibilities of the motorcar, and expressionism championed private perception.

1914-24

The carnage and devastation of The Peachy State of war changed things utterly. By 1916, the Dada move was launched, filled with a nihilistic urge to subvert the value system which had caused Verdun and the Somme. Suddenly representational art seemed obscene. No imagery could compete with photographs of the war expressionless. Already artists had been turning more and more to not-objective fine art every bit a means of expression. Abstract art movements of the time included Cubism (1908-40), Vorticism (1914-15), Suprematism (1913-18), Constructivism (1914-32), De Stijl (1917-31), Neo-Plasticism (1918-26), Elementarism (1924-31), the Bauhaus (1919-33) and the later St Ives School. Even the few figurative movements were distinctly edgy, such as Metaphysical Painting (c.1914-20). Just compare the early 20th century Classical Revival in modern fine art and Neoclassical Figure Paintings by Picasso (1906-30).

1924-forty

The Inter-war years continued to be troubled past political and economical troubles. Abstruse painting and sculpture connected to dominate, as true-to-life representational fine art remained very unfashionable. Even the realist fly of the Surrealism movement - the biggest movement of the period - could manage no more than a fantasy manner of reality. Meantime, a more sinister reality was emerging on the Continent, in the grade of Nazi art and Soviet agit-prop. But Art Deco, a rather sleek pattern style aimed at architecture and applied art, expressed any confidence in the time to come.

1940-sixty

The fine art world was transformed past the catastrophe of World War Two. To begin with, its centre of gravity moved from Paris to New York, where information technology has remained ever since. Most all future world record prices would exist achieved in the New York sales rooms of Christie's and Sotheby's. Meantime, the unspeakable phenomenon of Auschwitz had undermined the value of all realist art, except for Holocaust art of those affected. As a result of all this, the next major international movement - Abstract Expressionism - was created past American artists of the New York Schoolhouse. Indeed, for the next 20 years, brainchild would dominate, as new movements rolled off the line. They included: Art Informel, Action-Painting, Gesturalism, Tachisme, Colour Field Painting, Lyrical Brainchild, Difficult Edge Painting, and COBRA, a group all-time known for its kid-like imagery, and expressive brushstrokes. During the 1950s other tendencies emerged, of a more avant-garde kind, such as Kinetic art, Nouveau Realisme and Neo-Dada, all of which demonstrated a growing impatience with the strait-laced arts industry.

1960s

The explosion of popular music and television was reflected in the Pop-Fine art movement, whose images of Hollywood celebrities, and iconography of popular culture, celebrated the success of America'south mass consumerism. It besides had a cool 'hip' feel and helped to dispel some of the early on 60s gloom associated with the Cuban Crunch of 1962, which in Europe had fuelled the success of the Fluxus motility led past George Maciunas, Joseph Beuys, Nam June Paik and Wolf Vostell. Down-to-earth Pop-art was also a welcome counterpoint to the more erudite Abstract Expressionism, which was already started to fade. Just the 1960s besides saw the rise of another loftier-brow movement known as Minimalism, a class of painting and sculpture purged of all external references or gestures - unlike the emotion-charged idiom of Abstract Expressionism.

Mod Photographic Fine art

1 of the most of import and influential new media which came to prominence during the "Modernistic Era" is photography. Iv genres in particular accept become established. They include: Portrait Photography, a genre that has largely replaced painted portraits; Pictorialism (fl.1885-1915) a type of photographic camera fine art in which the lensman manipulates a regular photo in order to create an "artistic" image; Fashion Photography (1880-present) a type of photography devoted to the promotion of wear, shoes, perfume and other branded goods; Documentary Photography (1860-present), a type of sharp-focus camerawork that captures a moment of reality, so as to present a message about what is happening in the world; and Street Photography (1900-nowadays), the fine art of capturing chance interactions of human action in urban areas. Practiced past many of the world'due south greatest photographers, these genres accept fabricated a major contribution to modernistic art of the 20th century.

Mod Compages

Modernism in architecture is a more convoluted matter. The word "modernism" in building pattern was first used in America during the 1880s to depict skyscrapers designed past the Chicago School of Architecture (1880-1910), such as The Montauk Building (1882-83) designed by Burnham and Root; the Home Insurance Building (1884) designed by William Le Baron Jenney; and the Marshall Field Warehouse (1885-seven) designed by Henry Hobson Richardson. In the 20th century, a new type of blueprint emerged, known as the International Style of Modern Architecture (c.1920-70). Beginning in Germany, Holland and France, in the hands of Le Corbusier (1887-1965), Walter Gropius (1883-1969) and others, it spread to America where it became the dominant idiom for commercial skyscrapers, thanks to the efforts of Mies van der Rohe (1886-1969), formerly director of the Bauhaus School. Later, the middle of mod building design was established permanently in the United States, mainly due to the appearance of supertall skyscraper architecture, which was then exported effectually the globe.

When Did Modern Art Terminate? What Replaced it?

Modernism didn't just end, it was gradually overtaken by events during the late 1960s - a catamenia which coincided with the ascension of mass popular-culture and also with the rising of anti-authoritarian challenges (in social and political areas also as the arts) to the existing orthodoxies. A fundamental year was 1968, which witnessed the Tet Offensive, the assassinations of Martin Luther Rex and Bobby Kennedy, and street demonstrations throughout the capitals of Europe. As Modernism began to look increasingly old-fashioned, it gave way to what is known as "Contemporary Art" - meaning "art of the present era". The term "Contemporary Art" is neutral as to the progressiveness of the art in question, and and so some other phrase - "postmodernism" - is often used to denote recent avant-garde art. Schools of "postmodernist art" advocate a new set of aesthetics characterized by a greater focus on medium and fashion. For example, they emphasize way over substance (eg. not 'what' but 'how'; non 'art for art'south sake', but 'style for manner's sake'), and place much greater importance on artist-communication with the audience.

What are the Well-nigh Of import Movements of Modernistic Art?

The nigh influential movements of "modern art" are (1) Impressionism; (2) Fauvism; (3) Cubism; (iv) Futurism; (5) Expressionism; (6) Dada; (vii) Surrealism; (viii) Abstract Expressionism; and (9) Pop Art.

(1) Impressionism (1870s, 1880s)

Exemplified by the landscape paintings of Claude Monet (1840-1926), Impressionism focused on the most incommunicable task of capturing fleeting moments of light and color. Introduced not-naturalist colour schemes, and loose - often highly textured - brushwork. Close-upwards many Impressionist paintings were unrecognizable. Highly unpopular with the general public and the arts regime, although highly rated past other modern artists, dealers and collectors. Eventually became the earth's most famous painting move. See: Characteristics of Impressionist Painting (1870-1910). The main contribution of Impressionism to "modern art" was to legitimize the use of non-naturalist colours, thus paving the way for the wholly not-naturalist abstract art of the 20th century.

(2) Fauvism (1905-seven)

Brusque-lived, dramatic and highly influential, Led by Henri Matisse (1869-1954), Fauvism was 'the' fashionable style during the mid-1900s in Paris. The new manner was launched at the Salon d'Automne, and became instantly famous for its vivid, garish, non-naturalist colours that made Impressionism announced almost monochrome! A key forerunner of expressionism. See: History of Expressionist Painting (1880-1930). The chief contribution of Fauvism to "modernistic art" was to demonstrate the contained ability of colour. This highly subjective arroyo to art was in contrast to the classical content-oriented outlook of the academies.

(3) Cubism (fl.1908-xiv)

An austere and challenging style of painting, Cubism introduced a compositional system of flat splintered planes as an alternative to Renaissance-inspired linear perspective and rounded volumes. Developed by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in ii variants - Analytical Cubism and later on Synthetic Cubism - information technology influenced abstract art for the adjacent 50 years, although its popular appeal has been limited. The main contribution of Cubism to "mod art" was to offer a whole new culling to conventional perspective, based on the inescapable fact of the flat flick plane.

(4) Futurism (fl.1909-14)

Founded by Filippo Tommaso Marinetti (1876-1944), Futurist art glorified speed, technology, the automobile, the plane and scientific accomplishment. Although very influential, it borrowed heavily from Neo-Impressionism and Italian Divisionism, as well as Cubism, especially its fragmented forms and multiple viewpoints. The chief contribution of Futurism to "modern fine art" was to innovate motion into the canvas, and to link beauty with scientific advancement.

(5) Expressionism (from 1905)

Although anticipated by artists similar JMW Turner (Interior at Petworth, 1837), Van Gogh (Wheat Field with Crows, 1890) and Paul Gauguin (Anna The Javanese, 1893), expressionism was fabricated famous by 2 groups in pre-war Federal republic of germany: Die Brucke (Dresden/Berlin) and Der Blaue Reiter (Munich), led by Ernst Ludwig Kirchner (1880-1938) and Wassily Kandinsky (1866-1944) respectively. In sculpture, the forms of the Duisburg-built-in creative person Wilhelm Lehmbruck (1881-1919) were (and even so are) sublime. The chief contribution of expressionism to "modern art" was to popularize the thought of subjectivity in painting and sculpture, and to testify that representational art may legitimately include subjective distortion.

(6) Dada (1916-24)

The showtime anti-art movement, Dada was a revolt against the system which had allowed the carnage of The First World State of war (1914-eighteen). It rapidly became an unconventional trend whose aim was to subvert the arts establishment. Launched in neutral Switzerland in 1916, its leaders were in their early twenties, and about had "opted out", avoiding conscription in the shelter of neutral cities such as New York, Zurich and Barcelona. Founders included the sculptor Jean Arp (1887-1966) and the Romanian poet and demonic activist Tristan Tzara (1896-1963). The main contribution of Dada was to milk shake upward the arts world and to widen the concept of "mod art", past embracing totally new types of creativity (functioning art and readymades) every bit well as new materials (junk art) and themes. Its seditious sense of humor endured in the Surrealist motility.

(7) Surrealism (from 1924)

Founded in Paris past writer Andre Breton (1896-1966), Surrealism was 'the' fashionable fine art motility of the inter-war years, although the style is nevertheless seen today. Composed of abstract and figurative wings, it evolved out of the nihilistic Dada move, most of whose members metamorphosed into surrealists, merely unlike Dada information technology was neither anti-art nor political. Surrealist painters used various methods - including dreams, hallucinations, automatic or random image generation - to circumvent rational thought processes in creating works of art. (For more, delight see Automatism in Fine art.) The primary contribution of Surrealism to "mod fine art" was to generate a refreshingly new set of images. Whether these images were uniquely non-rational is doubtful. Only Surrealist art is definitely fun!

(viii) Abstract Expressionism (1948-threescore)

A broad style of abstract painting, adult in New York just subsequently World War II, hence information technology is also called the New York Schoolhouse. Spearheaded past American artists - themselves strongly influenced by European expatriates - it consisted of two principal styles: a highly animated form of gestural painting, popularized by Jackson Pollock (1912-56), and a much more passive mood-oriented style known as Colour Field painting, championed by Mark Rothko (1903-70). The main contribution of abstract expressionism to "modern fine art" was to popularize abstraction. In Pollock's instance, by inventing a new style known as "activity painting" - see photos by text; in Rothko's case, by demonstrating the emotional impact of large areas of colour.

(9) Popular Art (Tardily-1950s, 1960s)

A fashion of art whose images reflected the popular culture and mass consumerism of 1960s America. First emerging in New York and London during the belatedly 1950s, it became the dominant avant-garde style until the late 1960s. Using bold, easy to recognize imagery, and vibrant block colours, Pop artists similar Andy Warhol (1928-87) created an iconography based on photos of pop celebrities similar film-stars, advertisements, posters, consumer product packaging, and comic strips - material that helped to narrow the divide between the commercial arts and the fine arts. The main contribution of abstruse expressionism to "modern art" was to show that practiced art could exist low-brow, and could be made of anything. See: Andy Warhol's Pop Art (c.1959-73).

A-Z List of Mod Art Schools and Movements

Hither is a listing of movements and schools from the "Modernistic Era", arranged in alphabetical order.

• Abstruse Expressionist Painting (1947-65)
Umbrella term for post-state of war styles known collectively as the New York School.
• American Scene Painting (1925-45)
Realist style that exalted rural and small town America.
• Armory Bear witness of Modern Art (1913)
Ground-breaking exhibition of modern fine art held in America.
• Art Deco (1925-40)
Sleek pattern style associated with the new 'Machine Historic period'.
• Fine art Informel (fl.1950s)
European version of Abstract Expressionism.
• Art Nouveau (1890-1914)
Curvilinear design style. Besides called Jugendstil (Germany), Stile Freedom (Italy).
• Arte Nucleare (1951-threescore)
Political 'Fine art Informel-style' group that fabricated art for the nuclear era.
• Arts and Crafts Movement (1862-1914)
Anti-mass production move, championed artisan crafts.
• Ashcan Schoolhouse (1900-1915)
New York group whose paintings depicted scenes from poorer areas.
• Australian Impressionism (1886-1900)
Plein-air Heidelberg school named after its camps east of Melbourne.
• Biomorphic (Organic) Abstraction (1930s/40s)
Rounded forms based on those found in nature. See works by Henry Moore.
• Berlin Secession (1898)
Breakaway arts organization led past the creative person Max Liebermann.
• Camden Town Group (1911-13)
Group of English Impressionists led by Walter Sickert.
• Cloisonnism (1888-94)
Style of painting with patches of bright colour enclosed in thick black outlines.
• COBRA group (1948-1951)
European equivalent of the New York gesturalism or "activeness painting".
• Colour Field Painting (1948-68)
Manner of Abstract Expressionism practised by Rothko, Barnett Newman, Clyfford Still.
• Constructivism (1914-32)
Creative, design and architectural motion founded by Vladimir Tatlin.
• Cubism (fl.1908-14)
See above: Most Important Movements
• Dada (1916-24)
Encounter above: Virtually Of import Movements
• Der Blaue Reiter (1911-fourteen)
German Expressionist grouping based in Munich.
• De Stijl (1917-31)
Dutch avant-garde design group founded by Theo van Doesburg.
• Deutscher Werkbund (1907-33)
High german body established to ameliorate German industrial design and crafts.
• Dice Brucke (1905-13)
High german Expressionist group in Dresden, later Berlin.
• Divisionism (1884-1904)
The theory behind Neo-Impressionism, also known every bit Chromoluminarism.
• Existential Art (1940s, 1950s)
Way of painting and sculpture popularized past Robert Lapoujade and Giacometti.
• Expressionist Motion (1880s onwards)
Subjective, oft highly coloured and distorted mode of painting.
• Fauvism (1905-8)
See above: Most Of import Movements
• Fluxus (1960s)
Avant-garde movement related to Lettrism, Nouveau Realisme and Neo-Dada.
• Futurism (1909-14)
Run into above: Most Important Movements
• Hard Edge Painting (belatedly 1950s, 1960s)
Variant of Mail service-Painterly Abstraction, a reaction confronting gesturalism.
• Impressionism (fl. 1870-1880)
See above: Near Of import Movements
• Italian Divisionism (1890-1907)
Post-Impressionist style that drew heavily on Pointillism and Neo-Impressionism.
• Kitchen Sink Art (mid-1950s)
Schoolhouse of mundane realism.
• Macchiaioli (1855-fourscore)
Italian group named after their utilise of patches (macchia) of colour.
• Magic Realism (1920s)
Modern movement noted for its sharp-focus naturalism and offbeat themes.
• Metaphysical Painting (1914-twenty)
Forerunner of Surrealism developed past Giorgio de Chirico.
• Minimalism
Art without any historical, social or aesthetic references.
• Munich Secession (1892)
The first of the progressive art movements in Europe to break abroad from the conservative arts hierarchy.
• Nabis, Les (1890s)
Grouping of Parisian artists noted for their decorative art.
• Neo-Dada (1953-65)
Mode noted for its use of unorthodox materials, and anti-establishment ethic.
• Neo-Impressionism (1884-1904)
Group noted for its apply of pocket-sized dots of pure paint pigment.
• Neo-Plasticism (fl.1918-26)
Rigorous style of abstraction founded by Piet Mondrian.
• Neo-Romanticism (1935-55)
Trend in British painting to recreate visionary landscapes.
• New Objectivity (Die Neue Sachlichkeit) (1925-35)
Biting expressionist way which reflected the cynicism of 1920s Germany.
• Nouveau Realisme (1958-70)
Imaginative avant-garde precursor of postmodernism founded by Yves Klein.
• Op-Fine art (fl.1965-70)
Class of abstruse painting based on optical illusions.
• Orphism (1914-15)
Colourful idiom of abstract art invented by Robert Delaunay.
• Paris School (Ecole de Paris) (1890-1940)
Characterization for cluster of modern artists active in Paris, like Picasso, Modigliani.
• Pointillism (1884-1904)
Color theory backside Neo-Impressionism involving pocket-size dabs of pure paint.
• Pop Art (1955-seventy)
Run into in a higher place: Most Of import Movements
• Post-Impressionism (1880s/90s)
Loose term for a variety of painting styles developed in the wake of Impressionism.
• Post-Painterly Abstraction (1955-65)
Term invented by Clement Greenberg for post-gesturalism movements.
• Precisionism (fl.1920s)
Style of realist painting influenced by Futurism and Cubism.
• Realism (1850-1900)
Socially enlightened idiom championed past Courbet.
• Regionalism (Scene Painting) (fl.1930s)
Mode of painting which exalted pocket-size town America.
• Social Realism (1930-45)
American style which commented on the problems of the Depression Era.
• Socialist Realism (1928-80)
State controlled propagandist art associated chiefly with the Soviet Wedlock.
• St Ives School (1939-75)
Colony of abstract artists led by Ben Nicholson and Barbara Hepworth.
• Suprematism (1913-18)
Style of Russian abstract painting adult by Kasimir Malevich.
• Surrealism (1924 onwards)
See in a higher place: Virtually Important Movements
• Symbolism (1880s/90s)
Symbolists sought a reality from within their imagination and dreams.
• Synthetism (1888-94)
Noted for its flat areas of colour. Invented by Gauguin, Emile Bernard.
• Tachisme (1950s)
Blotchy form of gestural abstruse painting developed in France.
• Victorian Fine art (Britain) (1840-1900)
Arts and crafts from the reign of Queen Victoria. Run into: Victorian architecture.
• Vienna Secession (1897-1939)
Breakaway artist body who rejected the cit'southward conservative Academy of Arts.
• Vingt, Les (1883-93)
Belgian group of progressive artists similar James Ensor, Fernand Khnopff.
• Vorticism (1914-xv)
English Cubist-style painting developed by Percy Wyndham Lewis.

For more details, see: Modern Art Movements (c.1870-1970).

Who are the Greatest Mod Artists?

Modern Painters

Impressionists (flourished 1870-1880)
One of the most revolutionary movements of modern representational art, its leading members included: Claude Monet (1840-1926); Pierre-Auguste Renoir (1841-1919); Edgar Degas (1834-1917); Camille Pissarro (1830-1903); Alfred Sisley (1839-1899); Edouard Manet (1832-83); Berthe Morisot (1841-1895); John Singer Sargent (1856-1925). Run across Impressionist Painters.

Post-Impressionists (flourished 1880-1900)
Modern artists who separated from mainstream Impressionist painting included: James Abbott McNeill Whistler (1834–1903); Georges Seurat (1859-1891); Paul Cezanne (1839-1906); Van Gogh (1853-1890); Paul Gauguin (1848-1903); Henri Matisse (1869-1954). Run across: Post-Impressionist Painters.

Affiche Artists
Centered around La Belle Epoque in Paris, poster art was exemplified past the inventiveness (and inventions) of Jules Cheret (1836-1932), the wonderful "Cabaret Du Chat Noir" poster designed by Theophile Steinlen (1859-1923), the theatrical posters of Toulouse-Lautrec (1864-1901), and the art nouveau works of Alphonse Mucha (1860-1939). Subsequently Mucha left for America, the talented Leonetto Cappiello (1875-1942) arrived in Paris from Italy. Another important poster and set designer was Leon Bakst (1866-1924), who came to Paris with the Ballets Russes run by Sergei Diaghilev.

Primitives/Fantasy Artists
This loose category includes the naive Henri Rousseau (1844-1910) (Le Douanier), and the versatile symbolists Paul Klee (1879–1940) and Marc Chagall (1887-1985).

Realists
Mod realism flourished outside Europe and included these supreme masters of the idiom: Winslow Homer (1836-1910), Thomas Eakins (1844-1916), and Ilya Repin (1844-1930). See also: Realist Artists.

Expressionists (flourished 1905-1933)
Influenced by Fauvism, the Expressionist movement was exemplified by the work of: Kandinsky, Munch, Modigliani (1884-1920), Egon Schiele (1890-1918), Kirchner, Max Beckmann (1884-1950), Oskar Kokoschka (1886-1980) and Otto Dix (1891-1969). See also Expressionist Painters.

Cubists (flourished 1908-14)
This revolutionary abstract fine art movement was co-founded by Braque and Picasso, and received valuable contributions from modern artists like: Juan Gris, Fernand Leger (1881-1955), Robert Delaunay (1885-1941) and Marcel Duchamp (1887-1968). Run into: Cubist Painters.

Abstract Painters
The greatest exponents of abstraction in the modern era included Kasimir Malevich (1878-1935); Piet Mondrian (1872-1944). Meet: Abstract Painters.

Fine art Deco (1920s, 1930s)
Every bit much a decorative art and design movement equally a fashion of painting, its virtually famous representative was probably the glamorous Polish-Russian guild portraitist Tamara de Lempicka (c.1895-1980).

Surrealists
The dominant fine fine art movement during the belatedly 1920s and 1930s, its leading painters included: Joan Miro (1893-1983), Rene Magritte (1898-1967) and Salvador Dali (1904-89). Meet: Surrealist Artists.

Abstract Expressionists
Abstract expressionist painting was the commencement keen American art movement. Also known as the New York school, its leading members included: Rothko, Pollock, Willem De Kooning (1904-97), Clyfford Still (1904-1980), Barnett Newman (1905-70), Robert Motherwell (1915-91), Franz Kline (1910-62) and others.

Pop-Artists
This popular style of modern art superceded the more than intellectual Abstract Expressionism and was exemplified by painters such as: Andy Warhol (1928-87) and Roy Lichtenstein (1923-97).

Modernistic Sculptors

Leading sculptors during the modern era included: the expressive realist Auguste Rodin (1840-1917); the expressionists Ernst Barlach (1870-1938) and Wilhelm Lehmbruck (1881-1919); the avant-garde artist Constantin Brancusi (1876-1957); the Futurist Umberto Boccioni (1882-1916), the Cubists Alexander Archipenko (1887-1964), Raymond Duchamp-Villon (1876-1918), Ossip Zadkine (1890-1967), Jacques Lipchitz (1891-1973) and Naum Gabo (1890-1977); the kineticists Alexander Calder (1898-1976) and Jean Tinguely (1925-91); and the Swiss minimalist sculptor Alberto Giacometti (1901-66). Other modernist forms are represented by the primitive works of Modigliani (1884-1920) and Jacob Epstein (1880-1959); and the "found objects" known every bit "readymades" of Marcel Duchamp (1887-1968). Meanwhile, modern British sculpture was embodied past Henry Moore (1898-1986), Barbara Hepworth (1903-75) and Ben Nicholson (1894-1982). Modern sculpture in America is exemplified by the works of James Earle Fraser (1876-1953), Daniel Chester French (1850-1931), Anna Hyatt Huntingdon (1876-1973), and Gutzon Borglum (1867-1941). Mid-twentieth century modernism is represented by the assemblages of Louise Nevelson (1899-1988) and Cesar Baldaccini (1921-98); the heroic statues of Yevgeny Vuchetich (1908-74); and the emotive holocaust sculptures of Wiktor Tolkin (1922-2013) and Nandor Glid (1924-97). See besides: 20th Century Sculptors.

Art Appreciation
See: How to Capeesh Modern Sculpture (1850-present).

Modern Printmakers

Mod exponents of printmaking - engraving, etching, lithographics and silkscreen - include: Henri de Toulouse-Lautrec (1864-1901), MC Escher (1898-1972), Willem de Kooning (1904-97), Robert Rauschenberg (1925-2008), Andy Warhol (1928-87).

Modernistic Stained Drinking glass Artists

Among the acme exponents of stained glass fine art included: Marc Chagall (1887-1985), Joan Miro (1893-1983), Harry Clarke (1889-1931), Sarah Purser (1848-43) and Evie Strop (1894-1955).

Mod Photgraphers

Modern photographic art (1870-1970) is indebted to the pioneering efforts of Alfred Stieglitz (1864-1946) and Edward Steichen (1879-1973). Otherwise, modernist photography is highlighted past the pictorialism of Man Ray (1890-1976); the landscapes of Ansel Adams (1902-84); the architectural photos of Eugene Atget (1857-1927), and Bernd and Hilla Becher; the fashion shots of Norman Parkinson (1913-90), Irving Penn (1917-2009) and Richard Avedon (1923-2004); the portraiture of Julia Margaret Cameron (1815-79), Dorothea Lange (1895-1965) & Walker Evans (1903–1975); and the street photography of Henri Cartier-Bresson (1908–2004).

Which are the 25 Greatest Mod Paintings?

Here is a chronological list of the finest examples of modern painting (1870-1970), every bit selected by our Editor.

Impression, Sunrise (1873) Musee Marmottan Monet, Paris.
Past Claude Monet (1840-1926)

Dance at Le Moulin de la Galette (1876) Musee d'Orsay, Paris
By Renoir (1841-1919)

The Gross Dispensary (1875) University of Pennsylvania.
By Thomas Eakins (1844-1916)

The Daughters of Edward Darley Boit (1882) Boston Museum of Fine Arts.
By John Singer Sargent (1856-1925)

Religious Procession in Kursk Gubernia (1883) Tretyakov Gallery.
By Ilya Repin (1844-1930)

A Sunday Afternoon on the Island of La Grande Jatte (1884-6) AIC.
By Georges Seurat (1859-1891)

Buffet Terrace at Night, Arles (1888) Yale University Fine art Gallery.
Past Vincent van Gogh (1853-1890)

The Scream (1893) oil tempera & pastel, National Gallery, Oslo.
By Edvard Munch (1863-1944)

Daughter with a Fan (1902) Folkwang Museum, Hessen.
By Paul Gauguin (1848-1903)

The Large Bathers (Les Grandes Baigneuses) (1906) National Gallery, London; Museum of Art, Philadelphia; Barnes Foundation, Merion, PA.
By Paul Cezanne (1839-1906)

The Kiss (1907-8) oil & gilt on canvass, Osterreichischegallerie, Vienna.
By Gustav Klimt (1862-1918)

Les Demoiselles d'Avignon (1907) Museum of Modern Fine art, New York.
By Pablo Picasso (1881-1973)

La Danse (1910) Hermitage, St Petersburg.
By Henri Matisse (1869-1954)

Dynamism of a Dog on a Ternion (1912) Albright-Knox Art Gallery, Buffalo.
By Giacomo Balla (1871-1958)

Nude Descending a Staircase No.2 (1912) Philadelphia Museum of Art.
Past Marcel Duchamp (1887-1968)

Seated Nude (1916) Courtauld Institute, London.
By Amedeo Modigliani (1884-1920)

Le Coquelicot (The Corn Poppy) (1919) Toulouse-Lautrec Museum, Albi.
Past Kees van Dongen (1877-1968)

Girl with Gloves (1929) Private Collection.
Past Tamara de Lempicka (1895-1980)

American Gothic (1930) oil on beaverboard, Art Institute of Chicago.
By Grant Wood (1891-1942)

Guernica (1937) oil on canvas, Reina Sofia Museum, Madrid.
By Pablo Picasso (1881-1973)

Nighthawks (1942) Art Found of Chicago.
By Edward Hopper (1882-1967)

Broadway Boogie Woogie (1942-3) Museum of Modern Art, New York.
Past Piet Mondrian (1872-1944)

No.1, 1950 (Lavender Mist) (1950) National Gallery, Washington DC.
Past Jackson Pollock (1912-56)

Adult female 1 (1950-2) Museum of Modernistic Art, New York.
Past Willem De Kooning (1904-97)

The Listening Room (1952) Menil Collection, Houston.
Past Rene Magritte (1898-1967)

The Screaming Pope (1953) William Burden Collection, New York.
Past Francis Salary (1909-92)

Four Marilyns (1962) Individual Collection.
By Andy Warhol (1928-86)

Which are the 25 Greatest Modern Sculptures?

Here is a chronological list of the all-time modern works of sculpture (1870-1970), as compiled by our Editor.

David (c.1872) Bronze, Musee d'Orsay, Paris.
By Marius Jean Antonin Mercier (1845-1916)

Statue of Liberty (1886) Copper, Freedom Isle, New York Harbour.
Past Frederic-Auguste Bartholdi (1834-1904)

Little Dancer aged Fourteen (1879-81) Bronze, Musee d'Orsay, Paris.
Past Edgar Degas (1834-1917)

The Osculation (1888-nine) Marble, Musee Rodin, Paris.
By Auguste Rodin (1840-1917)

Standing Nude (1907) Musee National d'Art Moderne, Pompidou Eye, Paris.
By Andre Derain (1880-1954)

The Buss (1907) Stone, Hamburgerkunsthalle, Hamburg.
By Constantin Brancusi (1876-1957)

Walking Woman (1912) Denver Museum of Art.
By Alexander Archipenko (1887-1964)

Unique Forms of Continuity in Infinite (1913) Museum of Modernistic Art, NY.
By Umberto Boccioni (1882-1916)

The Large Horse (1914-18) Original in Philadelphia Museum of Art.
By Raymond Duchamp-Villon (1876-1918)

End of the Trail (1915) Brookgreen Gardens, Murrells Inlet, U.s..
Past James Earle Fraser (1876-1953)

Fallen Man (1915-16) New National Gallery, Berlin.
Past Wilhelm Lehmbruck (1881-1919)

Constructed Caput No. 2 (1916) Nasher Sculpture Centre, Dallas.
By Naum Gabo (1890-1977)

Statue of Lincoln (1922) Lincoln Memorial, Washington DC.
By Daniel Chester French (1850-1931)

Woman with Guitar (1927) Private Collection.
By Jacques Lipchitz (1891-1973)

Mount Rushmore Presidential Portraits (1927-41) South Dakota.
By Gutzon Borglum (1867-1941) and his son Lincoln Borglum (1912-86)

Adam (1938) Harewood Firm, Leeds, United kingdom.
Past Jacob Epstein (1880-1959)

Fighting Stallions (1950) Hyatt Huntingdon Sculpture Garden, Southward. Carolina.
By Anna Hyatt Huntingdon (1876-1973)

The Destroyed City (1953) Schiedamse Dijk, Rotterdam.
By Ossip Zadkine (1890-1967)

Heaven Cathedral (1958) Assemblage, The Museum of Modernistic Art, New York.
By Louise Nevelson (1899-1988)

Walking Man I (1960) Fondation Maeght, Saint-Paul-de-Vence.
Past Alberto Giacometti (1901-66)

Divided Head (1963) Bronze, Fiorini, London.
By Cesar Baldaccini (1921-98)

Locking Slice (1963-iv) Henry Moore Foundation, Millbank, London.
By Henry Moore.

The Motherland Calls (1967) Mamayev Kurgan, Stalingrad (now Volgagrad)
By Yevgeny Vuchetich (1908-74)

The Dachau Memorial (1968) Munich, Frg.
By Nandor Glid (1924-97)

The Majdanek Memorial (1969) Lublin, Poland.
By Wiktor Tolkin (1922-2013).

• For more than details of modernism and postmodernism in fine art, run across: Homepage.

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