What Elements Make the Art Pieces Modernist Art? Explain

Modern Fine art
Definition, Characteristics, History, Movements.
Primary A-Z INDEX

Important Art Works

Motion In Squares (1961).
By Bridget Riley, Op-Art Move.

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

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

What is Modern Art? (Definition)

There is no precise definition of the term "Modern Fine art": it remains an elastic term, which tin accomodate a diversity of meanings. This is not besides surprising, since we are constantly moving frontward in time, and what is considered "modern painting" or "modern sculpture" today, may not exist seen as mod in fifty years time. Still, it is traditional to say that "Modern Art" ways works produced during the approximate period 1870-1970. This "Modern era" followed a long period of domination by Renaissance-inspired academic art, promoted past the network of European Academies of Fine Art. And is itself followed by "Contemporary Art" (1970 onwards), the more avant-garde of which is too chosen "Postmodern Art". This chronology accords with the view of many fine art critics and institutions, but non all. Both the Tate Modern in London, and the Musee National d'Art Moderne at the Pompidou Centre in Paris, for instance, have 1900 every bit the starting point for "Modern Art". Also, neither they, nor the Museum of Modern Art in New York, make whatever distinction between "modernist" and "postmodernist" works: instead, they encounter both as phases of "Modern Fine art".

Incidentally, when trying to empathize the history of art it'south important to recognize that art does non change overnight, only rather reflects wider (and slower) changes taking place in society. Information technology besides reflects the outlook of the artist. Thus, for example, a work of art produced as early as 1958 might be decidedly "postmodernist" (if the artist has a very advanced outlook - a good example is Yves Klein's Nouveau Realisme); while another work, created by a conservative artist in 1980, might be seen every bit a throw-back to the time of "Modern Art" rather than an instance of "Contemporary Art". In fact, it's probably true to say that several unlike strands of art - pregnant several sets of aesthetics, some hypermodern, some erstwhile-fashioned - may co-be at any i time. Also, information technology'south worth remembering that many of these terms (like "Modern Art") are only invented after the issue, from the vantage betoken of hindsight.

Note: The 1960s is more often than not seen every bit the decade when artistic values gradually changed, from "modernist" to "postmodernist". This means that for a catamenia of time both sets of values co-existed with each other.

For important dates, run across: History of Fine art Timeline ( two.five 1000000 BCE on)

What were the Origins of Modern Art?

To understand how "modernistic art" began, a little historical background is useful. The 19th century was a time of meaning and apace increasing change. As a result of the Industrial Revolution (c.1760-1860) enormous changes in manufacturing, transport, and technology began to bear on how people lived, worked, and travelled, throughout Europe and America. Towns and cities swelled and prospered every bit people left the land to populate urban factories. These manufacture-inspired social changes led to greater prosperity merely too cramped and crowded living conditions for most workers. In plow, this led to: more demand for urban architecture; more demand for practical art and design - come across, for instance the Bauhaus School - and the emergence of a new class of wealthy entrepreneurs who became art collectors and patrons. Many of the world'due south best art museums were founded by these 19th century tycoons.

In improver, ii other developments had a straight effect on fine art of the menstruum. Get-go, in 1841, the American painter John Rand (1801–1873) invented the collapsible tin pigment tube. Second, major advances were made 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 mode of painting known, disparagingly, as "Impressionism", which would have a radical effect on how artists painted the world around them, and would in the procedure become the start major school of modernist art.

As well every bit affecting how artists created art, 19th century social changes as well inspired artists to explore new themes. Instead of slavishly post-obit the Bureaucracy of the Genres and being content with academic subjects involving organized religion 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 about people, places, or ideas that interested them. The cities - with their new railway stations and new slums - were obvious choices and triggered a new grade of genre painting and urban landscape. Other subjects were the suburban villages and holiday spots served past the new rails networks, which would inspire new forms of mural painting by Monet, Matisse and others. The genre of history painting besides changed, thank you to Benjamin Due west (1738-1820) who painted The Expiry of Full general Wolfe (1770, National Gallery of Art, Ottowa), the first 'contemporary' history painting, and Goya (1746-1828) whose Third of May, 1808 (1814, Prado, Madrid) introduced a basis-breaking, non-heroic idiom.

The 19th century as well witnessed a number of philosophical developments which would have a significant issue on art. The growth of political idea, for instance, led Courbet and others to promote a socially witting form of Realist painting - see also Realism to Impressionism). Besides, the publication of The Interpretation of Dreams (1899) past 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 Modern Fine art Brainstorm?

The date near normally cited as mark the birth of "modern art" is 1863 - the twelvemonth that Edouard Manet (1832-83) exhibited his shocking and irreverent painting Le Lunch sur l'herbe in the Salon des Refuses in Paris. Despite Manet'due south respect for the French Academy, and the fact information technology was modelled on a Renaissance work by Raphael, information technology was considered to be one of the most scandalous pictures of the menstruum.

Merely 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 upwards with following the traditional academic fine art forms of the 18th and early on 19th century, and were starting to create a range of "Modern Paintings" based on new themes, new materials, and bold new methods. Sculpture and architecture were also affected - and in time their changes would be even more revolutionary - but fine art painting proved to be the get-go major battlefield between the conservatives and the new "Moderns".

What is the Main Characteristic of Modern Art?

What we telephone call "Modernistic Art" lasted for an unabridged century and involved dozens of dissimilar art movements, embracing near everything from pure abstraction to hyperrealism; from anti-fine art schools like Dada and Fluxus to classical painting and sculpture; from Fine art Nouveau to Bauhaus and Popular Fine art. Then cracking was the variety that information technology is difficult to think of whatever unifying characteristic which defines the era. But if in that location is anything that separates modern artists from both the before traditionalists and later postmodernists, it is their belief that art mattered. To them, art had existent value. By contrast, their precedessors but assumed information technology had value. After all they had lived in an era governed by Christian value systems and had only "followed the rules." And those who came after the Modern period (1970 onwards), the so-called "postmodernists", largely rejected the idea that fine art (or life) has whatever intrinsic value.

In What Ways was Modern Art Unlike? (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

Modernistic artists were the commencement to develop collage art, assorted forms of aggregation, a variety of kinetic fine art (inc mobiles), several genres of photography, blitheness (cartoon plus photography) land fine art or earthworks, and performance art.

(2) Use of New Materials

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

(3) Expressive Use of Colour

Movements of modern fine art similar Fauvism, Expressionism and Colour Field painting were the first to exploit colour in a major way.

(4) New Techniques

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

How Did Mod Fine art Develop Between 1870 and 1970?

1870-1900

Although in some ways the last third of the 19th century was dominated by the new Impressionist style of painting, in reality in that location were several pioneering strands of mod art, each with its ain particular focus. They included: Impressionism (accurateness in capturing effects of sunlight); Realism (content/theme); Academic 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 form of the Secession movement, while the late-1890s witnessed the decline of "nature-based art", like Impressionism, which would presently lead to a ascent in more serious "message-based" fine art.

1900-fourteen

In many ways this was the about heady flow of modern fine art, when everything was withal possible and when the "machine" was still viewed exclusively as a friend of human. Artists in Paris produced a string 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 detail calendar of modernism. Thus Cubism wanted to prioritize the formal attributes of painting, while Futurism preferred to emphasize the possibilities of the machine, and expressionism championed individual perception.

1914-24

The carnage and devastation of The Great War changed things utterly. Past 1916, the Dada movement was launched, filled with a nihilistic urge to subvert the value system which had acquired Verdun and the Somme. All of a sudden representational art seemed obscene. No imagery could compete with photographs of the state of war dead. Already artists had been turning more and more to non-objective art as a ways 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 afterward St Ives School. Even the few figurative movements were distinctly edgy, such as Metaphysical Painting (c.1914-twenty). Simply compare the early on 20th century Classical Revival in mod art and Neoclassical Figure Paintings by Picasso (1906-30).

1924-40

The Inter-war years continued to be troubled past political and economic troubles. Abstract painting and sculpture continued to boss, as truthful-to-life representational art remained very unfashionable. Even the realist wing of the Surrealism movement - the biggest movement of the period - could manage no more than a fantasy style of reality. Meantime, a more sinister reality was emerging on the Continent, in the class of Nazi fine art and Soviet agit-prop. But Fine art Deco, a rather sleek design style aimed at compages and applied art, expressed whatever confidence in the hereafter.

1940-threescore

The art world was transformed by the catastrophe of World State of war Two. To begin with, its eye of gravity moved from Paris to New York, where information technology has remained ever since. Nearly all future world record prices would be achieved in the New York sales rooms of Christie's and Sotheby'south. Meantime, the unspeakable phenomenon of Auschwitz had undermined the value of all realist art, except for Holocaust art of those afflicted. As a upshot of all this, the side by side major international movement - Abstract Expressionism - was created past American artists of the New York School. Indeed, for the next 20 years, abstraction would dominate, as new movements rolled off the line. They included: Art Informel, Action-Painting, Gesturalism, Tachisme, Colour Field Painting, Lyrical Abstraction, Hard Border Painting, and COBRA, a group best known for its child-similar imagery, and expressive brushstrokes. During the 1950s other tendencies emerged, of a more than avant-garde kind, such every bit Kinetic fine art, Nouveau Realisme and Neo-Dada, all of which demonstrated a growing impatience with the strait-laced arts manufacture.

1960s

The explosion of popular music and television was reflected in the Pop-Art move, whose images of Hollywood celebrities, and iconography of popular civilisation, celebrated the success of America's mass consumerism. It also had a cool 'hip' feel and helped to dispel some of the early 60s gloom associated with the Cuban Crisis of 1962, which in Europe had fuelled the success of the Fluxus movement led by George Maciunas, Joseph Beuys, Nam June Paik and Wolf Vostell. Downwards-to-earth Pop-art was as well a welcome counterpoint to the more than brainy Abstruse Expressionism, which was already started to fade. But the 1960s besides saw the rise of some other loftier-brow movement known as Minimalism, a form of painting and sculpture purged of all external references or gestures - unlike the emotion-charged idiom of Abstract Expressionism.

Modern Photographic Art

One of the virtually of import and influential new media which came to prominence during the "Modern Era" is photography. Four genres in particular take become established. They include: Portrait Photography, a genre that has largely replaced painted portraits; Pictorialism (fl.1885-1915) a type of camera art in which the photographer manipulates a regular photo in order to create an "artistic" paradigm; Fashion Photography (1880-present) a blazon of photography devoted to the promotion of clothing, shoes, perfume and other branded appurtenances; Documentary Photography (1860-nowadays), a blazon of abrupt-focus camerawork that captures a moment of reality, so as to present a bulletin near what is happening in the world; and Street Photography (1900-nowadays), the art of capturing chance interactions of human activity in urban areas. Good by many of the world'south greatest photographers, these genres have fabricated a major contribution to modern art of the 20th century.

Modern Architecture

Modernism in architecture is a more convoluted thing. The word "modernism" in edifice design was first used in America during the 1880s to draw skyscrapers designed by the Chicago School of Architecture (1880-1910), such equally The Montauk Building (1882-83) designed by Burnham and Root; the Home Insurance Building (1884) designed past William Le Baron Jenney; and the Marshall Field Warehouse (1885-7) designed past Henry Hobson Richardson. In the 20th century, a new type of design emerged, known as the International Style of Mod Architecture (c.1920-seventy). Beginning in Deutschland, Kingdom of the netherlands and France, in the easily of Le Corbusier (1887-1965), Walter Gropius (1883-1969) and others, information technology spread to America where information technology became the dominant idiom for commercial skyscrapers, thank you to the efforts of Mies van der Rohe (1886-1969), formerly director of the Bauhaus School. Afterwards, the centre of modern building design was established permanently in the United States, mainly due to the advent of supertall skyscraper architecture, which was so exported effectually the globe.

When Did Modern Art End? What Replaced it?

Modernism didn't simply end, information technology was gradually overtaken by events during the late 1960s - a menses which coincided with the rise of mass pop-civilisation and also with the rise of anti-authoritarian challenges (in social and political areas besides as the arts) to the existing orthodoxies. A key year was 1968, which witnessed the Tet Offensive, the assassinations of Martin Luther Male monarch and Bobby Kennedy, and street demonstrations throughout the capitals of Europe. As Modernism began to look increasingly onetime-fashioned, information technology gave fashion to what is known equally "Contemporary Fine art" - pregnant "art of the nowadays era". The term "Contemporary Fine art" is neutral every bit to the progressiveness of the art in question, and so another phrase - "postmodernism" - is often used to announce contempo avant-garde art. Schools of "postmodernist art" advocate a new set of aesthetics characterized by a greater focus on medium and mode. For instance, they emphasize style over substance (eg. not 'what' simply 'how'; not 'fine art for fine art's sake', but 'style for way's sake'), and place much greater importance on artist-communication with the audience.

What are the Most Important Movements of Modern Art?

The most influential movements of "mod art" are (1) Impressionism; (2) Fauvism; (3) Cubism; (4) Futurism; (5) Expressionism; (6) Dada; (7) Surrealism; (8) Abstract Expressionism; and (9) Pop Art.

(1) Impressionism (1870s, 1880s)

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

(2) Fauvism (1905-vii)

Short-lived, dramatic and highly influential, Led by Henri Matisse (1869-1954), Fauvism was 'the' fashionable way during the mid-1900s in Paris. The new style was launched at the Salon d'Automne, and became instantly famous for its vivid, garish, not-naturalist colours that made Impressionism appear well-nigh monochrome! A key precursor of expressionism. See: History of Expressionist Painting (1880-1930). The main contribution of Fauvism to "modernistic art" was to demonstrate the independent power of colour. This highly subjective arroyo to fine art was in contrast to the classical content-oriented outlook of the academies.

(iii) Cubism (fl.1908-14)

An austere and challenging style of painting, Cubism introduced a compositional organization of flat splintered planes as an alternative to Renaissance-inspired linear perspective and rounded volumes. Adult by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in ii variants - Analytical Cubism and after Synthetic Cubism - it influenced abstruse art for the next 50 years, although its popular appeal has been express. The main contribution of Cubism to "modern fine art" was to offering a whole new alternative to conventional perspective, based on the inescapable fact of the apartment picture plane.

(four) Futurism (fl.1909-14)

Founded by Filippo Tommaso Marinetti (1876-1944), Futurist fine art glorified speed, applied science, the auto, the aeroplane and scientific accomplishment. Although very influential, it borrowed heavily from Neo-Impressionism and Italian Divisionism, likewise as Cubism, especially its fragmented forms and multiple viewpoints. The master contribution of Futurism to "modern art" was to innovate movement into the canvas, and to link dazzler with scientific advocacy.

(five) Expressionism (from 1905)

Although anticipated by artists like JMW Turner (Interior at Petworth, 1837), Van Gogh (Wheat Field with Crows, 1890) and Paul Gauguin (Anna The Javanese, 1893), expressionism was made famous past two groups in pre-war Deutschland: 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-born artist Wilhelm Lehmbruck (1881-1919) were (and however are) sublime. The main contribution of expressionism to "modern fine art" was to popularize the idea of subjectivity in painting and sculpture, and to evidence that representational art may legitimately include subjective distortion.

(6) Dada (1916-24)

The first anti-art movement, Dada was a revolt against the system which had allowed the carnage of The First World War (1914-xviii). It rapidly became an anarchistic trend whose aim was to subvert the arts establishment. Launched in neutral Switzerland in 1916, its leaders were in their early twenties, and most had "opted out", fugitive 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 principal contribution of Dada was to milk shake upwardly the arts earth and to widen the concept of "mod art", by embracing totally new types of inventiveness (functioning art and readymades) likewise as new materials (junk fine art) and themes. Its seditious sense of humour endured in the Surrealist movement.

(7) Surrealism (from 1924)

Founded in Paris by writer Andre Breton (1896-1966), Surrealism was 'the' stylish fine art movement 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 movement, most of whose members metamorphosed into surrealists, just different Dada it 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, please come across Automatism in Art.) The principal contribution of Surrealism to "modern art" was to generate a refreshingly new set of images. Whether these images were uniquely non-rational is doubtful. But Surrealist art is definitely fun!

(8) Abstract Expressionism (1948-60)

A broad manner of abstruse painting, developed in New York just after World War 2, hence it is also chosen the New York School. Spearheaded by American artists - themselves strongly influenced past European expatriates - it consisted of two main styles: a highly animated course of gestural painting, popularized by Jackson Pollock (1912-56), and a much more passive mood-oriented way known as Colour Field painting, championed past Mark Rothko (1903-70). The chief contribution of abstract expressionism to "modernistic art" was to popularize brainchild. In Pollock's case, by inventing a new style known as "activity painting" - see photos by text; in Rothko'due south case, by demonstrating the emotional bear upon of large areas of colour.

(9) Pop Art (Belatedly-1950s, 1960s)

A way of fine art whose images reflected the popular culture and mass consumerism of 1960s America. Get-go emerging in New York and London during the late 1950s, it became the dominant avant-garde mode until the late 1960s. Using bold, easy to recognize imagery, and vibrant block colours, Pop artists like Andy Warhol (1928-87) created an iconography based on photos of popular celebrities like film-stars, advertisements, posters, consumer production packaging, and comic strips - cloth that helped to narrow the dissever betwixt the commercial arts and the fine arts. The main contribution of abstract expressionism to "modern art" was to show that practiced art could be depression-brow, and could exist made of anything. See: Andy Warhol's Popular Art (c.1959-73).

A-Z List of Modern Art Schools and Movements

Here is a list of movements and schools from the "Modernistic Era", bundled in alphabetical club.

• Abstract Expressionist Painting (1947-65)
Umbrella term for post-war styles known collectively as the New York School.
• American Scene Painting (1925-45)
Realist style that exalted rural and small town America.
• Armory Show of Modern Art (1913)
Basis-breaking exhibition of modern art held in America.
• Fine art Deco (1925-40)
Sleek design way associated with the new 'Machine Historic period'.
• Art Informel (fl.1950s)
European version of Abstruse Expressionism.
• Art Nouveau (1890-1914)
Curvilinear design manner. Also called Jugendstil (Germany), Stile Liberty (Italia).
• Arte Nucleare (1951-threescore)
Political 'Art Informel-mode' group that made fine art for the nuclear era.
• Arts and Crafts Motility (1862-1914)
Anti-mass production movement, championed artisan crafts.
• Ashcan Schoolhouse (1900-1915)
New York group whose paintings depicted scenes from poorer areas.
• Australian Impressionism (1886-1900)
Plein-air Heidelberg schoolhouse named later its camps east of Melbourne.
• Biomorphic (Organic) Abstraction (1930s/40s)
Rounded forms based on those found in nature. Run across works by Henry Moore.
• Berlin Secession (1898)
Breakaway arts organisation led by 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 "action painting".
• Colour Field Painting (1948-68)
Fashion of Abstract Expressionism practised by Rothko, Barnett Newman, Clyfford Still.
• Constructivism (1914-32)
Creative, pattern and architectural motility founded by Vladimir Tatlin.
• Cubism (fl.1908-fourteen)
See to a higher place: Well-nigh Important Movements
• Dada (1916-24)
See above: Virtually Important Movements
• Der Blaue Reiter (1911-xiv)
High german Expressionist group based in Munich.
• De Stijl (1917-31)
Dutch avant-garde pattern group founded past Theo van Doesburg.
• Deutscher Werkbund (1907-33)
German body established to ameliorate High german industrial design and crafts.
• Dice Brucke (1905-13)
High german Expressionist group in Dresden, later Berlin.
• Divisionism (1884-1904)
The theory backside Neo-Impressionism, besides known as Chromoluminarism.
• Existential Fine art (1940s, 1950s)
Style of painting and sculpture popularized by Robert Lapoujade and Giacometti.
• Expressionist Move (1880s onwards)
Subjective, often highly coloured and distorted style of painting.
• Fauvism (1905-8)
Encounter higher up: Most Important Movements
• Fluxus (1960s)
Avant-garde movement related to Lettrism, Nouveau Realisme and Neo-Dada.
• Futurism (1909-14)
Run across higher up: Virtually Important Movements
• Difficult Edge Painting (belatedly 1950s, 1960s)
Variant of Post-Painterly Brainchild, a reaction against gesturalism.
• Impressionism (fl. 1870-1880)
See above: Almost Important Movements
• Italian Divisionism (1890-1907)
Mail service-Impressionist mode that drew heavily on Pointillism and Neo-Impressionism.
• Kitchen Sink Fine art (mid-1950s)
Schoolhouse of mundane realism.
• Macchiaioli (1855-80)
Italian group named after their apply of patches (macchia) of colour.
• Magic Realism (1920s)
Mod movement noted for its abrupt-focus naturalism and offbeat themes.
• Metaphysical Painting (1914-20)
Precursor of Surrealism adult by Giorgio de Chirico.
• Minimalism
Art without any historical, social or artful references.
• Munich Secession (1892)
The first of the progressive art movements in Europe to suspension away from the conservative arts bureaucracy.
• Nabis, Les (1890s)
Group of Parisian artists noted for their decorative art.
• Neo-Dada (1953-65)
Style noted for its use of unorthodox materials, and anti-establishment ethic.
• Neo-Impressionism (1884-1904)
Grouping noted for its use of pocket-size dots of pure paint paint.
• Neo-Plasticism (fl.1918-26)
Rigorous fashion of brainchild 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 style which reflected the cynicism of 1920s Frg.
• Nouveau Realisme (1958-70)
Imaginative avant-garde precursor of postmodernism founded by Yves Klein.
• Op-Art (fl.1965-70)
Form of abstract painting based on optical illusions.
• Orphism (1914-xv)
Colourful idiom of abstruse art invented past Robert Delaunay.
• Paris School (Ecole de Paris) (1890-1940)
Label for cluster of modernistic artists active in Paris, similar Picasso, Modigliani.
• Pointillism (1884-1904)
Colour theory backside Neo-Impressionism involving small-scale dabs of pure pigment.
• Pop Art (1955-lxx)
See above: Almost Of import Movements
• Post-Impressionism (1880s/90s)
Loose term for a variety of painting styles developed in the wake of Impressionism.
• Postal service-Painterly Abstraction (1955-65)
Term invented past Clement Greenberg for postal service-gesturalism movements.
• Precisionism (fl.1920s)
Manner of realist painting influenced by Futurism and Cubism.
• Realism (1850-1900)
Socially enlightened idiom championed by Courbet.
• Regionalism (Scene Painting) (fl.1930s)
Style of painting which exalted small 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 Union.
• St Ives Schoolhouse (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)
Run across above: Most 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 class of gestural abstract painting adult in France.
• Victorian Art (Uk) (1840-1900)
Arts and crafts from the reign of Queen Victoria. See: Victorian architecture.
• Vienna Secession (1897-1939)
Breakaway creative person trunk who rejected the cit'southward conservative Academy of Arts.
• Vingt, Les (1883-93)
Belgian group of progressive artists similar James Ensor, Fernand Khnopff.
• Vorticism (1914-15)
English Cubist-way painting developed by Percy Wyndham Lewis.

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

Who are the Greatest Modern Artists?

Modern Painters

Impressionists (flourished 1870-1880)
One of the almost revolutionary movements of modernistic 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). See 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). See: Mail service-Impressionist Painters.

Poster Artists
Centered effectually La Belle Epoque in Paris, poster art was exemplified by the creativity (and inventions) of Jules Cheret (1836-1932), the wonderful "Cabaret Du Conversation 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). Later Mucha left for America, the talented Leonetto Cappiello (1875-1942) arrived in Paris from Italy. Another of import poster and prepare 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
Modern 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 move was exemplified past the piece of 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 abstruse art motion 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). Come across: Cubist Painters.

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

Art Deco (1920s, 1930s)
As much a decorative art and blueprint movement as a manner of painting, its most famous representative was probably the glamorous Shine-Russian order portraitist Tamara de Lempicka (c.1895-1980).

Surrealists
The dominant 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). See: Surrealist Artists.

Abstruse Expressionists
Abstract expressionist painting was the starting time great American art movement. Also known as the New York school, its leading members included: Rothko, Pollock, Willem De Kooning (1904-97), Clyfford Yet (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 intellectual Abstract Expressionism and was exemplified past painters such every bit: Andy Warhol (1928-87) and Roy Lichtenstein (1923-97).

Modern Sculptors

Leading sculptors during the mod 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 archaic works of Modigliani (1884-1920) and Jacob Epstein (1880-1959); and the "found objects" known as "readymades" of Marcel Duchamp (1887-1968). Meanwhile, modern British sculpture was embodied by 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 likewise: 20th Century Sculptors.

Art Appreciation
Come across: How to Appreciate Modern Sculpture (1850-present).

Modern Printmakers

Modern 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 top exponents of stained drinking glass art included: Marc Chagall (1887-1985), Joan Miro (1893-1983), Harry Clarke (1889-1931), Sarah Purser (1848-43) and Evie Hone (1894-1955).

Modern 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 by 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 Modernistic 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.
By Claude Monet (1840-1926)

Dance at Le Moulin de la Galette (1876) Musee d'Orsay, Paris
Past 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 Isle of La Grande Jatte (1884-6) AIC.
By Georges Seurat (1859-1891)

Buffet Terrace at Nighttime, Arles (1888) Yale University Art Gallery.
By Vincent van Gogh (1853-1890)

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

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

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

The Kiss (1907-viii) oil & gold on canvas, Osterreichischegallerie, Vienna.
By Gustav Klimt (1862-1918)

Les Demoiselles d'Avignon (1907) Museum of Mod 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 Leash (1912) Albright-Knox Art Gallery, Buffalo.
By Giacomo Balla (1871-1958)

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

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

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

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

American Gothic (1930) oil on beaverboard, Fine 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) Fine art Institute of Chicago.
By Edward Hopper (1882-1967)

Broadway Boogie Woogie (1942-3) Museum of Mod Fine art, New York.
Past Piet Mondrian (1872-1944)

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

Adult female 1 (1950-ii) Museum of Modern Fine art, New York.
Past Willem De Kooning (1904-97)

The Listening Room (1952) Menil Drove, Houston.
By Rene Magritte (1898-1967)

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

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

Which are the 25 Greatest Modern Sculptures?

Hither is a chronological listing of the best modern works of sculpture (1870-1970), as compiled by our Editor.

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

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

Picayune Dancer aged Xiv (1879-81) Bronze, Musee d'Orsay, Paris.
By Edgar Degas (1834-1917)

The Osculation (1888-9) Marble, Musee Rodin, Paris.
By Auguste Rodin (1840-1917)

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

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

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

Unique Forms of Continuity in Space (1913) Museum of Mod Fine art, NY.
Past Umberto Boccioni (1882-1916)

The Large Equus caballus (1914-xviii) Original in Philadelphia Museum of Fine art.
By Raymond Duchamp-Villon (1876-1918)

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

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

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

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

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

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

Adam (1938) Harewood House, Leeds, UK.
By Jacob Epstein (1880-1959)

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

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

Sky 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.
By Alberto Giacometti (1901-66)

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

Locking Piece (1963-4) Henry Moore Foundation, Millbank, London.
Past Henry Moore.

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

The Dachau Memorial (1968) Munich, Federal republic of germany.
By Nandor Glid (1924-97)

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

• For more details of modernism and postmodernism in fine art, see: Homepage.

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