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Modernistic Art
Definition, Characteristics, History, Movements.
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Of import Art Works

Movement In Squares (1961).
By Bridget Riley, Op-Fine art Movement.

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

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

What is Modernistic Art? (Definition)

There is no precise definition of the term "Mod Art": it remains an elastic term, which tin accomodate a variety of meanings. This is not too surprising, since nosotros are constantly moving forwards in time, and what is considered "modernistic painting" or "modern sculpture" today, may not exist seen as modern in l years time. Nevertheless, it is traditional to say that "Modern Fine art" ways works produced during the approximate period 1870-1970. This "Modern era" followed a long menstruation of domination past Renaissance-inspired academic fine art, promoted by the network of European Academies of Fine Fine art. And is itself followed by "Gimmicky Art" (1970 onwards), the more than advanced of which is also called "Postmodern Art". This chronology accords with the view of many art critics and institutions, only non all. Both the Tate Modern in London, and the Musee National d'Art Moderne at the Pompidou Centre in Paris, for instance, take 1900 as the starting bespeak for "Modern Art". As well, neither they, nor the Museum of Modernistic Fine art in New York, brand any distinction between "modernist" and "postmodernist" works: instead, they come across both as phases of "Modernistic Art".

Incidentally, when trying to understand the history of fine art it'south important to recognize that art does not change overnight, but rather reflects wider (and slower) changes taking place in order. Information technology besides reflects the outlook of the creative person. Thus, for case, a work of art produced as early equally 1958 might be incomparably "postmodernist" (if the artist has a very avant-garde outlook - a adept example is Yves Klein's Nouveau Realisme); while another work, created by a conservative creative person in 1980, might be seen as a throw-back to the time of "Modernistic Art" rather than an example of "Contemporary Art". In fact, it'south probably truthful to say that several different strands of art - meaning several sets of aesthetics, some hypermodern, some quondam-fashioned - may co-be at any one time. As well, it'south worth remembering that many of these terms (like "Modern Fine art") are merely invented after the event, from the vantage betoken of retrospect.

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

For important dates, see: History of Art Timeline ( 2.v one thousand thousand BCE on)

What were the Origins of Modern Art?

To understand 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 every bit people left the land to populate urban factories. These manufacture-inspired social changes led to greater prosperity but also cramped and crowded living weather for most workers. In turn, this led to: more than demand for urban architecture; more need for applied art and design - see, 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 past these 19th century tycoons.

In addition, two other developments had a direct result on fine art of the period. Beginning, in 1841, the American painter John Rand (1801–1873) invented the collapsible tin paint tube. 2nd, major advances were made in photography, assuasive artists to photograph scenes which could then be painted in the studio at a later on engagement. Both these developments would greatly do good a new style of painting known, disparagingly, as "Impressionism", which would have a radical upshot on how artists painted the world around them, and would in the process become the first major schoolhouse of modernist art.

As well as 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 academic subjects involving religion and Greek mythology, interspersed with portraits and 'meaningful' landscapes - all subjects that were designed to elevate 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 course of genre painting and urban mural. Other subjects were the suburban villages and holiday spots served by the new rail networks, which would inspire new forms of mural painting by Monet, Matisse and others. The genre of history painting also inverse, thank you to Benjamin West (1738-1820) who painted The Death of Full general Wolfe (1770, National Gallery of Art, Ottowa), the offset 'contemporary' history painting, and Goya (1746-1828) whose 3rd of May, 1808 (1814, Prado, Madrid) introduced a ground-breaking, non-heroic idiom.

The 19th century also witnessed a number of philosophical developments which would have a pregnant effect on art. The growth of political thought, for instance, led Courbet and others to promote a socially conscious form of Realist painting - meet also Realism to Impressionism). Also, the publication of The Interpretation of Dreams (1899) past Sigmund Freud, popularized the notion of the "subconscious mind", causing artists to explore Symbolism and afterward 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 date well-nigh ordinarily cited every bit marker the nascency of "mod fine 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 University, and the fact it was modelled on a Renaissance work by Raphael, it was considered to exist ane of the near scandalous pictures of the period.

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 "Mod Artists" were fed up with post-obit 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 bold new methods. Sculpture and compages were also affected - and in fourth dimension their changes would be even more than revolutionary - just fine art painting proved to be the get-go major battlefield between the conservatives and the new "Moderns".

What is the Primary Characteristic of Modern Art?

What nosotros call "Modernistic Art" lasted for an entire century and involved dozens of different art movements, embracing almost everything from pure abstraction to hyperrealism; from anti-fine art schools like Dada and Fluxus to classical painting and sculpture; from Art Nouveau to Bauhaus and Popular Art. So great was the diversity that it is difficult to call up of whatever unifying characteristic which defines the era. But if there is anything that separates mod artists from both the earlier traditionalists and afterward postmodernists, it is their conventionalities that art mattered. To them, fine art had real value. By dissimilarity, their precedessors just assumed information technology had value. After all they had lived in an era governed by Christian value systems and had just "followed the rules." And those who came later the Modernistic menses (1970 onwards), the then-called "postmodernists", largely rejected the idea that fine art (or life) has any intrinsic value.

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

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

(1) New Types of Art

Modern artists were the first to develop collage art, assorted forms of assemblage, a multifariousness of kinetic art (inc mobiles), several genres of photography, animation (cartoon plus photography) country fine art or earthworks, and performance art.

(two) Use of New Materials

Modernistic 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 most ordinary everyday items, similar cars, clocks, suitcases, wooden boxes and other items.

(three) Expressive Use of Colour

Movements of modern art like Fauvism, Expressionism and Colour Field painting were the first to exploit color in a major mode.

(4) New Techniques

Chromolithography was invented by the poster 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 press 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 Art, Neo-Dada and Op-Art.

How Did Modern Art Develop Between 1870 and 1970?

1870-1900

Although in some ways the last third of the 19th century was dominated past the new Impressionist style of painting, in reality at that place were several pioneering strands of modern art, each with its own particular focus. They included: Impressionism (accurateness in capturing effects of sunlight); Realism (content/theme); Academic Art (classical-mode true-life pictures); Romanticism (mood); Symbolism (enigmatic iconography); lithographic poster fine 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 belatedly-1890s witnessed the decline of "nature-based art", like Impressionism, which would soon atomic number 82 to a rise in more serious "message-based" art.

1900-fourteen

In many means this was the almost exciting period of modern art, when everything was all the same possible and when the "machine" was still viewed exclusively as a friend of man. Artists in Paris produced a string of new styles, including Fauvism, Cubism and Orphism, while German artists launched their ain school of expressionist painting. All these progressive movements rejected traditionalist attitudes to art and sought to champion their ain detail agenda of modernism. Thus Cubism wanted to prioritize the formal attributes of painting, while Futurism preferred to emphasize the possibilities of the auto, and expressionism championed individual perception.

1914-24

The carnage and destruction of The Great War changed things utterly. By 1916, the Dada movement 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 dead. Already artists had been turning more and more to not-objective art as a means of expression. Abstract art movements of the time included Cubism (1908-40), Vorticism (1914-15), Suprematism (1913-xviii), Constructivism (1914-32), De Stijl (1917-31), Neo-Plasticism (1918-26), Elementarism (1924-31), the Bauhaus (1919-33) and the subsequently St Ives Schoolhouse. Fifty-fifty the few figurative movements were distinctly edgy, such every bit Metaphysical Painting (c.1914-20). Simply compare the early 20th century Classical Revival in modern art and Neoclassical Figure Paintings by Picasso (1906-xxx).

1924-40

The Inter-war years continued to be troubled by political and economic troubles. Abstruse painting and sculpture continued to dominate, equally true-to-life representational art remained very unfashionable. Fifty-fifty the realist wing of the Surrealism motion - the biggest movement of the period - could manage no more a fantasy way of reality. Concurrently, a more than sinister reality was emerging on the Continent, in the form of Nazi fine art and Soviet agit-prop. But Fine art Deco, a rather sleek blueprint style aimed at architecture and applied art, expressed any confidence in the future.

1940-60

The art world was transformed by the catastrophe of World War Two. To brainstorm with, its centre of gravity moved from Paris to New York, where it has remained ever since. Nearly all future world record prices would be achieved in the New York sales rooms of Christie'due south and Sotheby'southward. Meantime, the unspeakable miracle of Auschwitz had undermined the value of all realist art, except for Holocaust art of those affected. Equally a effect of all this, the next major international movement - Abstruse Expressionism - was created by American artists of the New York School. Indeed, for the side by side xx years, abstraction would dominate, every bit new movements rolled off the line. They included: Art Informel, Action-Painting, Gesturalism, Tachisme, Color Field Painting, Lyrical Abstraction, Hard Edge 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 advanced kind, such as Kinetic 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-Fine art movement, whose images of Hollywood celebrities, and iconography of pop civilization, historic the success of America's mass consumerism. It also 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 movement led by George Maciunas, Joseph Beuys, Nam June Paik and Wolf Vostell. Down-to-earth Pop-fine art was also a welcome counterpoint to the more erudite Abstract Expressionism, which was already started to fade. But the 1960s also saw the rise of some other loftier-brow move known as Minimalism, a form of painting and sculpture purged of all external references or gestures - different the emotion-charged idiom of Abstract Expressionism.

Modernistic Photographic Art

One of the near important and influential new media which came to prominence during the "Modern Era" is photography. Four genres in particular accept get established. They include: Portrait Photography, a genre that has largely replaced painted portraits; Pictorialism (fl.1885-1915) a type of camera fine art in which the photographer manipulates a regular photo in guild to create an "artistic" image; Manner Photography (1880-present) a type of photography devoted to the promotion of clothing, shoes, perfume and other branded appurtenances; Documentary Photography (1860-present), a blazon of sharp-focus camerawork that captures a moment of reality, then every bit to present a message about what is happening in the globe; and Street Photography (1900-present), the art of capturing chance interactions of homo activity in urban areas. Adept by many of the globe'due south greatest photographers, these genres take made a major contribution to mod art of the 20th century.

Modern Compages

Modernism in architecture is a more than convoluted affair. The word "modernism" in building design was beginning used in America during the 1880s to describe skyscrapers designed past the Chicago School of Architecture (1880-1910), such as The Montauk Edifice (1882-83) designed by Burnham and Root; the Dwelling house Insurance Building (1884) designed by William Le Businesswoman Jenney; and the Marshall Field Warehouse (1885-7) designed by Henry Hobson Richardson. In the 20th century, a new type of design emerged, known equally the International Style of Mod Architecture (c.1920-seventy). Beginning in Germany, Holland and French republic, in the hands of Le Corbusier (1887-1965), Walter Gropius (1883-1969) and others, it spread to America where information technology became the ascendant idiom for commercial skyscrapers, thanks to the efforts of Mies van der Rohe (1886-1969), formerly director of the Bauhaus School. Later, the eye of modern edifice blueprint was established permanently in the United States, mainly due to the advent of supertall skyscraper architecture, which was then exported around the earth.

When Did Modernistic Art End? What Replaced it?

Modernism didn't just stop, it was gradually overtaken by events during the late 1960s - a catamenia which coincided with the ascent of mass pop-civilization and also with the rising of anti-authoritarian challenges (in social and political areas as well as the arts) to the existing orthodoxies. A key yr 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 sometime-fashioned, it gave way to what is known as "Contemporary Art" - meaning "art of the present era". The term "Contemporary Fine art" is neutral as to the progressiveness of the fine art in question, and and then another phrase - "postmodernism" - is often used to denote recent advanced fine art. Schools of "postmodernist art" advocate a new ready of aesthetics characterized by a greater focus on medium and style. For instance, they emphasize manner over substance (eg. not 'what' but 'how'; not 'art for art's sake', just 'style for style's sake'), and place much greater importance on creative person-communication with the audience.

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

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

(one) Impressionism (1870s, 1880s)

Exemplified past the landscape paintings of Claude Monet (1840-1926), Impressionism focused on the almost impossible job of capturing fleeting moments of light and color. Introduced non-naturalist colour schemes, and loose - often highly textured - brushwork. Shut-upward many Impressionist paintings were unrecognizable. Highly unpopular with the general public and the arts authorities, although highly rated by other modern artists, dealers and collectors. Eventually became the world's most famous painting move. Meet: Characteristics of Impressionist Painting (1870-1910). The primary contribution of Impressionism to "modern fine 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)

Brusk-lived, dramatic and highly influential, Led past Henri Matisse (1869-1954), Fauvism was 'the' stylish style during the mid-1900s in Paris. The new manner was launched at the Salon d'Automne, and became instantly famous for its brilliant, garish, non-naturalist colours that made Impressionism appear almost monochrome! A fundamental precursor of expressionism. Meet: History of Expressionist Painting (1880-1930). The primary contribution of Fauvism to "modernistic art" was to demonstrate the contained ability of color. This highly subjective approach to art was in contrast to the classical content-oriented outlook of the academies.

(3) Cubism (fl.1908-14)

An austere and challenging style of painting, Cubism introduced a compositional arrangement 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 two variants - Analytical Cubism and later Synthetic Cubism - it influenced abstract art for the next l years, although its popular appeal has been limited. The chief contribution of Cubism to "modern art" was to offer a whole new alternative to conventional perspective, based on the inescapable fact of the flat film plane.

(4) Futurism (fl.1909-14)

Founded by Filippo Tommaso Marinetti (1876-1944), Futurist art glorified speed, engineering science, the machine, the airplane and scientific accomplishment. Although very influential, it borrowed heavily from Neo-Impressionism and Italian Divisionism, as well equally Cubism, especially its fragmented forms and multiple viewpoints. The main contribution of Futurism to "modern fine art" was to introduce movement into the canvas, and to link beauty with scientific advocacy.

(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 made famous by 2 groups in pre-war 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-born artist Wilhelm Lehmbruck (1881-1919) were (and withal are) sublime. The main contribution of expressionism to "modern fine art" was to popularize the thought of subjectivity in painting and sculpture, and to bear witness that representational fine art may legitimately include subjective distortion.

(six) Dada (1916-24)

The first anti-fine art movement, Dada was a revolt against the system which had allowed the carnage of The First World War (1914-eighteen). It rapidly became an anarchistic tendency 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 chief contribution of Dada was to shake up the arts world and to widen the concept of "modern fine art", by embracing totally new types of inventiveness (performance art and readymades) as well as new materials (junk art) and themes. Its seditious sense of humour endured in the Surrealist movement.

(seven) Surrealism (from 1924)

Founded in Paris by writer Andre Breton (1896-1966), Surrealism was 'the' fashionable fine art motion of the inter-war years, although the mode is even so seen today. Composed of abstract and figurative wings, information technology evolved out of the nihilistic Dada movement, nearly of whose members metamorphosed into surrealists, but unlike Dada it was neither anti-art nor political. Surrealist painters used diverse methods - including dreams, hallucinations, automatic or random paradigm generation - to circumvent rational idea processes in creating works of fine art. (For more, please see Automatism in Art.) The main contribution of Surrealism to "modern art" was to generate a refreshingly new set of images. Whether these images were uniquely non-rational is hundred-to-one. But Surrealist art is definitely fun!

(8) Abstract Expressionism (1948-60)

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

(9) Pop Art (Belatedly-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 ascendant avant-garde style until the belatedly 1960s. Using assuming, piece of cake to recognize imagery, and vibrant cake colours, Popular artists like Andy Warhol (1928-87) created an iconography based on photos of popular celebrities similar film-stars, advertisements, posters, consumer product packaging, and comic strips - material that helped to narrow the split between the commercial arts and the fine arts. The chief contribution of abstract expressionism to "modernistic art" was to testify that good art could exist low-forehead, and could be fabricated 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 "Modern Era", arranged in alphabetical order.

• Abstract Expressionist Painting (1947-65)
Umbrella term for mail-war styles known collectively as the New York School.
• American Scene Painting (1925-45)
Realist manner that exalted rural and small boondocks America.
• Armory Show of Modernistic Art (1913)
Basis-breaking exhibition of modern art held in America.
• Art Deco (1925-xl)
Sleek blueprint style associated with the new 'Machine Age'.
• Art Informel (fl.1950s)
European version of Abstruse Expressionism.
• Art Nouveau (1890-1914)
Curvilinear design manner. Also called Jugendstil (Germany), Stile Freedom (Italy).
• Arte Nucleare (1951-60)
Political 'Art Informel-fashion' group that made art for the nuclear era.
• Arts and Crafts Movement (1862-1914)
Anti-mass production motion, championed artisan crafts.
• Ashcan School (1900-1915)
New York grouping whose paintings depicted scenes from poorer areas.
• Australian Impressionism (1886-1900)
Plein-air Heidelberg school named later its camps eastward of Melbourne.
• Biomorphic (Organic) Abstraction (1930s/40s)
Rounded forms based on those institute in nature. See works by Henry Moore.
• Berlin Secession (1898)
Breakaway arts organization led past the creative person Max Liebermann.
• Camden Boondocks Group (1911-13)
Group of English Impressionists led by Walter Sickert.
• Cloisonnism (1888-94)
Style of painting with patches of brilliant color enclosed in thick black outlines.
• COBRA group (1948-1951)
European equivalent of the New York gesturalism or "action painting".
• Colour Field Painting (1948-68)
Mode of Abstruse Expressionism practised by Rothko, Barnett Newman, Clyfford However.
• Constructivism (1914-32)
Artistic, design and architectural movement founded by Vladimir Tatlin.
• Cubism (fl.1908-fourteen)
Encounter above: Virtually Of import Movements
• Dada (1916-24)
Run across above: Most Important Movements
• Der Blaue Reiter (1911-14)
German Expressionist group based in Munich.
• De Stijl (1917-31)
Dutch advanced blueprint group founded by Theo van Doesburg.
• Deutscher Werkbund (1907-33)
German body established to improve German industrial blueprint and crafts.
• Die Brucke (1905-13)
German language Expressionist group in Dresden, later Berlin.
• Divisionism (1884-1904)
The theory backside Neo-Impressionism, also known as Chromoluminarism.
• Existential Fine art (1940s, 1950s)
Mode of painting and sculpture popularized past Robert Lapoujade and Giacometti.
• Expressionist Movement (1880s onwards)
Subjective, often highly coloured and distorted style of painting.
• Fauvism (1905-8)
Meet in a higher place: Nearly Of import Movements
• Fluxus (1960s)
Advanced movement related to Lettrism, Nouveau Realisme and Neo-Dada.
• Futurism (1909-14)
See above: Most Important Movements
• Hard Border Painting (late 1950s, 1960s)
Variant of Post-Painterly Abstraction, a reaction against gesturalism.
• Impressionism (fl. 1870-1880)
Encounter above: Most Of import Movements
• Italian Divisionism (1890-1907)
Post-Impressionist style that drew heavily on Pointillism and Neo-Impressionism.
• Kitchen Sink Art (mid-1950s)
School of mundane realism.
• Macchiaioli (1855-80)
Italian group named after their use of patches (macchia) of color.
• Magic Realism (1920s)
Modern motion noted for its sharp-focus naturalism and offbeat themes.
• Metaphysical Painting (1914-twenty)
Precursor of Surrealism adult by Giorgio de Chirico.
• Minimalism
Art without whatsoever historical, social or aesthetic references.
• Munich Secession (1892)
The outset of the progressive art movements in Europe to pause away from the conservative arts hierarchy.
• 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-institution ethic.
• Neo-Impressionism (1884-1904)
Grouping noted for its employ of small dots of pure paint paint.
• Neo-Plasticism (fl.1918-26)
Rigorous style of brainchild founded by Piet Mondrian.
• Neo-Romanticism (1935-55)
Tendency in British painting to recreate visionary landscapes.
• New Objectivity (Dice Neue Sachlichkeit) (1925-35)
Biting expressionist style which reflected the pessimism of 1920s Germany.
• Nouveau Realisme (1958-seventy)
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 abstract art invented by Robert Delaunay.
• Paris School (Ecole de Paris) (1890-1940)
Label for cluster of modern artists active in Paris, like Picasso, Modigliani.
• Pointillism (1884-1904)
Color theory behind Neo-Impressionism involving small dabs of pure pigment.
• Pop Art (1955-70)
See in a higher place: Most Important Movements
• Post-Impressionism (1880s/90s)
Loose term for a diverseness of painting styles adult in the wake of Impressionism.
• Post-Painterly Abstraction (1955-65)
Term invented by Clement Greenberg for postal service-gesturalism movements.
• Precisionism (fl.1920s)
Way of realist painting influenced by Futurism and Cubism.
• Realism (1850-1900)
Socially aware idiom championed by Courbet.
• Regionalism (Scene Painting) (fl.1930s)
Way of painting which exalted minor town America.
• Social Realism (1930-45)
American mode which commented on the issues of the Low Era.
• Socialist Realism (1928-80)
State controlled propagandist art associated chiefly with the Soviet Marriage.
• St Ives School (1939-75)
Colony of abstract artists led past Ben Nicholson and Barbara Hepworth.
• Suprematism (1913-18)
Fashion of Russian abstract painting developed past Kasimir Malevich.
• Surrealism (1924 onwards)
Encounter to a higher place: 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 past Gauguin, Emile Bernard.
• Tachisme (1950s)
Blotchy class of gestural abstract painting adult in French republic.
• Victorian Art (United kingdom) (1840-1900)
Arts and crafts from the reign of Queen Victoria. See: Victorian architecture.
• Vienna Secession (1897-1939)
Breakaway artist body who rejected the cit'due south conservative Academy of Arts.
• Vingt, Les (1883-93)
Belgian group of progressive artists like James Ensor, Fernand Khnopff.
• Vorticism (1914-15)
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)
I 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). Come 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). See: Post-Impressionist Painters.

Affiche Artists
Centered around La Belle Epoque in Paris, affiche fine 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 fine art nouveau works of Alphonse Mucha (1860-1939). Later on Mucha left for America, the talented Leonetto Cappiello (1875-1942) arrived in Paris from Italy. Another important affiche 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
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 past Fauvism, the Expressionist motility 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 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). See: Cubist Painters.

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

Fine art Deco (1920s, 1930s)
Equally much a decorative art and design motility as a style of painting, its most famous representative was probably the glamorous Polish-Russian club portraitist Tamara de Lempicka (c.1895-1980).

Surrealists
The ascendant 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). Encounter: Surrealist Artists.

Abstract Expressionists
Abstruse expressionist painting was the kickoff slap-up American art movement. Too known equally the New York schoolhouse, its leading members included: Rothko, Pollock, Willem De Kooning (1904-97), Clyfford All the same (1904-1980), Barnett Newman (1905-70), Robert Motherwell (1915-91), Franz Kline (1910-62) and others.

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

Mod 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 advanced 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 past the primitive works of Modigliani (1884-1920) and Jacob Epstein (1880-1959); and the "constitute objects" known equally "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.

Fine art Appreciation
Encounter: How to Appreciate Mod Sculpture (1850-nowadays).

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).

Modern Stained Glass Artists

Amongst the top 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 Hone (1894-1955).

Mod Photgraphers

Mod 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 mode shots of Norman Parkinson (1913-xc), 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 Modern Paintings?

Hither is a chronological listing of the finest examples of modern painting (1870-1970), as selected by our Editor.

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

Trip the light fantastic toe at Le Moulin de la Galette (1876) Musee d'Orsay, Paris
By Renoir (1841-1919)

The Gross Clinic (1875) University of Pennsylvania.
Past Thomas Eakins (1844-1916)

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

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

A Lord's day Afternoon on the Isle of La Grande Jatte (1884-half dozen) AIC.
By Georges Seurat (1859-1891)

Cafe Terrace at Night, Arles (1888) Yale Academy Art Gallery.
By 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-eight) oil & gold 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 Leash (1912) Albright-Knox Fine art Gallery, Buffalo.
By Giacomo Balla (1871-1958)

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

Seated Nude (1916) Courtauld Plant, London.
Past Amedeo Modigliani (1884-1920)

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

Girl with Gloves (1929) Individual Collection.
By Tamara de Lempicka (1895-1980)

American Gothic (1930) oil on beaverboard, Fine art Found of Chicago.
By Grant Wood (1891-1942)

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

Nighthawks (1942) Fine art Plant of Chicago.
By Edward Hopper (1882-1967)

Broadway Boogie Woogie (1942-iii) Museum of Modernistic Fine art, New York.
By Piet Mondrian (1872-1944)

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

Woman 1 (1950-2) Museum of Modern Fine art, New York.
By 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.
By Francis Bacon (1909-92)

Iv Marilyns (1962) Private Drove.
By Andy Warhol (1928-86)

Which are the 25 Greatest Modern Sculptures?

Here is a chronological listing of the all-time 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 Island, New York Harbour.
Past Frederic-Auguste Bartholdi (1834-1904)

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

The Kiss (1888-ix) Marble, Musee Rodin, Paris.
By Auguste Rodin (1840-1917)

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

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

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

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

The Big Equus caballus (1914-18) Original in Philadelphia Museum of Art.
By Raymond Duchamp-Villon (1876-1918)

Terminate of the Trail (1915) Brookgreen Gardens, Murrells Inlet, The states.
Past James Earle Fraser (1876-1953)

Fallen Man (1915-16) New National Gallery, Berlin.
By 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.
Past 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 Firm, Leeds, United kingdom.
By Jacob Epstein (1880-1959)

Fighting Stallions (1950) Hyatt Huntingdon Sculpture Garden, S. 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 Fine 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) Statuary, Fiorini, London.
By Cesar Baldaccini (1921-98)

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

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

The Dachau Memorial (1968) Munich, Germany.
Past Nandor Glid (1924-97)

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

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

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