What Caused Popular or Low Art to Speed Rapidly Between the Years of 1905 1918?

Modern Art
Definition, Characteristics, History, Movements.
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Important Art Works

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

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 Modern Art? (Definition)

There is no precise definition of the term "Modernistic Fine art": information technology remains an elastic term, which can accomodate a variety of meanings. This is not besides surprising, since we are constantly moving forward in time, and what is considered "modern painting" or "modernistic sculpture" today, may not be seen as modernistic in fifty years time. Fifty-fifty so, it is traditional to say that "Modern Art" means works produced during the approximate flow 1870-1970. This "Modern era" followed a long period of domination past Renaissance-inspired academic art, promoted past the network of European Academies of Fine Art. And is itself followed past "Contemporary Art" (1970 onwards), the more avant-garde of which is too called "Postmodern Art". This chronology accords with the view of many art critics and institutions, simply non all. Both the Tate Modern in London, and the Musee National d'Fine art Moderne at the Pompidou Centre in Paris, for example, take 1900 as the starting point for "Modern Fine art". As well, neither they, nor the Museum of Modern Art in New York, make any distinction betwixt "modernist" and "postmodernist" works: instead, they see both as phases of "Modern Fine art".

Incidentally, when trying to understand the history of art it's important to recognize that art does not change overnight, but rather reflects wider (and slower) changes taking place in club. It also reflects the outlook of the creative person. Thus, for case, a work of art produced as early as 1958 might be incomparably "postmodernist" (if the artist has a very avant-garde outlook - a proficient example is Yves Klein's Nouveau Realisme); while another work, created by a conservative creative person in 1980, might be seen every bit a throw-back to the time of "Modern Art" rather than an example of "Contemporary Art". In fact, information technology'southward probably true to say that several different strands of fine art - pregnant several sets of aesthetics, some hypermodern, some former-fashioned - may co-exist at any one fourth dimension. Also, it'south worth remembering that many of these terms (like "Modernistic Art") are only invented after the event, from the vantage point of hindsight.

NOTE: The 1960s is generally seen as 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 into: History of Art Timeline ( ii.5 meg BCE on)

What were the Origins of Modern Fine art?

To empathize how "mod fine art" began, a trivial historical background is useful. The 19th century was a time of pregnant and quickly increasing change. As a result of the Industrial Revolution (c.1760-1860) enormous changes in manufacturing, transport, and technology began to bear upon how people lived, worked, and travelled, throughout Europe and America. Towns and cities swelled and prospered every bit people left the state to populate urban factories. These industry-inspired social changes led to greater prosperity but also cramped and crowded living conditions for most workers. In turn, this led to: more demand for urban architecture; more demand for applied art and design - see, for instance the Bauhaus School - and the emergence of a new form of wealthy entrepreneurs who became art collectors and patrons. Many of the world's all-time art museums were founded past these 19th century tycoons.

In addition, two other developments had a direct outcome on fine art of the period. Outset, in 1841, the American painter John Rand (1801–1873) invented the collapsible can paint tube. Second, major advances were made in photography, allowing artists to photograph scenes which could then be painted in the studio at a later date. Both these developments would greatly benefit a new style of painting known, disparagingly, every bit "Impressionism", which would have a radical result on how artists painted the world around them, and would in the process become the starting time major schoolhouse of modernist art.

Every bit well as affecting how artists created art, 19th century social changes too inspired artists to explore new themes. Instead of slavishly following the Hierarchy of the Genres and being content with academic subjects involving faith 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 class of genre painting and urban landscape. Other subjects were the suburban villages and holiday spots served by the new rail networks, which would inspire new forms of landscape painting by Monet, Matisse and others. The genre of history painting also inverse, cheers to Benjamin West (1738-1820) who painted The Decease of General Wolfe (1770, National Gallery of Art, Ottowa), the first 'gimmicky' history painting, and Goya (1746-1828) whose 3rd of May, 1808 (1814, Prado, Madrid) introduced a footing-breaking, non-heroic idiom.

The 19th century as well witnessed a number of philosophical developments which would have a significant effect on fine art. The growth of political thought, for case, led Courbet and others to promote a socially witting form of Realist painting - see 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 later Surrealism. The new cocky-consciousness which Freud promoted, led to (or at to the lowest degree coincided with) the emergence of German language Expressionism, equally artists turned to expressing their subjective feelings and experiences.

When Did Modernistic Art Brainstorm?

The date nearly commonly cited as marking the birth of "modernistic 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'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 nearly scandalous pictures of the period.

Simply this was merely a symbol of wider changes that were taking place in diverse types of fine art, both in France and elsewhere in Europe. A new generation of "Modernistic Artists" were fed up 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 compages were as well afflicted - and in time their changes would be even more than revolutionary - but fine fine art painting proved to be the starting time major battleground betwixt the conservatives and the new "Moderns".

What is the Master Feature of Modern Art?

What we call "Modern Art" lasted for an unabridged century and involved dozens of different art movements, embracing almost everything from pure brainchild to hyperrealism; from anti-art schools like Dada and Fluxus to classical painting and sculpture; from Art Nouveau to Bauhaus and Pop Fine art. So great was the diversity that information technology is difficult to call up of whatever unifying characteristic which defines the era. But if at that place 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 dissimilarity, their precedessors simply causeless information technology 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 subsequently the Modern period (1970 onwards), the and so-called "postmodernists", largely rejected the idea that art (or life) has any intrinsic value.

In What Means was Modern Fine art Dissimilar? (Characteristics)

Although in that location is no single defining characteristic of "Modern Art", it was noted for a number of important characteristics, as follows:

(one) New Types of Art

Modern artists were the first to develop collage art, assorted forms of assemblage, a variety of kinetic art (inc mobiles), several genres of photography, animation (drawing plus photography) land art or excavation, and performance art.

(2) Utilise of New Materials

Modern painters affixed objects to their canvases, such equally 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.

(3) Expressive Use of Color

Movements of modern art similar Fauvism, Expressionism and Color Field painting were the beginning to exploit colour in a major mode.

(4) New Techniques

Chromolithography was invented by the affiche creative person Jules Cheret, automatic cartoon was developed by surrealist painters, every bit was Frottage and Decalcomania. Gesturalist painters invented Activeness Painting. Popular 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 Art, Neo-Dada and Op-Art.

How Did Modernistic Fine art Develop Between 1870 and 1970?

1870-1900

Although in some means the last third of the 19th century was dominated by the new Impressionist style of painting, in reality there were several pioneering strands of modern art, each with its own particular focus. They included: Impressionism (accuracy in capturing effects of sunlight); Realism (content/theme); Academic Art (classical-style true-life pictures); Romanticism (mood); Symbolism (enigmatic iconography); lithographic affiche art (assuming motifs and colours). The concluding 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 soon lead to a rise in more serious "message-based" fine art.

1900-fourteen

In many ways this was the most exciting period of modern art, when everything was still possible and when the "motorcar" was still viewed exclusively every bit a friend of man. Artists in Paris produced a string of new styles, including Fauvism, Cubism and Orphism, while High 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 machine, and expressionism championed private perception.

1914-24

The carnage and devastation of The Not bad War changed things utterly. By 1916, the Dada movement was launched, filled with a nihilistic urge to subvert the value organization which had acquired Verdun and the Somme. Suddenly representational fine art seemed obscene. No imagery could compete with photographs of the state of war dead. Already artists had been turning more than and more than to non-objective art equally a means of expression. Abstract art movements of the time included Cubism (1908-xl), Vorticism (1914-fifteen), 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. Fifty-fifty the few figurative movements were distinctly edgy, such as Metaphysical Painting (c.1914-20). Just compare the early 20th century Classical Revival in modern art and Neoclassical Figure Paintings past Picasso (1906-thirty).

1924-forty

The Inter-war years continued to be troubled by political and economic troubles. Abstract painting and sculpture continued to dominate, as true-to-life representational art remained very unfashionable. Fifty-fifty the realist wing of the Surrealism movement - the biggest movement of the period - could manage no more a fantasy style of reality. Concurrently, a more than sinister reality was emerging on the Continent, in the class of Nazi art and Soviet agit-prop. Just Art Deco, a rather sleek design style aimed at architecture and practical art, expressed any confidence in the future.

1940-60

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 it has remained ever since. About all future globe record prices would be achieved in the New York sales rooms of Christie's and Sotheby's. Concurrently, the unspeakable miracle of Auschwitz had undermined the value of all realist art, except for Holocaust art of those affected. Every bit a result 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, Activity-Painting, Gesturalism, Tachisme, Colour Field Painting, Lyrical Brainchild, 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 avant-garde kind, such as Kinetic fine 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 telly was reflected in the Pop-Fine art movement, whose images of Hollywood celebrities, and iconography of popular civilisation, celebrated the success of America'due south mass consumerism. It also had a cool 'hip' experience 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 motility led by George Maciunas, Joseph Beuys, Nam June Paik and Wolf Vostell. Downward-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 rising of another high-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.

Mod Photographic Art

I of the most of import and influential new media which came to prominence during the "Mod Era" is photography. Iv genres in detail take become established. They include: Portrait Photography, a genre that has largely replaced painted portraits; Pictorialism (fl.1885-1915) a type of photographic camera 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 wearable, shoes, perfume and other branded goods; Documentary Photography (1860-present), a type of precipitous-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-present), the art of capturing chance interactions of human activity in urban areas. Practiced by many of the earth's greatest photographers, these genres take made a major contribution to modern fine art of the 20th century.

Modern Architecture

Modernism in architecture is a more convoluted thing. The word "modernism" in building design was offset used in America during the 1880s to describe skyscrapers designed past the Chicago Schoolhouse of Architecture (1880-1910), such as The Montauk Building (1882-83) designed by Burnham and Root; the Abode 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 pattern emerged, known every bit the International Style of Modern Architecture (c.1920-70). 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 it became the ascendant idiom for commercial skyscrapers, thank you to the efforts of Mies van der Rohe (1886-1969), formerly director of the Bauhaus School. Later on, the centre of mod edifice design was established permanently in the Us, mainly due to the advent of supertall skyscraper architecture, which was and then exported effectually the globe.

When Did Modernistic Art Cease? What Replaced information technology?

Modernism didn't simply stop, information technology was gradually overtaken by events during the late 1960s - a flow which coincided with the rise of mass pop-culture and also with the rise of anti-disciplinarian challenges (in social and political areas equally well as the arts) to the existing orthodoxies. A key year was 1968, which witnessed the Tet Offensive, the assassinations of Martin Luther King and Bobby Kennedy, and street demonstrations throughout the capitals of Europe. As Modernism began to look increasingly quondam-fashioned, it gave mode to what is known as "Contemporary Fine art" - meaning "art of the present era". The term "Gimmicky Art" is neutral as to the progressiveness of the fine art in question, and and then another phrase - "postmodernism" - is often used to denote contempo advanced fine art. Schools of "postmodernist fine art" advocate a new set of aesthetics characterized by a greater focus on medium and way. For instance, they emphasize style over substance (eg. not 'what' but 'how'; not 'art for art's sake', but 'style for way's sake'), and place much greater importance on artist-communication with the audience.

What are the Virtually Important Movements of Modern Fine art?

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

(1) Impressionism (1870s, 1880s)

Exemplified by the mural paintings of Claude Monet (1840-1926), Impressionism focused on the almost impossible task of capturing fleeting moments of lite and colour. Introduced not-naturalist color schemes, and loose - often highly textured - brushwork. Close-up 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 globe's about famous painting motility. See: Characteristics of Impressionist Painting (1870-1910). The main contribution of Impressionism to "modern fine art" was to legitimize the use of non-naturalist colours, thus paving the way for the wholly non-naturalist abstract art of the 20th century.

(2) Fauvism (1905-7)

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 style was launched at the Salon d'Automne, and became instantly famous for its brilliant, garish, non-naturalist colours that made Impressionism announced virtually monochrome! A cardinal precursor of expressionism. See: History of Expressionist Painting (1880-1930). The main contribution of Fauvism to "modernistic art" was to demonstrate the contained power 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 way of painting, Cubism introduced a compositional system of apartment splintered planes equally an alternative to Renaissance-inspired linear perspective and rounded volumes. Adult by Pablo Picasso (1881-1973) and Georges Braque (1882-1963) in 2 variants - Analytical Cubism and later Constructed Cubism - it influenced abstract fine art for the next l years, although its popular appeal has been limited. The main contribution of Cubism to "modernistic art" was to offer a whole new alternative to conventional perspective, based on the inescapable fact of the flat movie plane.

(4) Futurism (fl.1909-14)

Founded by Filippo Tommaso Marinetti (1876-1944), Futurist art glorified speed, engineering, the auto, the airplane and scientific achievement. Although very influential, it borrowed heavily from Neo-Impressionism and Italian Divisionism, also as Cubism, especially its fragmented forms and multiple viewpoints. The principal contribution of Futurism to "modern art" was to introduce motility into the canvas, and to link beauty with scientific advancement.

(5) 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 fabricated famous past ii 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 still are) sublime. The primary contribution of expressionism to "modern art" was to popularize the thought of subjectivity in painting and sculpture, and to evidence that representational fine art may legitimately include subjective distortion.

(6) Dada (1916-24)

The offset anti-fine art movement, Dada was a revolt against the system which had allowed the carnage of The First World War (1914-xviii). Information technology rapidly became an unconventional tendency whose aim was to subvert the arts institution. Launched in neutral Switzerland in 1916, its leaders were in their early twenties, and near 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 Romanaian poet and demonic activist Tristan Tzara (1896-1963). The main contribution of Dada was to shake upward the arts world and to widen the concept of "modern fine art", past embracing totally new types of creativity (operation art and readymades) as well as new materials (junk art) and themes. Its seditious sense of sense of humor endured in the Surrealist motility.

(7) Surrealism (from 1924)

Founded in Paris by writer Andre Breton (1896-1966), Surrealism was 'the' fashionable art movement of the inter-war years, although the style is even so seen today. Composed of abstruse and figurative wings, information technology evolved out of the nihilistic Dada movement, most of whose members metamorphosed into surrealists, simply 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 idea processes in creating works of fine art. (For more, please see Automatism in Art.) The main contribution of Surrealism to "modernistic art" was to generate a refreshingly new prepare of images. Whether these images were uniquely not-rational is doubtful. But Surrealist art is definitely fun!

(8) Abstract Expressionism (1948-60)

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

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

A manner of art whose images reflected the popular culture and mass consumerism of 1960s America. Commencement emerging in New York and London during the late 1950s, it became the dominant avant-garde style 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 similar film-stars, advertisements, posters, consumer product packaging, and comic strips - fabric that helped to narrow the divide betwixt the commercial arts and the fine arts. The main contribution of abstract expressionism to "modern art" was to show that adept art could be low-brow, and could be made of anything. See: Andy Warhol's Pop Fine 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 gild.

• Abstruse 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 modest town America.
• Armory Show of Modern Art (1913)
Footing-breaking exhibition of modern art held in America.
• Art Deco (1925-40)
Sleek blueprint style associated with the new 'Machine Age'.
• Art Informel (fl.1950s)
European version of Abstract Expressionism.
• Art Nouveau (1890-1914)
Curvilinear blueprint manner. Also called Jugendstil (Germany), Stile Liberty (Italy).
• Arte Nucleare (1951-60)
Political 'Art Informel-fashion' group that fabricated art for the nuclear era.
• Craft Motility (1862-1914)
Anti-mass production movement, championed artisan crafts.
• Ashcan School (1900-1915)
New York group whose paintings depicted scenes from poorer areas.
• Australian Impressionism (1886-1900)
Plein-air Heidelberg schoolhouse named afterwards its camps e 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 by the creative person Max Liebermann.
• Camden Town Group (1911-13)
Group of English Impressionists led by Walter Sickert.
• Cloisonnism (1888-94)
Way of painting with patches of brilliant colour enclosed in thick black outlines.
• COBRA grouping (1948-1951)
European equivalent of the New York gesturalism or "action painting".
• Color Field Painting (1948-68)
Style of Abstract Expressionism practised past Rothko, Barnett Newman, Clyfford Still.
• Constructivism (1914-32)
Artistic, blueprint and architectural movement founded by Vladimir Tatlin.
• Cubism (fl.1908-14)
Meet above: About Important Movements
• Dada (1916-24)
Meet above: Nigh Of import Movements
• Der Blaue Reiter (1911-14)
German Expressionist group based in Munich.
• De Stijl (1917-31)
Dutch avant-garde blueprint grouping founded past Theo van Doesburg.
• Deutscher Werkbund (1907-33)
German trunk established to improve High german industrial blueprint and crafts.
• Die Brucke (1905-thirteen)
German Expressionist group in Dresden, later Berlin.
• Divisionism (1884-1904)
The theory behind Neo-Impressionism, also known as Chromoluminarism.
• Existential Art (1940s, 1950s)
Mode of painting and sculpture popularized by Robert Lapoujade and Giacometti.
• Expressionist Motion (1880s onwards)
Subjective, often highly coloured and distorted manner of painting.
• Fauvism (1905-viii)
See above: Most Important Movements
• Fluxus (1960s)
Avant-garde movement related to Lettrism, Nouveau Realisme and Neo-Dada.
• Futurism (1909-xiv)
See above: Nigh Important Movements
• Hard Edge Painting (late 1950s, 1960s)
Variant of Postal service-Painterly Abstraction, a reaction confronting gesturalism.
• Impressionism (fl. 1870-1880)
See above: Most Important Movements
• Italian Divisionism (1890-1907)
Post-Impressionist mode 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 colour.
• Magic Realism (1920s)
Modernistic movement noted for its abrupt-focus naturalism and offbeat themes.
• Metaphysical Painting (1914-20)
Precursor of Surrealism developed past Giorgio de Chirico.
• Minimalism
Fine art without whatever 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)
Group of Parisian artists noted for their decorative fine art.
• Neo-Dada (1953-65)
Mode noted for its utilise of unorthodox materials, and anti-establishment ethic.
• Neo-Impressionism (1884-1904)
Group noted for its utilise of small dots of pure paint pigment.
• Neo-Plasticism (fl.1918-26)
Rigorous style of abstraction founded past Piet Mondrian.
• Neo-Romanticism (1935-55)
Trend in British painting to recreate visionary landscapes.
• New Objectivity (Die Neue Sachlichkeit) (1925-35)
Bitter expressionist style which reflected the cynicism of 1920s Germany.
• Nouveau Realisme (1958-70)
Imaginative advanced forerunner of postmodernism founded by Yves Klein.
• Op-Art (fl.1965-70)
Form of abstract painting based on optical illusions.
• Orphism (1914-fifteen)
Colourful idiom of abstract fine art invented by Robert Delaunay.
• Paris School (Ecole de Paris) (1890-1940)
Label for cluster of mod artists active in Paris, like Picasso, Modigliani.
• Pointillism (1884-1904)
Colour theory behind Neo-Impressionism involving small-scale dabs of pure paint.
• Popular Art (1955-70)
Come across higher up: Most Important Movements
• Mail-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 aware idiom championed by Courbet.
• Regionalism (Scene Painting) (fl.1930s)
Style of painting which exalted minor town America.
• Social Realism (1930-45)
American style which commented on the bug of the Depression Era.
• Socialist Realism (1928-80)
State controlled propagandist art associated chiefly with the Soviet Spousal relationship.
• St Ives School (1939-75)
Colony of abstract artists led past Ben Nicholson and Barbara Hepworth.
• Suprematism (1913-xviii)
Style of Russian abstract painting adult by Kasimir Malevich.
• Surrealism (1924 onwards)
Encounter above: About Of import 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 abstract painting developed in French republic.
• Victorian Art (Britain) (1840-1900)
Craft from the reign of Queen Victoria. Run across: Victorian architecture.
• Vienna Secession (1897-1939)
Breakaway artist trunk who rejected the cit's conservative University of Arts.
• Vingt, Les (1883-93)
Belgian group of progressive artists like James Ensor, Fernand Khnopff.
• Vorticism (1914-fifteen)
English Cubist-style painting developed by Percy Wyndham Lewis.

For more than details, meet: Modern Fine art Movements (c.1870-1970).

Who are the Greatest Modern Artists?

Modern Painters

Impressionists (flourished 1870-1880)
1 of the most revolutionary movements of mod 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). Meet Impressionist Painters.

Post-Impressionists (flourished 1880-1900)
Mod 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.

Poster Artists
Centered around La Belle Epoque in Paris, affiche art was exemplified by the creativity (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 fine art nouveau works of Alphonse Mucha (1860-1939). Afterwards Mucha left for America, the talented Leonetto Cappiello (1875-1942) arrived in Paris from Italy. Another important poster and ready 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). Come across too: Realist Artists.

Expressionists (flourished 1905-1933)
Influenced by Fauvism, the Expressionist motion 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 motility 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). Encounter: Cubist Painters.

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

Fine art Deco (1920s, 1930s)
As much a decorative art and design movement as a style of painting, its about famous representative was probably the glamorous Smoothen-Russian society portraitist Tamara de Lempicka (c.1895-1980).

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

Abstract Expressionists
Abstruse expressionist painting was the kickoff peachy American art motion. 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.

Popular-Artists
This pop way of modern art superceded the more intellectual Abstract Expressionism and was exemplified by 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 by the archaic works of Modigliani (1884-1920) and Jacob Epstein (1880-1959); and the "institute 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 past 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). Run into besides: 20th Century Sculptors.

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

Modern Printmakers

Modernistic 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

Among the top exponents of stained 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

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 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 Modern Paintings?

Here is a chronological list of the finest examples of modern painting (1870-1970), as 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
By Renoir (1841-1919)

The Gross Dispensary (1875) Academy 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.
Past Ilya Repin (1844-1930)

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

Buffet 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 Buss (1907-eight) oil & aureate on sheet, Osterreichischegallerie, Vienna.
By Gustav Klimt (1862-1918)

Les Demoiselles d'Avignon (1907) Museum of Modern 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.2 (1912) Philadelphia Museum of Art.
By 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.
By 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 Institute of Chicago.
By Edward Hopper (1882-1967)

Broadway Boogie Woogie (1942-3) Museum of Modern 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 ane (1950-2) Museum of Modern Art, New York.
By Willem De Kooning (1904-97)

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

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

4 Marilyns (1962) Private Collection.
Past Andy Warhol (1928-86)

Which are the 25 Greatest Modern Sculptures?

Here 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.
By Marius Jean Antonin Mercier (1845-1916)

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

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

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

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

The Kiss (1907) Rock, Hamburgerkunsthalle, Hamburg.
Past 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 Modern Art, NY.
By Umberto Boccioni (1882-1916)

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

Stop of the Trail (1915) Brookgreen Gardens, Murrells Inlet, United states.
By James Earle Fraser (1876-1953)

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

Constructed 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 Collection.
Past Jacques Lipchitz (1891-1973)

Mount Rushmore Presidential Portraits (1927-41) Southward Dakota.
By 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, Due south. Carolina.
By Anna Hyatt Huntingdon (1876-1973)

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

Sky Cathedral (1958) Assemblage, The Museum of Modern Fine art, New York.
By Louise Nevelson (1899-1988)

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

Divided Caput (1963) Statuary, Fiorini, London.
Past Cesar Baldaccini (1921-98)

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

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

The Dachau Memorial (1968) Munich, Federal republic of germany.
Past 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, encounter: Homepage.

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