Modern art

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Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. [1] The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. [2] Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art.

Contents

Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubists Georges Braque, André Derain, Raoul Dufy, Jean Metzinger and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's two versions of The Dance signified a key point in his career and in the development of modern painting. [3] It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.

At the start of 20th-century Western painting, and Initially influenced by Toulouse-Lautrec, Gauguin and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practiced by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. [4] [5]

The notion of modern art is closely related to modernism. [lower-alpha 1]

History

Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892 Henri de Toulouse-Lautrec 065.jpg
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Paul Gauguin, Spirit of the Dead Watching 1892, Albright-Knox Art Gallery Paul Gauguin- Manao tupapau (The Spirit of the Dead Keep Watch).JPG
Paul Gauguin, Spirit of the Dead Watching 1892, Albright-Knox Art Gallery
Georges Seurat, Models (Les Poseuses) 1886-88, Barnes Foundation Georges Seurat - Les Poseuses.jpg
Georges Seurat, Models (Les Poseuses) 1886–88, Barnes Foundation
The Scream by Edvard Munch, 1893 Edvard Munch, 1893, The Scream, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway.jpg
The Scream by Edvard Munch, 1893
Pablo Picasso, Family of Saltimbanques, 1905, National Gallery of Art, Washington, DC. Family of Saltimbanques.JPG
Pablo Picasso, Family of Saltimbanques , 1905, National Gallery of Art, Washington, DC.
Jean Metzinger, 1907, Paysage colore aux oiseaux aquatiques, oil on canvas, 74 x 99 cm, Musee d'Art Moderne de la Ville de Paris Jean Metzinger, 1907, Paysage colore aux oiseaux aquatique, oil on canvas, 74 x 99 cm, Musee d'Art Moderne de la Ville de Paris.jpg
Jean Metzinger, 1907, Paysage coloré aux oiseaux aquatiques , oil on canvas, 74 x 99 cm, Musée d’Art Moderne de la Ville de Paris
Klimt in a light Blue Smock by Egon Schiele, 1913 Egon Schiele - Gustav Klimt im blauen Malerkittel - 1913.jpeg
Klimt in a light Blue Smock by Egon Schiele, 1913
I and the Village by Marc Chagall, 1911 Chagall IandTheVillage.jpg
I and the Village by Marc Chagall, 1911
Black Square by Kasimir Malevich, 1915 Malevich.black-square.jpg
Black Square by Kasimir Malevich, 1915
Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg
Marcel Duchamp, Fountain , 1917. Photograph by Alfred Stieglitz
Wassily Kandinsky, On White II, 1923 Vassily Kandinsky, 1923 - On White II.jpg
Wassily Kandinsky, On White II, 1923
Edouard Manet, The Luncheon on the Grass (Le dejeuner sur l'herbe), 1863, Musee d'Orsay, Paris Edouard Manet - Luncheon on the Grass - Google Art Project.jpg
Édouard Manet, The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863, Musée d'Orsay, Paris

Roots in the 19th century

Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. [7] The date perhaps most commonly identified as marking the birth of modern art is 1863, [7] the year that Édouard Manet showed his painting Le déjeuner sur l'herbe in the Salon des Refusés in Paris. Earlier dates have also been proposed, among them 1855 (the year Gustave Courbet exhibited The Artist's Studio ) and 1784 (the year Jacques-Louis David completed his painting The Oath of the Horatii ). [7] In the words of art historian H. Harvard Arnason: "Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning .... A gradual metamorphosis took place in the course of a hundred years." [7]

The strands of thought that eventually led to modern art can be traced back to the Enlightenment. [lower-alpha 2] The important modern art critic Clement Greenberg, for instance, called Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from the outside ... . Modernism criticizes from the inside." [9] The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and accustomed the public to vigorous political and social debate. This gave rise to what art historian Ernst Gombrich called a "self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper." [10]

The pioneers of modern art were Romantics, Realists and Impressionists. [11] [ failed verification ] By the late 19th century, additional movements which were to be influential in modern art had begun to emerge: post-Impressionism and Symbolism.

Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the coloristic innovations of Turner and Delacroix, to a search for more realism in the depiction of common life, as found in the work of painters such as Jean-François Millet. The advocates of realism stood against the idealism of the tradition-bound academic art that enjoyed public and official favor. [12] The most successful painters of the day worked either through commissions or through large public exhibitions of their own work. There were official, government-sponsored painters' unions, while governments regularly held public exhibitions of new fine and decorative arts.

The Impressionists argued that people do not see objects but only the light which they reflect, and therefore painters should paint in natural light (en plein air) rather than in studios and should capture the effects of light in their work. [13] Impressionist artists formed a group, Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions. [14] The style was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a "movement". These traits—establishment of a working method integral to the art, establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art.

Early 20th century

Pablo Picasso Les Demoiselles d'Avignon 1907, Museum of Modern Art, New York Les Demoiselles d'Avignon.jpg
Pablo Picasso Les Demoiselles d'Avignon 1907, Museum of Modern Art, New York
Henri Matisse, The Dance I, 1909, Museum of Modern Art, New York La danse (I) by Matisse.jpg
Henri Matisse, The Dance I , 1909, Museum of Modern Art, New York

Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism, and Futurism.

During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade, a member of the jury at the Salon d'Automne where he exhibited three of his dreamlike works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, and his work was noticed by Pablo Picasso, Guillaume Apollinaire, and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. Song of Love (1914) is one of the most famous works by de Chirico and is an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924.

World War I brought an end to this phase but indicated the beginning of a number of anti-art movements, such as Dada, including the work of Marcel Duchamp, and of Surrealism. Artist groups like de Stijl and Bauhaus developed new ideas about the interrelation of the arts, architecture, design, and art education.

Modern art was introduced to the United States with the Armory Show in 1913 and through European artists who moved to the U.S. during World War I.

After World War II

It was only after World War II, however, that the U.S. became the focal point of new artistic movements. [15] The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Conceptual artists of Art & Language, Pop art, Op art, Hard-edge painting, Minimal art, Lyrical Abstraction, Fluxus, Happening, Video art, Postminimalism, Photorealism and various other movements. In the late 1960s and the 1970s, Land art, Performance art, Conceptual art, and other new art forms had attracted the attention of curators and critics, at the expense of more traditional media. [16] Larger installations and performances became widespread.

By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art. [17] Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of neo-expressionism and the revival of figurative painting. [18]

Towards the end of the 20th century, a number of artists and architects started questioning the idea of "the modern" and created typically Postmodern works. [19]

Art movements and artist groups

(Roughly chronological with representative artists listed.)

19th century

Early 20th century (before World War I)

World War I to World War II

After World War II

Important modern art exhibitions and museums

Belgium

Brazil

Colombia

Croatia

Ecuador

Finland

France

Germany

India

Iran

Ireland

Italy

Mexico

Netherlands

Norway

Qatar

Romania

Russia

Serbia

Spain

Sweden

Taiwan

United Kingdom

United States

See also

Notes

  1. "One way of understanding the relation of the terms 'modern,' 'modernity,' and 'modernism' is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity ... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries. Social modernity is the home of modernist art, even where that art rebels against it." — Lawrence E. Cahoone [6]
  2. "In the seventeenth and eighteenth centuries momentum began to gather behind a new view of the world, which would eventually create a new world, the modern world." — Lawrence E. Cahoone [8]

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Cubism Early-20th-century avant-garde art movement

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris or near Paris (Puteaux) during the 1910s and throughout the 1920s.

Abstract expressionism is a post–World War II art movement in American painting, developed in New York City in the 1940s. It was the first specifically American movement to achieve international influence and put New York at the center of the Western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.

Abstract art Art with a degree of independence from visual references in the world

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Postmodern art Art movement

Postmodern art is a body of art movements that sought to contradict some aspects of modernism or some aspects that emerged or developed in its aftermath. In general, movements such as intermedia, installation art, conceptual art and multimedia, particularly involving video are described as postmodern.

An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde movement.

Jean Metzinger French painter (1883-1956)

Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.

20th-century art history of art during the 20th century

Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century. Nineteenth-century movements of Post-Impressionism, Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France and Die Brücke in Germany. Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism. Another German group was Der Blaue Reiter, led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of abstract art. Cubism, generated by Picasso, Braque, Metzinger, Gleizes and others rejected the plastic norms of the Renaissance by introducing multiple perspectives into a two-dimensional image. Futurism incorporated the depiction of movement and machine age imagery. Dadaism, with its most notable exponents, Marcel Duchamp, who rejected conventional art styles altogether by exhibiting found objects, notably a urinal, and too Francis Picabia, with his Portraits Mécaniques.

Western painting art produced in the Western world

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In the visual arts, late modernism encompasses the overall production of most recent art made between the aftermath of World War II and the early years of the 21st century. The terminology often points to similarities between late modernism and post-modernism although there are differences. The predominant term for art produced since the 1950s is contemporary art. Not all art labelled as contemporary art is modernist or post-modern, and the broader term encompasses both artists who continue to work in modern and late modernist traditions, as well as artists who reject modernism for post-modernism or other reasons. Arthur Danto argues explicitly in After the End of Art that contemporaneity was the broader term, and that postmodern objects represent a subsector of the contemporary movement which replaced modernity and modernism, while other notable critics: Hilton Kramer, Robert C. Morgan, Kirk Varnedoe, Jean-François Lyotard and others have argued that postmodern objects are at best relative to modernist works.

20th-century Western painting art in the Western world during the 20th century

20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.

Fauvism Artistic style

Fauvism /ˈfoʊvɪzm̩/ is the style of les Fauves, a group of early 20th-century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions. The leaders of the movement were André Derain and Henri Matisse.

Cubist sculpture sculptures made during the Cubist art movement

Cubist sculpture developed in parallel with Cubist painting, beginning in Paris around 1909 with its proto-Cubist phase, and evolving through the early 1920s. Just as Cubist painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids; cubes, spheres, cylinders, and cones. Presenting fragments and facets of objects that could be visually interpreted in different ways had the effect of 'revealing the structure' of the object. Cubist sculpture essentially is the dynamic rendering of three-dimensional objects in the language of non-Euclidean geometry by shifting viewpoints of volume or mass in terms of spherical, flat and hyperbolic surfaces.

William Stanley Rubin was an American art scholar. a distinguished curator, critic, collector, art historian and teacher of modern art.

Proto-Cubism Phase in art history

Proto-Cubism is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse. With its roots stemming from at least the late 19th century this period can be characterized by a move towards the radical geometrization of form and a reduction or limitation of the color palette. It is essentially the first experimental and exploratory phase of an art movement that would become altogether more extreme, known from the spring of 1911 as Cubism.

Léonce Rosenberg

Léonce Rosenberg was an art collector, writer, publisher, and one of the most influential French art dealers of the 20th century. His greatest impact was as a supporter and promoter of the cubists, especially during World War I and in the years immediately after.

<i>La Femme aux Phlox</i>

La Femme aux Phlox, also known as Woman with Phlox or Woman with Flowers, is an oil painting created in 1910 by the French artist and theorist Albert Gleizes (1881–1953). The painting was exhibited in Room 41 at the Salon des Indépendants in the Spring of 1911 ; the exhibition that introduced Cubism as a group manifestation to the general public for the first time. The complex collection of geometric masses in restrained colors exhibited in Room 41 created a scandal from which Cubism spread throughout Paris, France, Europe and the rest of the world. It was from the preview of the works by Gleizes, Jean Metzinger, Henri Le Fauconnier, Robert Delaunay, and Fernand Léger at the 1911 Indépendants that the term 'Cubism' can be dated. La Femme aux Phlox was again exhibited the following year at the Salon de la Section d'Or, Galerie La Boétie, 1912. La Femme aux Phlox was reproduced in The Cubist Painters, Aesthetic Meditations by Guillaume Apollinaire, published in 1913. The same year, the painting was again revealed to the general public, this time in the United States, at the International Exhibition of Modern Art, New York, Chicago, and Boston. The work is now in the Museum of Fine Arts, Houston, Gift of the Esther Florence Whinery Goodrich Foundation in 1965.

Daniel Robbins (art historian)

Daniel J. Robbins was an American art historian, art critic, and curator, who specialized in avant-garde 20th-century art and helped encourage the study of it. Robbins' area of scholarship was on the theoretical and philosophical origins of Cubism. His writings centered on the importance of artists such as Albert Gleizes, Jean Metzinger, Henri Le Fauconnier and Jacques Villon. He was a specialist in early Modernism, writing on Salon Cubists and championed contemporaries such as Louise Bourgeois and the Color Field painters. Art historian Peter Brooke referred to Robbins as "the great pioneer of the broader history of Cubism".

<i>The Cubist Painters, Aesthetic Meditations</i>

Les Peintres Cubistes, Méditations Esthétiques, is a book written by Guillaume Apollinaire between 1905 and 1912, published in 1913. This was the third major text on Cubism; following Du "Cubisme" by Albert Gleizes and Jean Metzinger (1912); and André Salmon, Histoire anecdotique du cubisme (1912).

Albert Kostin (1892–1984) was an American painter, born in Russia. He started his career around 1912 in Paris, where he specialized in cubism. Later, in the US, he became a respected member of the New York School of abstract-expressionism. Albert Kostin was directly influenced by Pablo Picasso and worked with Jackson Pollock.

References

  1. Atkins 1997, pp.  118–119.
  2. Gombrich 1995, p.  557.
  3. Clement 1996, p. 114.
  4. Scobie 1988, pp.  103–107.
  5. John-Steiner 2006, p.  69.
  6. Cahoone 1996, p.  13.
  7. 1 2 3 4 Arnason & Prather 1998, p.  17.
  8. Cahoone 1996, p.  27.
  9. Greenberg 1982, p.  5.
  10. Gombrich 1995, p.  477.
  11. Arnason & Prather 1998, p.  22.
  12. Corinth et al. 1996, p. 25.
  13. Cogniat 1975, p. 61.
  14. Cogniat 1975, pp. 43–49.
  15. Saunders 2013.
  16. Mullins 2006, p. 14.
  17. Mullins 2006, p. 9.
  18. Mullins 2006, pp. 14–15.
  19. Jencks 1987, p. [ page needed ].
  20. Lander 2006.
  21. Times of India Travel 2015.

Sources

Further reading