6 Contemporary Art Is Generally Acknowledged to Begin Around

Mod Fine art
Definition, Characteristics, History, Movements.
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Important Fine art Works

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

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

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

What is Modern Art? (Definition)

There is no precise definition of the term "Modern Art": it remains an elastic term, which can accomodate a diverseness of meanings. This is not likewise surprising, since we are constantly moving forwards in time, and what is considered "modern painting" or "mod sculpture" today, may not be seen as modern in fifty years time. Even so, it is traditional to say that "Modern Fine art" means works produced during the approximate menstruation 1870-1970. This "Modernistic era" followed a long menstruum of domination by Renaissance-inspired academic art, promoted by the network of European Academies of Fine Art. And is itself followed by "Contemporary Fine art" (1970 onwards), the more avant-garde of which is also called "Postmodern Art". This chronology accords with the view of many art critics and institutions, simply not all. Both the Tate Modern in London, and the Musee National d'Art Moderne at the Pompidou Middle in Paris, for case, take 1900 as the starting point for "Mod Art". Also, neither they, nor the Museum of Modern Art in New York, brand any stardom between "modernist" and "postmodernist" works: instead, they see both as phases of "Modern Fine art".

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

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

For important dates, see: History of Art Timeline ( 2.5 1000000 BCE on)

What were the Origins of Modern Art?

To understand how "modern fine art" began, a little historical groundwork 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, ship, and engineering science began to affect how people lived, worked, and travelled, throughout Europe and America. Towns and cities swelled and prospered as people left the land to populate urban factories. These manufacture-inspired social changes led to greater prosperity but also cramped and crowded living weather condition for most workers. In turn, this led to: more need for urban compages; more demand for practical art and blueprint - 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's best art museums were founded past these 19th century tycoons.

In add-on, two other developments had a directly effect on fine art of the menstruation. First, in 1841, the American painter John Rand (1801–1873) invented the collapsible tin paint tube. Second, major advances were made in photography, assuasive artists to photograph scenes which could then be painted in the studio at a after date. Both these developments would greatly benefit a new way of painting known, disparagingly, equally "Impressionism", which would have a radical effect on how artists painted the earth effectually them, and would in the process become the starting time major schoolhouse of modernist art.

As well as affecting how artists created art, 19th century social changes too inspired artists to explore new themes. Instead of slavishly post-obit the Bureaucracy of the Genres and existence 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 class of genre painting and urban landscape. Other subjects were the suburban villages and holiday spots served by the new rails networks, which would inspire new forms of landscape painting past Monet, Matisse and others. The genre of history painting also inverse, cheers to Benjamin Westward (1738-1820) who painted The Death of General Wolfe (1770, National Gallery of Fine art, Ottowa), the first 'contemporary' history painting, and Goya (1746-1828) whose Third of May, 1808 (1814, Prado, Madrid) introduced a ground-breaking, non-heroic idiom.

The 19th century also witnessed a number of philosophical developments which would have a significant effect on art. The growth of political idea, for instance, led Courbet and others to promote a socially conscious form of Realist painting - see also Realism to Impressionism). Also, the publication of The Estimation 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 least coincided with) the emergence of German language Expressionism, as artists turned to expressing their subjective feelings and experiences.

When Did Modern Art Brainstorm?

The date virtually commonly cited every bit marker the birth of "modern art" is 1863 - the year that Edouard Manet (1832-83) exhibited his shocking and irreverent painting Le Dejeuner sur 50'herbe in the Salon des Refuses in Paris. Despite Manet'south respect for the French Academy, and the fact it was modelled on a Renaissance work by Raphael, it was considered to be 1 of the almost scandalous pictures of the period.

Simply 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 bookish art forms of the 18th and early 19th century, and were starting to create a range of "Modern Paintings" based on new themes, new materials, and assuming new methods. Sculpture and architecture were also affected - and in time their changes would be even more revolutionary - only fine art painting proved to be the first major battlefield betwixt the conservatives and the new "Moderns".

What is the Main Characteristic of Modern Art?

What we call "Modern Art" lasted for an entire century and involved dozens of dissimilar fine art movements, embracing almost everything from pure abstraction 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 peachy was the diversity that it is difficult to think of any unifying characteristic which defines the era. Only if there is anything that separates modern artists from both the earlier traditionalists and afterwards postmodernists, information technology is their conventionalities that art mattered. To them, art had real value. By contrast, their precedessors simply assumed it had value. After all they had lived in an era governed past Christian value systems and had merely "followed the rules." And those who came after the Modern period (1970 onwards), the so-called "postmodernists", largely rejected the thought that art (or life) has whatever intrinsic value.

In What Ways was Mod Art Different? (Characteristics)

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

(1) New Types of Fine art

Mod artists were the start to develop collage art, assorted forms of assemblage, a multifariousness of kinetic art (inc mobiles), several genres of photography, animation (drawing plus photography) state fine art or earthworks, and performance art.

(ii) Use 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 almost ordinary everyday items, like cars, clocks, suitcases, wooden boxes and other items.

(3) Expressive Use of Color

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

(4) New Techniques

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

How Did Mod Art Develop Betwixt 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 furnishings of sunlight); Realism (content/theme); Academic Art (classical-style 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 grade of the Secession motion, while the tardily-1890s witnessed the turn down of "nature-based fine art", like Impressionism, which would soon lead to a rise in more serious "bulletin-based" art.

1900-14

In many ways this was the most exciting period of modern art, when everything was notwithstanding possible and when the "machine" was however viewed exclusively every bit a friend of homo. Artists in Paris produced a string of new styles, including Fauvism, Cubism and Orphism, while High german artists launched their own schoolhouse 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 individual perception.

1914-24

The carnage and destruction of The Great State of war changed things utterly. By 1916, the Dada motility was launched, filled with a nihilistic urge to subvert the value organization which had caused Verdun and the Somme. Suddenly representational art seemed obscene. No imagery could compete with photographs of the state of war dead. Already artists had been turning more and more than to non-objective art as a ways of expression. Abstract art movements of the time included Cubism (1908-40), 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 Schoolhouse. Even the few figurative movements were distinctly edgy, such every bit Metaphysical Painting (c.1914-20). But compare the early 20th century Classical Revival in modernistic art and Neoclassical Figure Paintings by Picasso (1906-xxx).

1924-forty

The Inter-war years continued to exist troubled by political and economical troubles. Abstruse painting and sculpture continued to dominate, as true-to-life representational art remained very unfashionable. Even the realist wing of the Surrealism motility - the biggest motility of the period - could manage no more than a fantasy manner of reality. Meantime, a more than sinister reality was emerging on the Continent, in the form of Nazi art and Soviet agit-prop. Merely Art Deco, a rather sleek pattern manner aimed at architecture and applied art, expressed whatever confidence in the future.

1940-60

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

1960s

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

Modern Photographic Fine art

One of the most of import and influential new media which came to prominence during the "Modern Era" is photography. Four genres in particular have 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 photographer manipulates a regular photo in order to create an "creative" prototype; Fashion Photography (1880-present) a blazon of photography devoted to the promotion of clothing, shoes, perfume and other branded goods; Documentary Photography (1860-nowadays), a type of sharp-focus camerawork that captures a moment of reality, so equally to present a bulletin most what is happening in the globe; and Street Photography (1900-present), the art of capturing risk interactions of human being activeness in urban areas. Practiced by many of the world's greatest photographers, these genres accept made a major contribution to modern art of the 20th century.

Modern Architecture

Modernism in compages is a more than convoluted affair. The word "modernism" in building blueprint was first used in America during the 1880s to describe skyscrapers designed by the Chicago School of Architecture (1880-1910), such every bit The Montauk Building (1882-83) designed past Burnham and Root; the Habitation Insurance Building (1884) designed by William Le Businesswoman Jenney; and the Marshall Field Warehouse (1885-7) designed past Henry Hobson Richardson. In the 20th century, a new type of design emerged, known as the International Mode of Mod Architecture (c.1920-70). Beginning in Germany, Holland and France, in the easily of Le Corbusier (1887-1965), Walter Gropius (1883-1969) and others, it spread to America where it became the dominant idiom for commercial skyscrapers, thanks to the efforts of Mies van der Rohe (1886-1969), formerly director of the Bauhaus School. Later, the middle of mod building 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 Fine art End? What Replaced information technology?

Modernism didn't just stop, it was gradually overtaken past events during the tardily 1960s - a period which coincided with the rise of mass pop-culture and also with the rise of anti-disciplinarian challenges (in social and political areas as well every bit 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 wait increasingly old-fashioned, it gave fashion to what is known every bit "Gimmicky Art" - meaning "art of the present era". The term "Contemporary Fine art" is neutral as to the progressiveness of the art in question, and then some other phrase - "postmodernism" - is often used to announce recent avant-garde fine art. Schools of "postmodernist art" advocate a new set of aesthetics characterized past a greater focus on medium and style. For instance, they emphasize style over substance (eg. not 'what' but 'how'; not 'art for fine art's sake', only 'style for fashion's sake'), and place much greater importance on creative person-communication with the audience.

What are the Almost Important Movements of Modern Art?

The most influential movements of "modernistic fine art" are (i) Impressionism; (2) Fauvism; (iii) Cubism; (4) Futurism; (5) Expressionism; (6) Dada; (vii) Surrealism; (viii) Abstract Expressionism; and (9) Pop Art.

(1) Impressionism (1870s, 1880s)

Exemplified by the landscape paintings of Claude Monet (1840-1926), Impressionism focused on the almost impossible task of capturing fleeting moments of light and colour. Introduced non-naturalist color schemes, and loose - often highly textured - brushwork. Shut-up 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. Somewhen became the world's most famous painting movement. See: Characteristics of Impressionist Painting (1870-1910). The main contribution of Impressionism to "modern fine art" was to legitimize the employ of non-naturalist colours, thus paving the mode for the wholly non-naturalist abstract art of the 20th century.

(two) Fauvism (1905-vii)

Curt-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 vivid, garish, not-naturalist colours that made Impressionism appear almost monochrome! A fundamental precursor of expressionism. See: History of Expressionist Painting (1880-1930). The main contribution of Fauvism to "modern art" was to demonstrate the independent ability of colour. This highly subjective approach to art was in dissimilarity 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 system of flat splintered planes as an culling 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 subsequently Synthetic Cubism - it influenced abstract art for the next 50 years, although its pop entreatment has been express. The principal contribution of Cubism to "modernistic art" was to offer a whole new culling to conventional perspective, based on the inescapable fact of the apartment picture show aeroplane.

(4) Futurism (fl.1909-fourteen)

Founded by Filippo Tommaso Marinetti (1876-1944), Futurist art glorified speed, technology, the automobile, 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 main contribution of Futurism to "modern fine art" was to introduce movement into the sail, and to link beauty with scientific advancement.

(5) Expressionism (from 1905)

Although predictable by artists like JMW Turner (Interior at Petworth, 1837), Van Gogh (Wheat Field with Crows, 1890) and Paul Gauguin (Anna The Javanese, 1893), expressionism was made famous past 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 main contribution of expressionism to "modernistic art" was to popularize the thought of subjectivity in painting and sculpture, and to show that representational art may legitimately include subjective distortion.

(6) Dada (1916-24)

The commencement anti-art movement, Dada was a revolt against the organization which had immune the carnage of The First World War (1914-18). It rapidly became an anarchistic tendency whose aim was to subvert the arts institution. Launched in neutral Switzerland in 1916, its leaders were in their early twenties, and most 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 upwards the arts world and to widen the concept of "modern art", by embracing totally new types of creativity (performance art and readymades) every bit well equally new materials (junk art) and themes. Its seditious sense of sense of humor endured in the Surrealist movement.

(7) Surrealism (from 1924)

Founded in Paris by writer Andre Breton (1896-1966), Surrealism was 'the' fashionable fine art movement of the inter-state of war years, although the style is still seen today. Composed of abstract and figurative wings, it evolved out of the nihilistic Dada motion, about 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 epitome generation - to circumvent rational thought processes in creating works of art. (For more, delight see Automatism in Fine art.) The main contribution of Surrealism to "modern fine art" was to generate a refreshingly new set of images. Whether these images were uniquely non-rational is doubtful. But Surrealist art is definitely fun!

(viii) Abstruse Expressionism (1948-60)

A broad style of abstract painting, developed in New York just after World State of war II, hence it is too called the New York Schoolhouse. Spearheaded by American artists - themselves strongly influenced by European expatriates - it consisted of two main styles: a highly animated grade of gestural painting, popularized by Jackson Pollock (1912-56), and a much more passive mood-oriented fashion known equally Color Field painting, championed by Marking Rothko (1903-70). The main contribution of abstract expressionism to "modern art" was to popularize abstraction. In Pollock'southward instance, by inventing a new style known equally "action painting" - run across photos past text; in Rothko's example, past demonstrating the emotional bear upon of big areas of colour.

(ix) Pop Fine art (Belatedly-1950s, 1960s)

A mode of fine art whose images reflected the popular culture and mass consumerism of 1960s America. First emerging in New York and London during the late 1950s, it became the dominant avant-garde style until the late 1960s. Using assuming, like shooting fish in a barrel to recognize imagery, and vibrant block colours, Pop artists like Andy Warhol (1928-87) created an iconography based on photos of pop celebrities similar picture-stars, advertisements, posters, consumer production packaging, and comic strips - cloth that helped to narrow the separate between the commercial arts and the fine arts. The main contribution of abstruse expressionism to "mod art" was to show that good art could exist depression-brow, and could exist made of anything. See: Andy Warhol's Pop Art (c.1959-73).

A-Z List of Modern Fine 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 post-war styles known collectively every bit the New York School.
• American Scene Painting (1925-45)
Realist style that exalted rural and small town America.
• Armory Show of Modern Art (1913)
Basis-breaking exhibition of modern fine art held in America.
• Fine art Deco (1925-40)
Sleek design style associated with the new 'Machine Age'.
• Art Informel (fl.1950s)
European version of Abstract Expressionism.
• Fine art Nouveau (1890-1914)
Curvilinear design style. Also called Jugendstil (Germany), Stile Liberty (Italy).
• Arte Nucleare (1951-60)
Political 'Fine art Informel-style' grouping that made art for the nuclear era.
• Arts and Crafts Movement (1862-1914)
Anti-mass product 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 school named after its camps e of Melbourne.
• Biomorphic (Organic) Abstraction (1930s/40s)
Rounded forms based on those constitute in nature. Come across works by Henry Moore.
• Berlin Secession (1898)
Breakaway arts organization led by the artist Max Liebermann.
• Camden Town Group (1911-13)
Group of English language Impressionists led past Walter Sickert.
• Cloisonnism (1888-94)
Mode of painting with patches of vivid colour enclosed in thick black outlines.
• COBRA group (1948-1951)
European equivalent of the New York gesturalism or "action painting".
• Colour Field Painting (1948-68)
Way of Abstract Expressionism practised by Rothko, Barnett Newman, Clyfford Still.
• Constructivism (1914-32)
Creative, design and architectural movement founded by Vladimir Tatlin.
• Cubism (fl.1908-14)
See above: Near Important Movements
• Dada (1916-24)
Meet higher up: Almost Important Movements
• Der Blaue Reiter (1911-14)
German Expressionist group based in Munich.
• De Stijl (1917-31)
Dutch avant-garde design group founded by Theo van Doesburg.
• Deutscher Werkbund (1907-33)
German language body established to amend German language industrial design and crafts.
• Die Brucke (1905-xiii)
German Expressionist group in Dresden, later Berlin.
• Divisionism (1884-1904)
The theory behind Neo-Impressionism, too known as Chromoluminarism.
• Existential Art (1940s, 1950s)
Fashion of painting and sculpture popularized past Robert Lapoujade and Giacometti.
• Expressionist Motility (1880s onwards)
Subjective, often highly coloured and distorted style of painting.
• Fauvism (1905-eight)
See higher up: 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 Border Painting (late 1950s, 1960s)
Variant of Post-Painterly Abstraction, a reaction against gesturalism.
• Impressionism (fl. 1870-1880)
Meet 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 grouping named after their use of patches (macchia) of color.
• Magic Realism (1920s)
Modern movement noted for its sharp-focus naturalism and offbeat themes.
• Metaphysical Painting (1914-20)
Precursor of Surrealism developed past Giorgio de Chirico.
• Minimalism
Art without any historical, social or aesthetic references.
• Munich Secession (1892)
The get-go 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 art.
• Neo-Dada (1953-65)
Style noted for its use of unorthodox materials, and anti-establishment ethic.
• Neo-Impressionism (1884-1904)
Group noted for its use of minor dots of pure pigment pigment.
• Neo-Plasticism (fl.1918-26)
Rigorous fashion of brainchild founded by Piet Mondrian.
• Neo-Romanticism (1935-55)
Trend in British painting to recreate visionary landscapes.
• New Objectivity (Die Neue Sachlichkeit) (1925-35)
Biting expressionist style which reflected the cynicism of 1920s Germany.
• Nouveau Realisme (1958-70)
Imaginative avant-garde precursor of postmodernism founded by Yves Klein.
• Op-Art (fl.1965-lxx)
Course of abstract painting based on optical illusions.
• Orphism (1914-15)
Colourful idiom of abstract fine art invented by Robert Delaunay.
• Paris School (Ecole de Paris) (1890-1940)
Label for cluster of modernistic artists active in Paris, like Picasso, Modigliani.
• Pointillism (1884-1904)
Colour theory behind Neo-Impressionism involving small dabs of pure pigment.
• Pop Art (1955-seventy)
See in a higher place: Most Important Movements
• Post-Impressionism (1880s/90s)
Loose term for a multifariousness of painting styles developed in the wake of Impressionism.
• Post-Painterly Abstraction (1955-65)
Term invented by Clement Greenberg for mail-gesturalism movements.
• Precisionism (fl.1920s)
Style of realist painting influenced by Futurism and Cubism.
• Realism (1850-1900)
Socially aware idiom championed past Courbet.
• Regionalism (Scene Painting) (fl.1930s)
Style of painting which exalted small town America.
• Social Realism (1930-45)
American way which commented on the issues of the Depression Era.
• Socialist Realism (1928-lxxx)
State controlled propagandist art associated chiefly with the Soviet Union.
• St Ives School (1939-75)
Colony of abstruse artists led by Ben Nicholson and Barbara Hepworth.
• Suprematism (1913-18)
Style of Russian abstract painting developed by Kasimir Malevich.
• Surrealism (1924 onwards)
See above: Most Important Movements
• Symbolism (1880s/90s)
Symbolists sought a reality from within their imagination and dreams.
• Synthetism (1888-94)
Noted for its flat areas of color. Invented by Gauguin, Emile Bernard.
• Tachisme (1950s)
Blotchy course of gestural abstract painting adult in France.
• Victorian Fine art (U.k.) (1840-1900)
Arts and crafts from the reign of Queen Victoria. Run into: Victorian architecture.
• Vienna Secession (1897-1939)
Breakaway artist torso who rejected the cit'southward conservative University of Arts.
• Vingt, Les (1883-93)
Belgian group of progressive artists like James Ensor, Fernand Khnopff.
• Vorticism (1914-15)
English Cubist-style painting adult by Percy Wyndham Lewis.

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

Who are the Greatest Mod Artists?

Modernistic Painters

Impressionists (flourished 1870-1880)
One of the near 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 Vocalizer Sargent (1856-1925). See 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.

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

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

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

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

Cubists (flourished 1908-14)
This revolutionary abstract fine art motility was co-founded by Braque and Picasso, and received valuable contributions from modernistic artists similar: 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). See: Abstract Painters.

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

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

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

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

Modernistic Sculptors

Leading sculptors during the modernistic era included: the expressive realist Auguste Rodin (1840-1917); the expressionists Ernst Barlach (1870-1938) and Wilhelm Lehmbruck (1881-1919); the avant-garde artist Constantin Brancusi (1876-1957); the Futurist Umberto Boccioni (1882-1916), the Cubists Alexander Archipenko (1887-1964), Raymond Duchamp-Villon (1876-1918), Ossip Zadkine (1890-1967), Jacques Lipchitz (1891-1973) and Naum Gabo (1890-1977); the kineticists Alexander Calder (1898-1976) and Jean Tinguely (1925-91); and the Swiss minimalist sculptor Alberto Giacometti (1901-66). Other modernist forms are represented by the archaic works of Modigliani (1884-1920) and Jacob Epstein (1880-1959); and the "found objects" known every bit "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 across likewise: 20th Century Sculptors.

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

Modern Printmakers

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

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 Strop (1894-1955).

Modern Photgraphers

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

Which are the 25 Greatest Modernistic Paintings?

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

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

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

The Gross Clinic (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 Island of La Grande Jatte (1884-6) AIC.
By Georges Seurat (1859-1891)

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

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

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

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

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

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

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

Dynamism of a Domestic 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)

Daughter with Gloves (1929) Private Collection.
By Tamara de Lempicka (1895-1980)

American Gothic (1930) oil on beaverboard, Art Constitute 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 Art, New York.
By Piet Mondrian (1872-1944)

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

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

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

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

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

Which are the 25 Greatest Modernistic Sculptures?

Here is a chronological list 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 Isle, New York Harbour.
By Frederic-Auguste Bartholdi (1834-1904)

Little 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'Fine art Moderne, Pompidou Centre, Paris.
By Andre Derain (1880-1954)

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

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

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

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

End of the Trail (1915) Brookgreen Gardens, Murrells Inlet, USA.
By James Earle Fraser (1876-1953)

Fallen Man (1915-sixteen) 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.
By Daniel Chester French (1850-1931)

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

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

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

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

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

Sky Cathedral (1958) Aggregation, The Museum of Modern Art, New York.
By Louise Nevelson (1899-1988)

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

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

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

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

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

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

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

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