Alfred Stieglitz Was the Cheif Proponent of European Modern Art in

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

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

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

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

What is Modern Fine art? (Definition)

In that location is no precise definition of the term "Modern Art": it remains an elastic term, which can accomodate a variety of meanings. This is non too surprising, since we are constantly moving forward in time, and what is considered "modern painting" or "mod sculpture" today, may not be seen as modern in fifty years time. Even and so, it is traditional to say that "Modern Art" means works produced during the judge menses 1870-1970. This "Modern era" followed a long menses of domination past Renaissance-inspired academic art, promoted by the network of European Academies of Fine art. And is itself followed by "Gimmicky Art" (1970 onwards), the more avant-garde of which is too chosen "Postmodern Art". This chronology accords with the view of many fine art critics and institutions, but not all. Both the Tate Modern in London, and the Musee National d'Art Moderne at the Pompidou Middle in Paris, for example, accept 1900 as the starting point for "Modern Fine art". Likewise, neither they, nor the Museum of Modern Art in New York, brand whatever stardom between "modernist" and "postmodernist" works: instead, they run into both as phases of "Mod Art".

Incidentally, when trying to understand the history of art information technology's important to recognize that art does not change overnight, but rather reflects wider (and slower) changes taking identify in lodge. It also reflects the outlook of the creative person. Thus, for example, a work of fine art produced as early as 1958 might be decidedly "postmodernist" (if the artist has a very advanced outlook - a good instance is Yves Klein's Nouveau Realisme); while another piece of work, created by a bourgeois creative person in 1980, might be seen equally a throw-back to the time of "Modern Fine art" rather than an example of "Gimmicky Fine art". In fact, it's probably true to say that several different strands of art - meaning several sets of aesthetics, some hypermodern, some former-fashioned - may co-exist at any one time. As well, it'due south worth remembering that many of these terms (like "Modern Art") are simply invented after the issue, from the vantage bespeak of hindsight.

Notation: The 1960s is generally seen as the decade when artistic values gradually changed, from "modernist" to "postmodernist". This means that for a catamenia of fourth dimension both sets of values co-existed with each other.

For important dates, meet: History of Art Timeline ( ii.v million BCE on)

What were the Origins of Mod Art?

To empathise how "modern art" began, a footling historical background is useful. The 19th century was a time of meaning and rapidly increasing modify. As a result of the Industrial Revolution (c.1760-1860) enormous changes in manufacturing, transport, and technology began to touch how people lived, worked, and travelled, throughout Europe and America. Towns and cities swelled and prospered equally people left the land to populate urban factories. These industry-inspired social changes led to greater prosperity but also cramped and crowded living conditions for almost workers. In plough, this led to: more demand for urban architecture; more need for applied art and design - run across, for instance the Bauhaus School - and the emergence of a new grade of wealthy entrepreneurs who became art collectors and patrons. Many of the world's all-time fine art museums were founded by these 19th century tycoons.

In improver, two other developments had a directly effect on fine fine art of the menses. First, in 1841, the American painter John Rand (1801–1873) invented the collapsible tin can paint tube. Second, major advances were made in photography, assuasive artists to photograph scenes which could so be painted in the studio at a afterward date. Both these developments would greatly benefit a new style of painting known, disparagingly, as "Impressionism", which would accept a radical effect on how artists painted the globe around them, and would in the process become the first major school of modernist art.

Every bit well as affecting how artists created fine art, 19th century social changes besides inspired artists to explore new themes. Instead of slavishly following the Hierarchy of the Genres and beingness content with bookish 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 nigh 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 vacation 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 as well changed, cheers to Benjamin Westward (1738-1820) who painted The Decease of General Wolfe (1770, National Gallery of Art, Ottowa), the beginning 'gimmicky' 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 take a significant effect on art. The growth of political thought, for instance, led Courbet and others to promote a socially conscious form of Realist painting - see as well Realism to Impressionism). Too, the publication of The Interpretation of Dreams (1899) by Sigmund Freud, popularized the notion of the "hidden mind", causing artists to explore Symbolism and later Surrealism. The new self-consciousness which Freud promoted, led to (or at to the lowest degree coincided with) the emergence of German Expressionism, equally artists turned to expressing their subjective feelings and experiences.

When Did Modernistic Fine art Begin?

The date most commonly cited equally marking the birth of "modern art" is 1863 - the twelvemonth that Edouard Manet (1832-83) exhibited his shocking and irreverent painting Le Dejeuner sur l'herbe in the Salon des Refuses in Paris. Despite Manet's respect for the French Academy, and the fact it was modelled on a Renaissance work past Raphael, it was considered to exist one of the most scandalous pictures of the period.

Only this was merely a symbol of wider changes that were taking place in various types of art, both in France and elsewhere in Europe. A new generation of "Mod Artists" were fed up with post-obit the traditional academic art forms of the 18th and early on 19th century, and were starting to create a range of "Modern Paintings" based on new themes, new materials, and bold new methods. Sculpture and architecture were also affected - and in time their changes would be even more than revolutionary - merely fine fine art painting proved to be the beginning major battleground between the conservatives and the new "Moderns".

What is the Master Characteristic of Modern Art?

What nosotros call "Modern Art" lasted for an entire century and involved dozens of dissimilar 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 Popular Fine art. And so cracking was the multifariousness that it is difficult to think of any unifying characteristic which defines the era. But if there is anything that separates mod artists from both the earlier traditionalists and later postmodernists, it is their belief that art mattered. To them, art had existent value. By contrast, their precedessors simply assumed 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 afterward the Mod period (1970 onwards), the so-called "postmodernists", largely rejected the idea that art (or life) has any intrinsic value.

In What Ways was Modern Art Different? (Characteristics)

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

(1) New Types of Art

Modernistic 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 earthworks, and performance art.

(2) Use of New Materials

Modern painters affixed objects to their canvases, such as fragments of paper 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, like cars, clocks, suitcases, wooden boxes and other items.

(3) Expressive Utilise of Colour

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

(4) New Techniques

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

How Did Mod 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 mod 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 affiche fine art (bold motifs and colours). The concluding decade saw a number of revolts confronting the Academies and their 'Salons', in the form of the Secession move, while the late-1890s witnessed the decline of "nature-based art", like Impressionism, which would before long lead to a ascent in more serious "message-based" art.

1900-fourteen

In many ways this was the nigh exciting period of modern fine art, when everything was notwithstanding possible and when the "auto" was all the same viewed exclusively as a friend of man. Artists in Paris produced a cord of new styles, including Fauvism, Cubism and Orphism, while German artists launched their own school of expressionist painting. All these progressive movements rejected traditionalist attitudes to art and sought to champion their own 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 War changed things utterly. By 1916, the Dada movement was launched, filled with a nihilistic urge to subvert the value organisation which had caused Verdun and the Somme. Suddenly representational art seemed obscene. No imagery could compete with photographs of the war expressionless. Already artists had been turning more and more to non-objective art every bit a means of expression. Abstract art movements of the time included Cubism (1908-40), Vorticism (1914-15), Suprematism (1913-18), Constructivism (1914-32), De Stijl (1917-31), Neo-Plasticism (1918-26), Elementarism (1924-31), the Bauhaus (1919-33) and the after St Ives School. Fifty-fifty the few figurative movements were distinctly edgy, such as Metaphysical Painting (c.1914-20). Merely compare the early 20th century Classical Revival in modern art and Neoclassical Figure Paintings by Picasso (1906-30).

1924-40

The Inter-state of war years continued to be troubled by political and economical troubles. Abstract painting and sculpture continued to dominate, equally true-to-life representational art remained very unfashionable. Even the realist wing of the Surrealism movement - the biggest motion of the period - could manage no more a fantasy mode of reality. Concurrently, a more than sinister reality was emerging on the Continent, in the class of Nazi fine art and Soviet agit-prop. But Art Deco, a rather sleek design manner aimed at compages and practical art, expressed whatsoever confidence in the future.

1940-lx

The art earth was transformed by the catastrophe of Globe State of war Ii. To brainstorm with, its heart of gravity moved from Paris to New York, where it has remained always since. Nearly all future world record prices would be achieved in the New York sales rooms of Christie'southward and Sotheby'south. Meantime, the unspeakable miracle of Auschwitz had undermined the value of all realist art, except for Holocaust art of those affected. As a result of all this, the adjacent major international movement - Abstract Expressionism - was created past American artists of the New York Schoolhouse. Indeed, for the next 20 years, brainchild would dominate, every bit new movements rolled off the line. They included: Fine art Informel, Activeness-Painting, Gesturalism, Tachisme, Colour Field Painting, Lyrical Abstraction, Hard Edge Painting, and COBRA, a grouping best known for its kid-like imagery, and expressive brushstrokes. During the 1950s other tendencies emerged, of a more than 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 idiot box was reflected in the Pop-Art movement, whose images of Hollywood celebrities, and iconography of popular culture, celebrated the success of America's mass consumerism. It also had a cool 'hip' feel and helped to dispel some of the early on 60s gloom associated with the Cuban 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. Downwardly-to-earth Popular-fine art was also a welcome counterpoint to the more erudite Abstract Expressionism, which was already started to fade. But the 1960s also saw the rise of another high-brow movement known as Minimalism, a grade of painting and sculpture purged of all external references or gestures - dissimilar the emotion-charged idiom of Abstract Expressionism.

Modern Photographic Fine art

One of the virtually important 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 camera art in which the lensman manipulates a regular photo in order to create an "creative" image; Style Photography (1880-present) a type of photography devoted to the promotion of vesture, shoes, perfume and other branded goods; Documentary Photography (1860-nowadays), a type of sharp-focus camerawork that captures a moment of reality, then as to nowadays a message most what is happening in the world; and Street Photography (1900-nowadays), the art of capturing chance interactions of human being activity in urban areas. Practiced by many of the earth's greatest photographers, these genres have made a major contribution to modern art of the 20th century.

Modern Compages

Modernism in architecture is a more than convoluted thing. The word "modernism" in edifice design was kickoff used in America during the 1880s to depict skyscrapers designed by the Chicago School of Architecture (1880-1910), such equally The Montauk Building (1882-83) designed by Burnham and Root; the Habitation Insurance Building (1884) designed by William Le Baron Jenney; and the Marshall Field Warehouse (1885-7) designed by Henry Hobson Richardson. In the 20th century, a new type of design emerged, known as the International Style of Mod Architecture (c.1920-70). Beginning in Germany, The netherlands 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, thanks to the efforts of Mies van der Rohe (1886-1969), formerly manager of the Bauhaus Schoolhouse. Later, the eye of modern building design was established permanently in the United States, mainly due to the advent of supertall skyscraper architecture, which was then exported around the globe.

When Did Modernistic Art End? What Replaced it?

Modernism didn't just stop, it was gradually overtaken by events during the late 1960s - a menstruum which coincided with the rising of mass pop-civilization and also with the rise of anti-disciplinarian challenges (in social and political areas every bit well as the arts) to the existing orthodoxies. A cardinal yr 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 "Contemporary Art" is neutral as to the progressiveness of the art in question, and and so another phrase - "postmodernism" - is oftentimes used to announce recent advanced art. Schools of "postmodernist art" abet a new set of aesthetics characterized by a greater focus on medium and manner. For case, they emphasize style over substance (eg. not 'what' simply 'how'; non 'fine art for art's sake', but 'style for style'due south sake'), and place much greater importance on artist-communication with the audience.

What are the Virtually Of import Movements of Modernistic Art?

The most influential movements of "modern art" are (ane) Impressionism; (2) Fauvism; (3) Cubism; (4) Futurism; (5) Expressionism; (vi) Dada; (7) Surrealism; (8) Abstruse Expressionism; and (9) Pop Art.

(1) Impressionism (1870s, 1880s)

Exemplified by the landscape paintings of Claude Monet (1840-1926), Impressionism focused on the most impossible task of capturing fleeting moments of lite and colour. Introduced non-naturalist colour schemes, and loose - often highly textured - brushwork. Close-upwards many Impressionist paintings were unrecognizable. Highly unpopular with the general public and the arts authorities, although highly rated by other mod artists, dealers and collectors. Eventually became the world's most famous painting movement. See: Characteristics of Impressionist Painting (1870-1910). The master contribution of Impressionism to "modern art" was to legitimize the use of non-naturalist colours, thus paving the style for the wholly non-naturalist abstract art of the 20th century.

(2) Fauvism (1905-7)

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 manner was launched at the Salon d'Automne, and became instantly famous for its brilliant, garish, non-naturalist colours that made Impressionism appear almost monochrome! A primal precursor of expressionism. Run across: History of Expressionist Painting (1880-1930). The principal contribution of Fauvism to "modernistic art" was to demonstrate the independent power of colour. This highly subjective arroyo to art was in contrast to the classical content-oriented outlook of the academies.

(iii) Cubism (fl.1908-14)

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

(iv) Futurism (fl.1909-14)

Founded by Filippo Tommaso Marinetti (1876-1944), Futurist art glorified speed, engineering science, the auto, the airplane and scientific accomplishment. Although very influential, information technology borrowed heavily from Neo-Impressionism and Italian Divisionism, too every bit Cubism, especially its fragmented forms and multiple viewpoints. The main contribution of Futurism to "modern fine art" was to introduce move into the sail, and to link beauty with scientific advocacy.

(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 made famous by ii groups in pre-state of 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 creative person Wilhelm Lehmbruck (1881-1919) were (and nonetheless are) sublime. The primary contribution of expressionism to "modernistic art" was to popularize the thought of subjectivity in painting and sculpture, and to show that representational fine art may legitimately include subjective distortion.

(6) Dada (1916-24)

The first anti-fine art movement, Dada was a revolt against the system which had immune the carnage of The Beginning Globe War (1914-18). It rapidly became an anarchistic trend whose aim was to subvert the arts establishment. Launched in neutral Switzerland in 1916, its leaders were in their early twenties, and most had "opted out", fugitive conscription in the shelter of neutral cities such equally 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 primary contribution of Dada was to milk shake up the arts world and to widen the concept of "modern art", by embracing totally new types of inventiveness (performance fine art and readymades) as well as new materials (junk art) and themes. Its seditious 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 way is still seen today. Composed of abstract 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, automated or random image generation - to circumvent rational thought processes in creating works of art. (For more than, please see Automatism in Art.) The main contribution of Surrealism to "modern art" was to generate a refreshingly new set of images. Whether these images were uniquely non-rational is doubtful. But Surrealist art is definitely fun!

(8) Abstract Expressionism (1948-60)

A broad style of abstract painting, developed in New York but after Globe State of war II, hence information technology is besides called the New York School. Spearheaded by American artists - themselves strongly influenced by European expatriates - it consisted of two main styles: a highly animated course of gestural painting, popularized by Jackson Pollock (1912-56), and a much more passive mood-oriented fashion known as Color Field painting, championed past Mark Rothko (1903-70). The main contribution of abstract expressionism to "modernistic art" was to popularize brainchild. In Pollock's case, by inventing a new style known as "activeness painting" - run across photos by text; in Rothko'due south case, by demonstrating the emotional bear upon of large areas of color.

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

A mode of art whose images reflected the popular culture and mass consumerism of 1960s America. Kickoff emerging in New York and London during the tardily 1950s, information technology became the dominant avant-garde style until the late 1960s. Using bold, piece of cake to recognize imagery, and vibrant block colours, Pop artists like Andy Warhol (1928-87) created an iconography based on photos of popular celebrities like motion picture-stars, advertisements, posters, consumer production packaging, and comic strips - textile that helped to narrow the split between the commercial arts and the fine arts. The principal contribution of abstract expressionism to "modern art" was to show that skillful fine art could be low-brow, and could be made of annihilation. See: Andy Warhol'southward Pop 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 social club.

• 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 pocket-size town America.
• Armory Bear witness of Modern Art (1913)
Ground-breaking exhibition of mod fine art held in America.
• Art Deco (1925-40)
Sleek design mode associated with the new 'Machine Age'.
• Fine art Informel (fl.1950s)
European version of Abstract Expressionism.
• Fine art Nouveau (1890-1914)
Curvilinear design manner. Likewise called Jugendstil (Federal republic of germany), Stile Liberty (Italy).
• Arte Nucleare (1951-60)
Political 'Art Informel-style' group that made art for the nuclear era.
• Arts and crafts Motion (1862-1914)
Anti-mass production movement, championed artisan crafts.
• Ashcan Schoolhouse (1900-1915)
New York group whose paintings depicted scenes from poorer areas.
• Australian Impressionism (1886-1900)
Plein-air Heidelberg school named afterward its camps east of Melbourne.
• Biomorphic (Organic) Brainchild (1930s/40s)
Rounded forms based on those found in nature. See works by Henry Moore.
• Berlin Secession (1898)
Breakaway arts organization led by the artist Max Liebermann.
• Camden Boondocks Group (1911-13)
Group of English Impressionists led by Walter Sickert.
• Cloisonnism (1888-94)
Style of painting with patches of bright colour enclosed in thick black outlines.
• COBRA group (1948-1951)
European equivalent of the New York gesturalism or "action painting".
• Colour Field Painting (1948-68)
Style of Abstract Expressionism practised by Rothko, Barnett Newman, Clyfford Still.
• Constructivism (1914-32)
Artistic, pattern and architectural movement founded by Vladimir Tatlin.
• Cubism (fl.1908-14)
See in a higher place: Nearly Of import Movements
• Dada (1916-24)
See above: Most Important Movements
• Der Blaue Reiter (1911-fourteen)
German Expressionist group based in Munich.
• De Stijl (1917-31)
Dutch avant-garde blueprint group founded by Theo van Doesburg.
• Deutscher Werkbund (1907-33)
German body established to improve German industrial design and crafts.
• Die Brucke (1905-13)
German Expressionist group in Dresden, subsequently Berlin.
• Divisionism (1884-1904)
The theory backside Neo-Impressionism, besides known every bit Chromoluminarism.
• Existential Art (1940s, 1950s)
Mode 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 to a higher place: Near Of import Movements
• Fluxus (1960s)
Avant-garde movement related to Lettrism, Nouveau Realisme and Neo-Dada.
• Futurism (1909-14)
See above: About Important Movements
• Hard Edge Painting (late 1950s, 1960s)
Variant of Postal service-Painterly Brainchild, a reaction against gesturalism.
• Impressionism (fl. 1870-1880)
Meet higher up: Most Important Movements
• Italian Divisionism (1890-1907)
Postal service-Impressionist fashion that drew heavily on Pointillism and Neo-Impressionism.
• Kitchen Sink Art (mid-1950s)
School of mundane realism.
• Macchiaioli (1855-eighty)
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 by Giorgio de Chirico.
• Minimalism
Art without any historical, social or aesthetic references.
• Munich Secession (1892)
The start of the progressive fine art movements in Europe to break away from the conservative arts bureaucracy.
• Nabis, Les (1890s)
Grouping 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 small dots of pure paint pigment.
• Neo-Plasticism (fl.1918-26)
Rigorous manner of abstraction founded by Piet Mondrian.
• Neo-Romanticism (1935-55)
Tendency in British painting to recreate visionary landscapes.
• New Objectivity (Die Neue Sachlichkeit) (1925-35)
Biting expressionist style which reflected the cynicism of 1920s Federal republic of germany.
• Nouveau Realisme (1958-70)
Imaginative avant-garde precursor of postmodernism founded by Yves Klein.
• Op-Fine art (fl.1965-70)
Form of abstract painting based on optical illusions.
• Orphism (1914-15)
Colourful idiom of abstract fine art invented by Robert Delaunay.
• Paris Schoolhouse (Ecole de Paris) (1890-1940)
Label for cluster of modern artists agile in Paris, like Picasso, Modigliani.
• Pointillism (1884-1904)
Colour theory behind Neo-Impressionism involving small dabs of pure paint.
• Pop Art (1955-70)
Encounter higher up: Most Important Movements
• Post-Impressionism (1880s/90s)
Loose term for a diverseness 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)
Way of realist painting influenced past Futurism and Cubism.
• Realism (1850-1900)
Socially enlightened idiom championed by Courbet.
• Regionalism (Scene Painting) (fl.1930s)
Style of painting which exalted small town America.
• Social Realism (1930-45)
American style which commented on the bug of the Depression Era.
• Socialist Realism (1928-80)
State controlled propagandist fine art associated chiefly with the Soviet Union.
• St Ives School (1939-75)
Colony of abstract artists led by Ben Nicholson and Barbara Hepworth.
• Suprematism (1913-18)
Mode 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 colour. Invented by Gauguin, Emile Bernard.
• Tachisme (1950s)
Blotchy form of gestural abstruse painting developed in France.
• Victorian Art (U.k.) (1840-1900)
Arts and crafts from the reign of Queen Victoria. See: Victorian architecture.
• Vienna Secession (1897-1939)
Breakaway artist body who rejected the cit's conservative Academy of Arts.
• Vingt, Les (1883-93)
Belgian group of progressive artists like James Ensor, Fernand Khnopff.
• Vorticism (1914-fifteen)
English Cubist-way painting developed past Percy Wyndham Lewis.

For more details, see: Modernistic Art Movements (c.1870-1970).

Who are the Greatest Modern Artists?

Mod Painters

Impressionists (flourished 1870-1880)
1 of the most revolutionary movements of modernistic representational fine 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). Encounter Impressionist Painters.

Mail service-Impressionists (flourished 1880-1900)
Modern artists who separated from mainstream Impressionist painting included: James Abbott McNeill Whistler (1834–1903); Georges Seurat (1859-1891); Paul Cezanne (1839-1906); Van Gogh (1853-1890); Paul Gauguin (1848-1903); Henri Matisse (1869-1954). See: Post-Impressionist Painters.

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" affiche designed by Theophile Steinlen (1859-1923), the theatrical posters of Toulouse-Lautrec (1864-1901), and the art nouveau works of Alphonse Mucha (1860-1939). After Mucha left for America, the talented Leonetto Cappiello (1875-1942) arrived in Paris from Italia. Another important affiche 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 likewise: Realist Artists.

Expressionists (flourished 1905-1933)
Influenced by Fauvism, the Expressionist movement was exemplified past 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 fine art motility was co-founded by Braque and Picasso, and received valuable contributions from mod artists like: Juan Gris, Fernand Leger (1881-1955), Robert Delaunay (1885-1941) and Marcel Duchamp (1887-1968). See: Cubist Painters.

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

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

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

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

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

Mod Sculptors

Leading sculptors during the mod era included: the expressive realist Auguste Rodin (1840-1917); the expressionists Ernst Barlach (1870-1938) and Wilhelm Lehmbruck (1881-1919); the 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 primitive 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 past Henry Moore (1898-1986), Barbara Hepworth (1903-75) and Ben Nicholson (1894-1982). Modern sculpture in America is exemplified by the works of James Earle Fraser (1876-1953), Daniel Chester French (1850-1931), Anna Hyatt Huntingdon (1876-1973), and Gutzon Borglum (1867-1941). Mid-twentieth century modernism is represented by the assemblages of Louise Nevelson (1899-1988) and Cesar Baldaccini (1921-98); the heroic statues of Yevgeny Vuchetich (1908-74); and the emotive holocaust sculptures of Wiktor Tolkin (1922-2013) and Nandor Glid (1924-97). See also: 20th Century Sculptors.

Art Appreciation
Meet: How to Capeesh Mod 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

Amidst the height 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

Modernistic photographic fine 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 way 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 Mod Paintings?

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

Impression, Sunrise (1873) Musee Marmottan Monet, Paris.
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) University of Pennsylvania.
By Thomas Eakins (1844-1916)

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

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

A Sunday Afternoon on the Isle of La Grande Jatte (1884-6) AIC.
Past Georges Seurat (1859-1891)

Cafe Terrace at Dark, Arles (1888) Yale University Fine 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.
Past Paul Cezanne (1839-1906)

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

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

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

Dynamism of a Canis familiaris 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 Found, London.
Past Amedeo Modigliani (1884-1920)

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

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

American Gothic (1930) oil on beaverboard, Fine art Constitute of Chicago.
Past 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 Modernistic Art, New York.
By Piet Mondrian (1872-1944)

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

Woman one (1950-ii) Museum of Mod Art, New York.
Past Willem De Kooning (1904-97)

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

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

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

Which are the 25 Greatest Modern Sculptures?

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

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

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

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

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

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

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

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

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

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

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

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

Constructed Head No. ii (1916) Nasher Sculpture Center, Dallas.
By Naum Gabo (1890-1977)

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

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

Mount Rushmore Presidential Portraits (1927-41) Due south 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, S. 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 Mod Fine art, New York.
Past Louise Nevelson (1899-1988)

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

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

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

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

The Dachau Memorial (1968) Munich, Frg.
By 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, see: Homepage.

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