File:Georges Seurat - Les Poseuses.jpg|
Georges Seurat,
Models (
Les Poseuses), 1886–88,
Barnes Foundation File:Henri de Toulouse-Lautrec 065.jpg|
Henri de Toulouse-Lautrec,
At the Moulin Rouge: Two Women Waltzing, 1892 File:Paul Gauguin- Manao tupapau (The Spirit of the Dead Keep Watch).JPG|
Paul Gauguin,
Spirit of the Dead Watching, 1892,
Albright-Knox Art Gallery File: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 File:Kollwitz.jpg|
Käthe Kollwitz,
Woman with Dead Child, 1903 etching File:Family of Saltimbanques.JPG|
Pablo Picasso,
Family of Saltimbanques, 1905,
National Gallery of Art,
Washington, DC. File:Jean Metzinger, 1907, Paysage coloré aux oiseaux aquatique, oil on canvas, 74 x 99 cm, Musée d’Art Moderne de la Ville de Paris.jpg|
Jean Metzinger,
Paysage coloré aux oiseaux aquatiques, 1907, oil on canvas, 74 × 99 cm,
Musée d'Art Moderne de la Ville de Paris File:Chagall IandTheVillage.jpg|
Marc Chagall,
I and the Village, 1911 File:Egon Schiele - Gustav Klimt im blauen Malerkittel - 1913.jpeg|
Egon Schiele,
Klimt in a light Blue Smock, 1913 File:Malevich.black-square.jpg|
Kasimir Malevich,
Black Square, 1915 File:Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg|
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz File:Hoch-Cut With the Kitchen Knife.jpg|
Hannah Höch,
Cut with the Kitchen Knife through the Last Epoch of Weimar Beer-Belly Culture in Germany, 1919, collage of pasted papers, 90×144 cm,
Nationalgalerie, Staatliche Museen zu Berlin File:Vassily Kandinsky, 1923 - On White II.jpg|
Wassily Kandinsky,
On White II, 1923 ,
The Luncheon on the Grass (), 1863,
Musée d'Orsay,
Paris Roots in the 19th century ,
Boy Blowing Bubbles, 1867,
Calouste Gulbenkian Museum 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.
Francisco Goya is considered by many as the Father of Modern Painting without being a Modernist himself, a fact of art history that later painters associated with Modernism as a style, acknowledge him as an influence. The date perhaps most commonly identified as marking the birth of modern art as a movement is 1863, 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''). 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." The strands of thought that eventually led to modern art can be traced back to the
Enlightenment. The 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." 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." The pioneers of modern art were
Romantics,
Realists and
Impressionists. 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. The most successful painters of the day worked either through commissions or through large public exhibitions of their 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 that 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. 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. 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, the 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 File:Les Demoiselles d'Avignon.jpg|
Pablo Picasso, ''
Les Demoiselles d'Avignon'', 1907,
Museum of Modern Art,
New York File:La danse (I) by Matisse.jpg|
Henri Matisse,
The Dance I, 1909,
Museum of Modern Art,
New York File:Franz Marc 020.jpg|
Franz Marc,
Rehe im Walde (
Deer in Woods), 1914,
Kunsthalle Karlsruhe Among the movements that flowered in the first decade of the 20th century were
Fauvism,
Cubism,
Expressionism, and
Futurism. In 1905, a group of four German artists, led by
Ernst Ludwig Kirchner, formed
Die Brücke (The Bridge) in the city of
Dresden.
Benedetta Cappa Marinetti, wife of Filippo Tommaso Marinetti, created the second wave of the artistic movement started by her husband. "Largely thanks to Benedetta, her husband F.T. Marinetti re orchestrated the shifting ideologies of Futurism to embrace feminine elements of intuition, spirituality, and the mystical forces of the earth." She painted up until his death and spent the rest of her days tending to the spread and growth of this period in Italian art, which celebrated technology, speed, and all things new. 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. In 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. The
School of Paris, centered in
Montparnasse, flourished between the two world wars. World War I brought an end to this phase but indicated the beginning of many
anti-art movements, such as the in
Zürich and
Berlin emerging
Dada, including the work of
Emmy Hennings,
Hannah Höch,
Hugo Ball and
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. 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 attracted the attention of curators and critics, at the expense of more traditional media. 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. Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of
neo-expressionism and the revival of
figurative painting. Towards the end of the 20th century, many artists and architects started questioning the idea of "the modern" and created typically
Postmodern works. == Art movements and artist groups ==