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Compilation of the Most Important Schools and Woman Painters of the

Modernist Period
The Modernist period in Mexico
Main Schools:
Surrealism
This term is used to refer to the artistic movement that started to grow in Mexico some
years after Andre Breton published the Surrealist Manifesto (1924), with Frida Kahlo,
Leonora Carrington, Mara Izquierdo and Remedios Varo as the most representative
women artists of this period. What helped this movement grow in Mexico was the great
number of exiled surrealist artists that came from Europe and influenced the young
artists. The first gallery presenting only surrealist paintings in Mexico was
commissioned by Breton himself, and was held on January 17th, 1940. The movement
generally follows the same conventions of European surrealism, but elements from the
Mexican culture can be perceived in it, such as the use of bright colors.
Mexican Muralism
This movement was born in 1913 and was the major art movement in Mexico during
the 20th Century; it was the result of a chaotic time in the country, a few years after the
revolutionary war started. The artists intended to create a national identity and educate
the people through the walls of the most important buildings in the city. The first
modern mural was painted by Gerardo Murillo, who thought that Mexican art should
reflect Mexican life. This idea permeated most of the works that were later painted by
the three most important figures of the movement: Jos Clemente Orozco, Diego
Rivera, and David Alfaro Siqueiros. Lesser known women muralists also had a great
participation in the movement. Elena Huerta and Aurora Reyes Flores are the most
important of the time. There are also the Greenwood sisters, who are considered by
James Oles, in his book, Las Hermanas Greenwood en Mxico, the first women
muralists in Mexico.

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Bibliography:
Anonymous. The Mexican Muralist Movement. San Bernardino County Museum. 2009.
http://www.sbcounty.gov/museum/media/press-kit/contretas/contreras-media-kit
mural-tradition.pdf
Anonymous. Surrealism - Art History 101 Basics. Early 1920s to the Present.
http://arthistory.about.com/od/modernarthistory/a/Surrealism-Art-History-101
Basics.htm
Anonymous. Surrealism: Origins, Influences, History, Characteristics of Surrealist Art
Movement, Founded by Andre Breton. http://www.visual-arts-cork.com/history
of-art/surrealism.htm#techniques
Mainero del Castillo, Luz Elena. El muralismo y la Revolucin Mexicana. Instituto
Nacional de Estudios Histricos de las Revoluciones de Mxico. 2013
http://www.inehrm.gob.mx/Portal/PtMain.php?pagina=exp-muralismo-en-la
revolucion-articulo
Mohun, Janet Ed. Arte: La gua visual definitiva 1900-1945. Espaa: Dorling Kindersley,
2010

The Modernist period in England

Main Schools:
The Camden Town Group in London
The Camden Town group was not a long-term group. As a matter of fact, the group held
just three exhibitions, all at the Carfax Gallery in fashionable St Jamess, London, in
1911 and 1912., but its name has become synonymous with a distinctive period in the
history of British art before the First World War. Its name comes from an area of north
London where a number of the artists lived and worked, the group aimed to reflect the
realities of modern urban life. It started out in weekly gatherings held by Walter
Sickerts Fitzroy Street Group since 1907 and which in 1913 developed into the larger
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and intentionally more diverse London Group, still active today. The Camden Town
Group was composed of sixteen artists, judged by an inner core to be the best and the
most promising of the day. Controversially, women were not allowed to join, though
they formed part of the groups circle.
Its members valued originality of expression and accepted different approaches,
although they related more to a shared ethos and ambition which was to respond to the
social and cultural life of modern Britain, just as impressionist painters had painted
scenes of modern life in France a generation before. Their notably excluded women
artists; Stanislawa de Karlowska, Sylvia Gosse, Nan Hudson and Ethel Sands, had
complex motivations, which emerged from the time in which they lived. It was a time
of suffrage agitation and the development of the modern woman. Through their
paintings they redefined the concept of the domestic interior. Originally, the British
home was inextricably linked to social and moral values, gender roles, economy and the
function of taste. The Camden Town painters presented color schemes, furniture types,
textures and ornaments to form specific room-types whose meanings were read
against the character of their inhabitants. Thus, to demonstrate that the domestic interior
was a space where they could exercise their own creativity and enter into conversation
and exchange ideas.

The Bloomsbury Group in London

The Bloomsbury Group was an informal association of artists and intellectuals in
England during the first half of the twentieth century. Its members were artists, writers
and intellectuals who began to meet at 46 Gordon Square in the home where the artist
Vanessa Bell and her writer sister Virginia Woolf lived, in 1905 for drinks and
conversation. Their meetings continued for the next three decades, but with the deaths
of key members in the 1930s and 1940s, the group lost its cohesion, although individual
members remained friends and continued their creative careers.

The name

Bloomsbury was first attached to the group in 1912 when Vanessa Bell, Duncan
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Grant and other young artist associates, exhibited work for the first time. This name
referred to the area in which they lived and worked; Bloomsbury is a district of garden
squares surrounded by elegant town houses in central London.
The Bloomsbury Group, or some image of it, was recognized by the public for the
first time when they held the Post-Impressionistic exhibitions in 1910 and 1912 in
London and from then on, during the next three decades, many contributions to
literature and the arts were associated to the group. Although the art of Bloomsbury
may today look rather traditional in the context of the development of twentieth-century
art, their influence and contribution to British art was considerable. Most plastic and
literary production was eclectic in style, picking up and dropping different influences.
Bell and Grant founded and co-directed the Omega Workshops where they produced
textiles that were innovative, and still look very modern today. Their purpose was to
provide a new source of regular income to artists and to bring aesthetically pleasing
objects into the English home.
The other important woman painter in the group, apart from Vanessa Bell, was Dora
Carrington. The literature about their art remains remarkably limited, especially since
most of what does exist has focused on their personal histories and relationships with
better-known members of Bloomsbury, despite their own prolific artistic careers. Their
marginalization as artists can be attributed to various factors associated with their
gender.

The Vorticism Group

The Vorticists are the British avant-garde group which was formed in London in 1914
by the artist, writer and polemicist Wyndham Lewis and members of the Rebel Art
Center. Its production included painting, drawing, printmaking, sculpture and
photographs. Their main objective was to produce a new living abstraction that
expressed their sense of the dynamism of the modern world. Their most famous
collaborators were the sculptors Henri Gaudier-Brzeska and Jacob Epstein, the
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photographer Alvin Langdon Coburn, the writers Ezra Pound and T. E. Hulme and the
poet T. S. Eliot.
The Vorticists forged their own distinctive style combining machine-age forms and
the energetic imagery suggested by a vortex. Ezra Pound declared in Blast that the
vortex is the point of maximum energy. It represents, in mechanics, the greatest
efficiency. We use the words greatest efficiency in the precise senseas they would
be used in a text book of Mechanics, whereas Wyndham Lewis described it as a
whirlpool, at whose heart is a vortex of great silent place where all the energy is
concentrated and there, at the point of concentration, is stillness. It is this stillness
which differentiates Vorticism from Italian Futurism.
The short-lived Vorticist movement was often seen as a predominantly masculine,
affair, but the work of the women members, Jessica Dismorr and Helen Saunders was
equally compelling and innovative. Dismorr and Saunders were as thoroughly trained,
and could lay claim to as much professional recognition, as the other founding members
of the Vorticist group. Dismorr had studied at the Slade Academy of Arts and at the
Atelier la Palette in Paris under Jean Metzinger and JD Fergusson, and exhibited in
Paris and in London. Saunders had studied for three years with Rosa Waugh (Sladetrained and a former pupil of Gwen John), before briefly attending the Slade and later
the Central School of Arts and Crafts. She exhibited in London and Paris from 1912,
and was favorably noticed in reviews by Roger Fry and Clive Bell. When the first issue
of Blast was released in July 1914 both of them signed the manifesto and were actively
participating in the creative process, but were always seen as marginal figures, even by
the other members of the group due to their gender.
Bibliography:
Antiff, Mark. The Vorticist I: Drawing the Vortex. Tate Etc. Issue 22, 1 May 2011.
http://www.tate.org.uk/context-comment/articles/drawing-vortex
Archive Journals: Bloomsbury. TATE Gallery of London.
http://www2.tate.org.uk/archivejourneys/bloomsburyhtml/
Archive Journals: Bloomsbury members. TATE Gallery of London.

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http://www2.tate.org.uk/archivejourneys/bloomsburyhtml/group_members.htm
Archive Journals: Bloomsbury Lifestyles and Beliefs. TATE Gallery of
London. http://www2.tate.org.uk/archivejourneys/bloomsburyhtml/group_lifestyle
beliefs.htm
Archive Journals: Bloomsbury Influence and Achievements. TATE Gallery of
London. http://www2.tate.org.uk/archivejourneys/bloomsburyhtml/group_influenc
eachieve.htm
Bonett, Helena et al. Introducing The Camden Town Group in Context, The Camden
Town

Group

in

Context

May

2012.

http://www.tate.org.uk/art/research

publications/camden-town-group/introducing-the-camden-town-group-in-context
r1106438
Goodwin, Crowford D. The Bloomsbury Group as a Creative Community. History of
Political Economy. 43(1). 59-82.
http://hope.dukejournals.org/content/43/1/59.short
Lisa Tickner. Modern Life and Modern Subjects. British Art in the Twentieth Century.
New Haven and London, 2000. 193.
Mussels, Samantha. In the Shadow of Bloomsbury: Representing Vanessa Bell and Dora
Carrington in the Writing of Art History. Ontario: Queens University, 1999.
Nicola Moorby. Her Indoors: Women Artists and Depictions of the Domestic Interior,
Helena Bonett, Helena et al. The Camden Town Group in Context, May 2012.
http://www.tate.org.uk/art/research-publications/camden-town-group/Nicola
moorby-her-indoors-women-artists-and-depictions-of-the-domestic-interior
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Peppin, Brigid. The Vorticist I: Women that a Movement Forgot. Tate Etc. Issue 22, 1
May 2011. http://www.tate.org.uk/context-comment/articles/women-movement
forgot
Rosenquist, Rod. London, Literature and Blast: The Vorticist as Crowd master
Flashpoint Magazine. May, 2010. http://www.flashpointmag.com/blast.htm
Wolff, Janett. English Art and Principled aesthetics. A companion to British Art: 1600 to
the Present. Ed Dana Arnold and David Peters. Oxford: Blackwell Publishing, 2013.
Women Vorticists: Dismorr, Saunders and the Female Legacy. The Bight
Old Oak. March, 2013. http://thebrightoldoak.wordpress.com/2013/03/07/women
vorticists-dismorr-saunders-and-the-female-legacy/

Representative individuals:
Vanessa Bell (1879-1961)
Vanessa Stephen, was born in 1879 into an upper-middle-class English family, which
was noted for its intellectual and artistic pursuits. She was the daughter of Leslie
Stephen and Julia Princep Duckworth and sister of the well-known writer Virginia
Woolf. In 1913 Vanessa Bell joined with Roger Fry and Duncan Grant to form the
Omega Workshops. Other artists involved included Henri Gaudier-Brzeska, Percy
Wyndham Lewis and Frederick Etchells. Throughout their lives, Bell and Grant worked
together, first at the Omega Workshops and later at Charleston, sharing models and
subjects. Early in her career Bells style was almost abstract and Post-impressionistic;
inspired by formalist theories developed by Fry who had become her close friend. She
was heavily involved in the early stages of the Omega Workshops and retained a lifelong
interest in decorative schemes; which would bring pattern and color into everyday
domestic surroundings. Her decorative work was outstanding in its unforced simplicity.
This is seen especially in her book-jacket designs for the Hogarth Press, which helped

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establish its distinctive house-style. Her paintings concentrated mostly on portraits,
landscape and domestic space with variations of abstract and representational aspects.
Yet, despite this impressive career, Bell's reputation is often reduced in the literature to
that of "housemother" of Bloomsbury. Therefore, many of her portraits illuminate the
particular costs and benefits that being a woman of Bloomsbury involved. They present
complicated representations of women expressing, through experimental modernist
form, the conflicting their roles at the time.

Dora Carrington (1893-1932)

Dora de Houghton Carrington was born in Hereford May 29th 1893. She was the fourth
of child of Samuel Carrington, a railway engineer and his wife, Charlotte Houghton. She
was brought up with a very religious and conservative education. Carringtons main
interest was always decorative arts and she worked continually at both easel paintings
and decorative works throughout her life. She undertook many decorative commissions,
including fresco panels, pub signs, and book illustrations. She also actively produced
and sold painted tiles and glass pictures. However, the majority of her work was
concentrated in the decoration of the homes she shared with Strachey in Harnspray and
Tidmarsh Mill. She traveled throughout Europe and corresponded with artists such as
Henry Lamb, Augustus John, brother of the well-known woman painter Gwen John, and
Virginia Woolf. Although Carrington kept working on art many of her practices have yet
to be recognized as signifiers of professionalism. The fact that she rarely sold her
paintings and earned more with decorative art gave the impression that she was an
amateur artist. She participated in only a handful of exhibitions during her lifetime and
her first solo show did not appear until almost forty years after her death. This reluctance
on her part to exhibit is attributed variously in the literature to her self-effacement, as
well as her involving position as domestic caretaker, her consuming love for Lytton
Strachey, and other gender-related issues. Her painting can be described as uneven and
at times awkward, but always bringing poetic vehemence to her well-constructed image.
She tends to be aligned more with her Slade contemporaries than with Bloomsbury,
since she was often more Pre-Raphaelite than Post-Impressionist.
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Gwen John (1876-1939)

Gwendolen Mary John was born on July 22 nd, 1876 in Haverfordwest, Wales. In 1895
she moved to London where she attended the Slade School of Art. Gwen John was
taught by artists like Frederick Brown and Henry Tonks. She lived with her brother,
Augustus John who also studied there. Gwen John exhibited for the first time in the
spring of 1900 at the New English Art Club. Then, in March 1903 she and Augustus
John had a joint exhibition at Carfax & Company. She worked very slowly and
contributed only three pictures to her brother's forty-five, but Augustus was foremost in
appreciating her art. He felt that Gwens pictures more than compensated what his own
work lacked in interior feeling and expressiveness. She was a painter chiefly of portraits
and women and children, but that does not mean her art lacks complexity. She was able
to create an autobiographical geography bringing together her room, the Parisian
boulevards, cafs, and public gardens, the countryside around Paris, the river Seine and
the coasts of Brittany. With this spatial assemblage she created a plane of analysis
marked by displacement and movement. What remained an interesting continuity in her
life since her subterranean years in London was her relationship with her cat or rather
the many cats with which she surrounded herself. John wrote many letters about and
around them and made theoretical connections with the notion of becoming animal as a
line of flight in subjectivities. Johns lifestyle and art technique remained unique and
unrepeatable and her persona registered as an enigmatic obscure figure in British Art
History.

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Stanislawa de Karlowska (1876-1952)
Stanislawa de Karlowska, known to her family and friends as Stasia, was born on 8
May 1876 at the family estate at Szeliwy, near the town of Lowicz in Russian-occupied
Poland. She studied art in Warsaw and Krakow and at the Acadmie Julian in Paris in
the mid-1890s. There she met her future husband, artist Robert Bevan. After their
marriage in 1898, they settled in England. They were both founder members of the
London Group, the successor of her work relates closely to what is thought of as
Camden Town painting, using a modern post-impressionist style with bright colors to
depict elements from the local urban environment like the growing industrial landscape,
and the countryside. Karlowskas work was also inspired by her Polish heritage. The flat
perspectives, intense colors, elongated figures and dream-like atmosphere of her
paintings correspond somewhat with the stylized nature of Eastern European folk art,
inviting comparison with other modern artists also drawing on folk-art traditions such as
the Russian-born Marc Chagall (18871985) and the Polish Zofia Stryjenska (1891
1976). At the beginning, Karlowskas work remained secondary to her husbands, at her
own choosing. Every year he spent months away painting in the countryside, while
Karlowska often remained at home looking after the children and the house. Following
Bevans death in 1925 Karlowska remained at Adamson Road, living on the top two
floors, which had a purpose-built studio. During this period, she created prints and new
paintings, and exhibited with the Society of Wood Engravers. Over the years she went
travelling to Italy, France and Poland, locations which inspired her paintings, for
example, The Quay at Binic, Brittany (1935), as well as many locations around England.
Ethel Sands (1873-1962)
Ethel Sands was born on 6 July 1873 in Newport, Rhode Island. A year after her birth,
the family moved to England where they settled permanently, returning to America for
only two years when she was four. In London, the Sands enjoyed an extremely full
social life, moving within fashionable and important circles that included the
Marlborough House set, centered on the Prince of Wales, the future Edward VII. In 1888
her father died in a riding accident, and in 1896 her mother also died prematurely,
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leaving Sands with the responsibility of caring for two younger brothers as well as a
considerable fortune. The conferral of independent means enabled Sands to pursue
painting without the necessity of supporting herself through the sale of works. Her
works were mostly interiors and still lifes, possibly inspired by the intimiste subject
matter, use of color and dry brushwork of Edouard Vuillard (18681940). Sands was a
regular exhibitor alongside some of the most important British artists of the time. In
1907 she was asked by Sickert to join the Fitzroy Street Group, where she exhibited her
own paintings and purchased the work of others. Although as a woman she was excluded
from the Camden Town Group, she later became a founder and member of its successor,
the London Group, and exhibited at the Brighton show English Post-Impressionists,
Cubists and Others in 1913.

Nan (Anna Hope) Hudson (18691957)

Anna Hope Hudson was born in New York on 10 September 1869. She lived in America
until she was twenty-four years old. She spent most of her life living and travelling in
Europe, particularly in her adopted homeland, France. She elected to go to Paris and
study painting and it was there that she met Ethel Sands, a fellow American and art
student who became her lifelong friend and companion. Hudson was an independent and
unconventional woman for her day. Up until 1906, Hudsons artistic success was
achieved solely in Paris where she exhibited at the Salon dAutomne. She was brought
into contact with the London art scene largely through Sands, whose sociable nature led
her to make contacts and friends and to act as one of the most well-known society
hostesses of the day. In 1912 she held a joint show with Sands at the Carfax Gallery, the
same exhibiting space of the Camden Town Group, which received largely favorable
reviews. She was among the founder members of the London Group with whom Hudson
exhibited periodically until 1938. It is difficult to describe Hudsons artistic development
owing to the scarcity of extant paintings, particularly from earlier in her career. Few of
her works are held in public collections and many were lost during the Second World
War. In general, it can be said that she tended to paint landscapes, particularly with
architectural interest, and she liked to apply the paint in patches on to canvas or
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cardboard, using the ground itself as part of the colour composition. In this she was
possibly inspired by the work of the French painter Edouard Vuillard (18681940).
Bibliography:
Ascombe, Isabell. Omega and After: Bloomsbury and the Decorative. New York: Thames
and Hudson, 1981
Baron, Wendy. Miss Ethel Sands and Her Circle, London 1977, 246.
Chamot, Mary et al. The Modern British Paintings, Drawings and Sculpture.
London, 1964.
Gerzina, Gretchen H. Carrington: Another Look at Bloomsbury. Stanford: Stanford U P,
1985.
Hill, Jane. The Art of Dora Carrington. London: The Herbert Press, 1994.
Holroyd, Michael. Lytton Strachey: A Critical Biography, 2 vols. London, 1968.
Moorby, Nicola. Ethel Sands 18731962, artist biography, March 2003, in Helena
Bonett, Ysanne Holt, Jennifer Mundy Eds. The Camden Town Group in Context,
May 2012. http://www.tate.org.uk/art/research-publications/camden-towngroup/ethel-sands
Mussels, Samantha. In the Shadow of Bloomsbury: Representing Vanessa Bell and Dora
Carrington in the Writing of Art History. Ontario: Queens University, 1999.
Simkin, John. Art: 1900-1950: Dora Carrington Spartacus Educational.
http://www.spartacus.schoolnet.co.uk/ARTcarrington.htm
Simkin, John. Art: 1900-1950: Vanessa Bell Spartacus Educational.
http://www.spartacus.schoolnet.co.uk/JbellV.htm
Simkin, John. Wales 1400-1960: Gwen John. Spartacus Educational.
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http://www.spartacus.schoolnet.co.uk/ARTjohnG.htm
Tamboukou, Maria. Nomadic Narratives, Visual Forces: Gwen Johns Letters and
Paintings.
New York: Peter Lang Publishing Inc, 2010.
Modernism in the United States
Main Schools:
The Ashcan School in the United States
The Ashcan School was a group of realist painters from the United States that was
formed during the first years of the 20 th Century. The term was first used to refer to this
group in the book Art in America in Modern Times in 1934. Robert Henri is considered
the father of the movement. Their belief was that what is truly beautiful is what is real,
and therefore what should constitute art. Their work consists mostly of New York
landscapes, the city where all the members of the first generation of the group moved
to. Many of those paintings show problems that are iconic of their time like
immigration and poverty. Some art critics see in them an artistic homologous of Walt
Whitman. They differentiate from the group of The Eight, since not all of their
members were in both groups and The Eight formed some years after the Ashcan
movement. They claimed to be concerned by social issues but since they never adopted
a political view, lately their art has started to be seen less concerned with the social
aspects.
Representative individuals
Cecilia Beaux (1855-1942)
She was born in Philadelphia, Pennsylvania and was one of the most famous American
painters of her time and a near contemporary of the equally famous Mary Cassatt. In
1876 she attended the Pennsylvania Academy of the Fine Arts and after she had finished
her studies there she decided to take a course in porcelain painting at the National Art
Training School. In 1888, after having had success in her hometown thanks to her first
large canvas, she decided to go to France for further training. After she returned to her
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hometown she began to paint portraits, especially of prominent people and the elite of
Philadelphia. During this time she became a very productive artist; she had her own
studio and decided not to marry to give art all her attention. In 1895 she became a
teacher in the Pennsylvania Academy of the Fine Arts. She had her work exhibited in
Europe and the United States. She received several awards for her portraits during the
years that followed.
Georgia OKeeffe (1887-1986)
She was born in Sun Prairie, Wisconsin. OKeeffe was the first daughter of a large
family of farmers. She discovered her passion for art at an early age; she was taught by
a local watercolour artist, Sara Mann, to paint while she was still a very young. From
1905, she studied at various art schools: the Art Institute of Chicago School, the Art
Students League of New York, the University of Virginia and Columbia University's
Teachers College in New York. She later married Alfred Stieglitz, who financed her first
exhibitions. In 1972 she was diagnosed with macular degeneration, which affected her
central vision, making it difficult for her to paint without assistance. Her work in
distinguished by a unique palette that finds it most beautiful contrasts in her paintings of
flowers and other natural forms she found interesting in her surroundings.
Hilda Belcher (1881-1963)
She was an American realist painter, born in Vermont and was part of the Ashcan
school. She decided to go to New York to attend the New York School of Art, where she
met important figures of the modernist movement, especially Robert Henri, who she
considered her mentor. Like many other members of the Ashcan School, she started her
career as an illustrator and years later turned to painting. She became famous after she
won the Strathmore watercolor competition in 1908, especially because she was the
only woman participating among 700 competitors. Belcher also worked as a teacher for
some years, after becoming famous for her caricatures in magazines like Town and
Country. She won several prizes during her life. As part of the Ashcan school, her aim
was to depict real life, which she achieved especially during the second half of her
career as a painter, but unlike most of the other members, she did not paint life in one of
the big cities.
Violet Oakley (1874-1961)
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She was an American muralist, illustrator and stained glass artisan; Violet Oakley was
born in New Jersey in 1874 and is considered part of the American Renaissance mural
movement of the late 19th century. She studied in the Pennsylvania Academy of the
Fine Arts, with Cecilia Beaux as her portraiture teacher. Due to some economic
problems she later decided to change the focus of her art and decided to study in the
Drexel Institute School of Illustration where she met the illustrator Howard Pyle, who
was a great influence in her art style. She is recognized as the first American woman to
receive a public mural commission, since, at the time there were only men muralists in
the United States because it was conceived as an activity for men. This public
commission is her most famous mural, located in the Pennsylvania State Capitol.

Bibliography:
Anonymous. Ashcan School. Art Movements.
http://www.artmovements.co.uk/ashcanschool.htm
Anonymous. Ashcan School. History of Art. http://www.visual-arts-cork.com/history
of- art/ashcan-school.htm
Anonymous. Museum History OKeeffe Museum.
http://www.okeeffemuseum.org/history.html
Hamburger, Susan. Violet Oakley: Pennsylvanias Premiere Muralist. Pennsylvania
Historical Association October 14, 1995.
Towers Klacsmann, Karen. Hilda Belcher (1881-1963).
http://www.georgiaencyclopedia.org/articles/arts-culture/hilda-belcher-1881
1963

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