Istoria Artei Din 1870 Pana in Prezent - Pps

ART
MOVEMENTS
FROM 1870 TO THE PRESENT
PREPARED BY EDELIZA V. MACALANDAG, UAP
MOVEMENTS:1870 to
1930
Futurism The Bauhaus
1910
1920
1930
190
187
188
189
Suprematism
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Impressionism Art Nouveau Fauvism Cubism Dada Surrealism
Post-Impressionism Expressionism Constructivism

MOVEMENTS:1930 to
present
Minimalism
Kineti Concept
c ArtOp Art ual Art
1980
1990
2000
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Po Arte
p Pove
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Art ra
Abstract Color Hard- Performance Neo-

Expressioni Field edge Art
Post- Expression
sm Painti Painting Minimali ism
ng sm
Post-
painterly
Abstraction
IMPRESSIONIS
M1872 EARLY 1892
EARLY
IMPRESSIONISM
Birth:A movement in French painting which was at its

height from the late 1860s to mid 1880s, and whose
influence was felt until 1900.
Ideas:Turning away from the stress on fine finish and
realistic rendering in academic art, French Impressionists
sought new ways to describe effects of light and movement,
often using rich colors.
Drawn to modern life, they often painted the city, but they
also captured landscapes and scenes of middle-class
leisure-taking in the suburbs.
ARTISTS
KEY
Edouard Manet Claude Monet Edgar Degas Pierre-Auguste Renoir

Berthe Morisot Camille Pissarro
IMPRESSIONISM
The movement gained its name after a

hostile French critic, reviewing the artists'
first major exhibition, seized on the title
of Claude Monet's painting: Impression,
Sunrise (1873), and accused them of
painting nothing but impressions.
The group soon embraced the title,
though they would also refer to
themselves as the Independents. Claude Monet
Impression, Sunrise
1873. Oil on canvas. 48 x 63
cm
ARTISTS
KEY

IMPRESSIONISM
Impressionism was a style of

representational art that did not
necessarily rely on realistic
depictions.
Contemporary science was
beginning to recognize that what the
eye perceived and what the brain
understood were two different
things: the Impressionists sought to Claude Monet
Haystacks, (sunset)
capture the former - the impact of a 18901891
scene.
ARTISTS
KEY

IMPRESSIONISM
The Impressionists loosened their

brushwork, and lightened their
palettes with pure, intense colors.
They abandoned traditional
perspective, and they avoided the
clarity of form which, in earlier art,
serves to distinguish the more from the
less important elements of a picture.
This resulted in many critics accusing Camille Pissarro
Hay Harvest at ragny
Impressionist paintings of looking 1901
unfinished or amateurish.
ARTISTS
KEY

IMPRESSIONISM
Edouard Manet
23 Jan 1832 (Paris) - 30 April 1883 (Paris)
Edouard Manet was the most important and influential artist to have
heeded poet Charles Baudelaire's call to artists to become painters of
modern life.
Manet's modernity lies above all in his eagerness to update older
genres of painting by injecting new content, or altering the
conventional elements. He did so with an acute sensitivity to
historical tradition and contemporary reality. This was also
undoubtedly the root cause of many of the scandals he provoked.
He is credited with popularizing the technique of alla prima
painting. Rather than build up colors in layers, Manet would
"There are no immediately lay down the hue which most closely matched the final
effect he sought. The approach came to be used widely by the
lines in
Impressionists, who found it perfectly suited to the pressures of
nature, only capturing effects of light and atmosphere whilst painting outdoors.
areas of
His loose handling of paint, and his schematic rendering of
color, one volumes, led to areas of "flatness" in his pictures. In the artist's day
against this flatness may have suggested popular posters, or the artifice of
IMPRESSIONISM
Edouard Manet : Major Works
Edouard Manet
Le Dejeuner sur l'herbe
1863. Oil on canvas.
As the primary talking point of the Salon des

Refuses in 1863, it is fairly clear to see why this
canvas shocked the bourgeois patrons, and the
Emperor himself.
Manet's composition is influenced by the
Renaissance artist Giorgione, and to Raimondi's
engraving of the Judgment of Paris after Raphael,
but these are fractured by his disregard for
perspective, and his use of unnatural light
sources.
But it was the presence of an unidealized female
nude, casually engaged with two fashionably
dressed men, that was the focus of the most
public outrage. Her gaze confronts the viewer on
a sexual level, but through her Manet confronts
the public as well, challenging their ethical and
IMPRESSIONISM
Edouard Manet : Major Works
Edouard Manet
A Bar at the Folies-Bergere
This melancholic cafe scene is Manet's last

masterpiece.
The Folies-Bergere was a popular cafe concert
for a fashionable and diverse crowd. The lively
bar scene is reflected in the mirror behind the
central figure, the sad bar girl. Her beautiful,
tired eyes avoid contact with the viewer - who
also plays a double role as the customer in this
scene.
Much has been made of the faulty perspective
from the reflection in the mirror, but this was
evidently part of Manet's interest in artifice and
reality. On the marble countertop is an exquisite
still-life arrangement of identifiable
bottles of beer and liquor, flowers and
mandarins, all of which anticipate the still-lifes
IMPRESSIONISM
Claude Monet
14 Nov 1840 (Paris, France) 5 Dec 1926 (Giverny, France)
Claude Monet was among the leaders of the

FrenchImpressionistmovement of the 1870s and 1880s.
His 1873 painting,Impression, Sunrise, gave the style its
name, and as an inspirational talent, and as a personality, he
was crucial in bringing its adherents together.
Inspired, in the 1860s, by the Realists' interest in painting in
the open air, Monet would later bring the technique to one of
its most famous pinnacles with his so-called series
"The motif is paintings, in which his observations of the same subject,
insignificant for viewed at various times of the day, were captured in
me; what I want numerous sequences of paintings.
to represent is
what lies Masterful as a colorist and as a painter of light and
between the atmosphere, his later work often achieved a remarkable
motif & me." degree of abstraction, and this has recommended him to
IMPRESSIONISM
Claude Monet : Major Works
Claude Monet
Women in the Garden
1866-7. Oil on canvas. 255
205 cm
Women in the Garden was painted at Ville

d'Avray using his wife Camille as the only model.
The goal of this large-scale work, while
meticulously composed, was to render the
effects of true outdoor light, rather than
regard conventions of modeling or drapery.
From the flickers of sunlight that pierce the
foliage of the trees to delicate shadows and the
warm flesh tones that can be seen through her
sleeve, Monet details the behavior of
natural light of the scene.
In January 1867, his friend Bazille purchased the
work for the sum of 2,500 francs in order to help
Monet out of the extreme debt that forced him
to slash over 200 canvases to avoid them being
IMPRESSIONISM
Claude Monet
Boulevard des Capucines
Boulevard des Capucines captures a scene of the

hustle and bustle of Parisian life from the studio of
Monet's friend, the photographer Nadar.
Applying very little detail, Monet uses short, quick
brushstrokes to create the 'impression' of people in
the city alive with movement.
Critic Leroy was not pleased with these abstracted
crowds, describing them as "black tongue-lickings."
Monet painted two views from this location, with this
one looking towards the Place de l'Opera.
The first Impressionist exhibition was held in Nadar's
studio, and perhaps in a show of respect to his
supporter, Monet included this piece.
IMPRESSIONISM
Claude Monet
Westminster Bridge
(aka The Thames below
Westminster)
1871. Oil on canvas. 255 205
Westminster Bridge is one
cm of the
finest examples of his work
during the time he and his
family were in wartime refuge.
This simple, asymmetrical
composition is balanced by the
horizontal bridge, the boats
floating upon the waves with the
vertical wharf, and ladder in the
foreground.
The entire scene is dominated
by a layer of mist containing
violet, gold, pink and green,
creating a dense atmosphere
IMPRESSIONISM
Claude Monet
Lady with a Parasol
One of Monet's most popular figure paintings,

Lady with a Parasol showcases the parasol,
one of his longstanding themes.
The parasol itself makes many appearances in
his work, primarily because when painting from
real life outdoors, most women would use one to
protect their skin and eyes.
But it also creates a contrast of light and
shadows on the figure's face and clothing,
indicating from which direction the actual light is
coming from.
Having already explored this scene in an earlier,
more detailed version, On the Cliff (1875), in this
work from Giverny, Monet pays little attention to
IMPRESSIONISM
Claude Monet
Rouen Cathedral: The Facade at
Sunset
Monet's Rouen Cathedral series is one of his most

renowned.
He painted the cathedral's facade at different
times of day to explore the effects of different
light during winter.
The burnt orange and blue appearance of the
cathedral dominates the canvas, with only scattered
views of sky at the top.
Layered over the top of the Gothic structure, the
brushstrokes play with the light and atmosphere
on the stones, and the details on their carved
surfaces.
In 1895, he exhibited twenty Cathedrals at the Durand-
Ruel Gallery that were both criticized and praised by
IMPRESSIONISM
Claude Monet
Water Lilies
Water Lilies is a part of Monet's water

landscape group that was likely
conceived in 1909, but which he did not
begin until after several personal traumas
that occurred in the early 1910s.
He worked in secret on dozens of
canvases creating a panorama of water,
lilies and sky in his studio within and
inspired by his Giverny garden.
While he painted from the constructed
nature around him, due to his failing
eyesight and the flower's strictly summer
bloom, much was painted from his rich
memory. The brushstrokes and palettes
utilized were varied from earlier works,
IMPRESSIONISM
Edgar Degas
19 July 1834 (Paris, France) 27 Sept 1917 (Paris, France)
Edgar Degas is regarded as one of the founders of

Impressionism although he rejected the term, and preferred to
be called a realist. A superb draftsman, he is especially identified
with the subject of the dance, and over half of his works depict
dancers. These display his mastery in the depiction of
movement, as do his racecourse subjects and female nudes. His
portraits are notable for their psychological complexity and
depiction of human isolation.
Technically, Degas differs from the Impressionists in that he
"never adopted the Impressionist color fleck", and he
continually belittled their practice of painting en plein air. Degas
himself explained, "no art was ever less spontaneous than mine.
What I do is the result of reflection and of the study of the great
masters; of inspiration, spontaneity, temperament, I know
Art is not what nothing.
you see, but
what you make Nonetheless, he is described more accurately as an Impressionist
than as a member of any other movement. His scenes of
others see. Parisian life, his off-center compositions, his experiments
IMPRESSIONISM
Edgar Degas : Major Works
Edgar Degas
The Dance Class (La Classe de
Danse)
1874. Oil on canvas. 85x78 cm.
When this work and its variant in the Muse

d'Orsay, Paris, were painted in the mid-1870s, they
constituted Degas's most ambitious figural
compositions except for history paintings. Some
twenty-four women, ballerinas and their mothers,
wait while a dancer executes an "attitude" for her
examination. Jules Perrot, one of the best-known
dancers and ballet masters in Europe, conducts the
class. The imaginary scene is set in a rehearsal
room in the old Paris Opraa poster for Rossini's
"Guillaume Tell" is on the wall beside the mirror
even though the building had just burned to the
ground.
The painting was commissioned in 1872 as part of
an arrangement between Degas and the singer and
collector Jean-Baptiste Faure. It was one of only a
few commissions that the artist ever accepted, and
IMPRESSIONISM
IMPRESSIONISM
Edgar Degas Edgar Degas

The Bellelli Family LAbsinthe
18581867. Oil on canvas. 200cm 1876. Oil on canvas. 92cm 68cm
253cm
IMPRESSIONISM
Pierre-Auguste Renoir
25 Feb 1841 (Haute-Vienne, France) 3 Dec 1919 (Provence-Alpes-Cte
d'Azur, France)
Renoir was a French artist who was a leading painter in the

development of the Impressionist style.
Renoir's paintings are notable for their vibrant light and

saturated color, most often focusing on people in intimate
and candid compositions. The female nude was one of his
primary subjects. In characteristic Impressionist style, Renoir
suggested the details of a scene through freely brushed touches of
color, so that his figures softly fuse with one another and their
"If the painter
works directly surroundings.
from nature, he In the late 1860s, through the practice of painting light and water
ultimately looks
en plein air (in the open air), he and his friend Claude Monet
for nothing but
momentary discovered that the color of shadows is not brown or black, but the
effects; he does reflected color of the objects surrounding them, an effect today
not try to known as diffuse reflection.
IMPRESSIONISM
Pierre-Auguste Renoir : Major Works
Bal du moulin de la Galette
(Dance at Le moulin de la Galette)
1876. Oil on canvas. 131 175 cm
The painting depicts a typical

Sunday afternoon at Moulin de la
Galette in the district of
Montmartre in Paris.
In the late 19th century, working

class Parisians would dress up
and spend time there dancing,
drinking, and eating galettes into
the evening.
Like other works of Renoir's early

maturity, Bal du moulin de la
Galette is a typically
Impressionist snapshot of real
IMPRESSIONISM
Pierre-Auguste Renoir : Major Works
Luncheon of the Boating Party
(Le djeuner des canotiers)
The painting depicts a group of

Renoir's friends relaxing on a
balcony at the Maison Fournaise
along the Seine river in Chatou,
France. Renoir's future wife, Aline
Charigot, is in the foreground
playing with a small dog.
In this painting Renoir has captured

a great deal of light. The main focus
of light is coming from the large
opening in the balcony, beside the
large singleted man in the hat. The
singlets of both men in the
foreground and the table-cloth all
IMPRESSIONISM
Pierre-Auguste Renoir : Self Portraits
1875 1876 1910

IMPRESSIONISM
Berthe Morisot
January 14, 1841 (Bourges, Cher, France) March 2, 1895 (Paris, France)
Berthe Morisot was a woman of extraordinary talents who

carved for herself a career within the art world of
nineteenth century Paris. She was one of only a few women
who exhibited with both the Paris Salon and the highly
influential and innovative Impressionists. Her work endures
today as a major representative of the Impressionist school.
Although Morisot was unusual for her class and time in

that she successfully pursued an artistic career whilst
combining it with marriage and motherhood, she never
forsaked her bourgeoise background. In her art and in
It is important to her lifestyle, she reflected the standards of behavior
express oneself... and propriety required of the nineteenth century
provided the bourgeoises. Through her depictions of her sisters, their
feelings are real families, and her own daughter Julie Manet, Berthe
and are taken from Morisot portrays an intimacy between women within the
IMPRESSIONISM
Berthe Morisot : Major Works
Berthe Morisot
The Mother and Sister of the Artist
1869/1870. Oil on canvas. 101 82 cm
In the mother's face and dark costume Manet's

strong, broad brushstrokes are discernible. For both
artists, however, the appearance of paint on the
canvas, more than the illusion of reality, is of
greatest interest. This picture, after having been
accepted at the Salon, was probably seen again in
the first impressionist exhibition in 1874. Unlike
Manet, Morisot embraced the outdoor painting and
spontaneity of impressionism, participating in all
but one of the eight impressionist exhibitions.
Berthe Morisot told her mother that she would
"rather be at the bottom of the sea" than for this
picture to appear at the Salon. Her reluctance
stemmed from the "assistance" of her friend and
future brother-in-lawEdouard Manet,leader of the
avant-garde, whose advice she had solicited.
Calling at her home, Manet took up a brush, and as
Morisot described in a letter: "...it isn't possible to
IMPRESSIONISM
Berthe Morisot : Major Works
Berthe Morisot Berthe Morisot

The Cradle (Le berceau) Reading (portrait of Edma Morisot)
1872. oil on canvas. 56 46 cm 1873. Oil on fabric.
IMPRESSIONISM
Jacob Abraham Camille Pissarro

10 July 1830 (Charlotte Amalie, Danish West Indies) - 13 November 1903
(Paris, France)
Camille Pissarro was a French Impressionist and Neo-

Impressionist painter born on the island of St Thomas (now in
the US Virgin Islands, but then in the Danish West Indies). Known
as the "Father of Impressionism," he used his own painterly style
to depict urban daily life, landscapes, and rural scenes, his
importance resides in his contributions to both Impressionism
and Post-Impressionism, as he was the only artist to exhibit in
both forms. Pissarro studied from great forerunners, including
Gustave Courbet and Jean-Baptiste-Camille Corot. He later
studied and worked alongside Georges Seurat and Paul Signac
when he took on the Neo-Impressionist style at the age of 54.
Work at the same In 1873 he helped establish a collective society of fifteen
time on sky, water, aspiring artists, becoming the pivotal figure in holding the
branches, ground, group together and encouraging the other members. Art
keeping everything historian John Rewald called Pissarro the dean of the
Impressionist painters", not only because he was the oldest of
going on an equal the group, but also "by virtue of his wisdom and his balanced,
basis... Don't be afraid kind, and warmhearted personality.
of putting on colour...
Paint generously and Pissarro is the only artist to have shown his work at all eight
unhesitatingly, for it is Paris Impressionist exhibitions, from 1874 to 1886. As a stylistic
IMPRESSIONISM
Camille Pissarro : Major Works
Camille Pissarro
The Woodcutter
1879. Oil on canvas. 35x45-3/4 inches.
Camille Pissarro painted The

Woodcutter in 1879, one of 28
Impressionist paintings that Pissarro
would exhibit in the Impressionists'
sixth exhibition.
The figure of Pissarro's woodcutter

recalls the peasant laborers painted by
Jean Francois Millet. With solid weight
and strong contours, the laborer in The
Woodcutter seems to have been
shaped by his work, by the repetitive
motion of dragging his saw back and
forth through the wood. But the
background has a vanishing quality,
IMPRESSIONISM
Camille Pissarro
The Boulevard Montmartre on a Winter
Morning
IMPRESSIONISM
Camille Pissarro
Boulevard Montmartre, Spring
1897. Oil on canvas. 65 x 81 cm.
IMPRESSIONISM
Camille Pissarro
Boulevard Montmartre
1897. Oil on canvas. 74 92.8 cm
IMPRESSIONISM
Camille Pissarro
Boulevard Montmartre la nuit
1898. Oil on canvas. 55 65 cm.
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
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0

POST-
IMPRESSIONISM
EARLY 1880s MID 1910s
POST-
IMPRESSIONISM
Post-Impressionism is a catch-all term for the many and disparate

reactions against the naturalism, and issues of light and color, which
had inspired the Impressionists.
Birth:A term coined by critic Roger Fry to describe various reactions
against Impressionism which began around 1886. The movement
encompassed Symbolism and Neo-Impressionism before ceding to
Fauvism around 1905
Ideas:Post-Impressionists turned away from effects of light and

atmosphere to explore new avenues such as color theory and
personal feeling.
ARTISTS
KEY
Paul Czanne Vincent van Gogh Georges Seurat

POST-
IMPRESSIONISM
Symbolic and highly personal meanings were important to Post-

Impressionists such as Gauguin and van Gogh. Rejecting the
Impressionists' interest in the external, observed world, they instead
looked inside themselves for content.
As the Post-Impressionists turned away from describing effects of light
and color, abstract form and pattern became increasingly important
to them. Gauguin and van Gogh sought to create harmonious surface
patterns, while Czanne sought to introduce more structure, and a
clearer sense of space and volume, to the Impressionists'
fascination with natural light, by using color applied in regular,
repetitive brushstrokes.
ARTISTS
KEY
Paul Czanne Vincent van Gogh Georges Seurat

POST-
IMPRESSIONISM
Paul Cezanne
19 January 1839 (Aix-en-Provence, France) - 22 October 1906 (Aix-en-
Provence, France)
Paul Cezanne was the preeminent French artist of the Post-

Impressionist era, widely appreciated toward the end of his life for
insisting that painting stay in touch with its material, if not
virtually sculptural origins.
Also known as the "Master of Aix" after his ancestral home in the
South of France, Cezanne is credited with paving the way for the
emergence of modern art, both visually and conceptually. In
retrospect, his work constitutes the most powerful and essential
link between the ephemeral aspects of Impressionism and the
more materialist, early 20th century artistic movements of
"I owe you the Fauvism, Cubism, Expressionism, and even complete abstraction.
truth in Czanne's work demonstrates a mastery of design, colour, tone,
painting and I composition and draughtsmanship. His often repetitive, sensitive
will tell it to and exploratory brushstrokes are highly characteristic and clearly
recognizable. He used planes of colour and small brushstrokes
you" that build up to form complex fields, at once both a direct
expression of the sensations of the observing eye and an
POST-
IMPRESSIONISM
Paul Cezanne : Major Works
Paul Cezanne
The Artist's Father, Reading
"L'vnement" 1866. Oil on canvas.
200 120 cm
This portrait is one of the most renowned early

works by Cezanne. The rigid composition is
dominated by somber hues applied in a thick
impasto.
The expressive premise for this piece is suggested

by the artist's inclusion of his own still-life in the
background, as though to solicit recognition of his
talent by his famously disapproving parent.
As if to force the issue, Louis-August is portrayed

reading a liberal newspaper, a highly unlikely
event, as he was widely known for his
conservative outlook.
POST-
IMPRESSIONISM
Paul Cezanne
The Large Bathers (Les Grandes
Baigneuses)
The Large Bathers is one of the finest examples
of Cezanne's attempt at incorporating the
modern, heroic nude in a natural setting. The
series of very human nudes, no Greco-Roman
nymphs or satyrs, are arranged into a variety of
positions, like objects of still-life, under the
pointed arch formed by the intersection of trees
and the heavens. The figures are devoid of any
particular personality - the artist assembles
them for purely structural purposes. Here
Cezanne is reinterpreting an iconic Western
motif of the female nude, but in an
exceptionally radical way. The sheer size of the
painting is monumental, confronting the viewer
directly with abbreviated shapes that resolve
themselves into the naked limbs of his sitters.
This is not yet abstraction, but in such
POST-
IMPRESSIONISM
Paul Cezanne
Card Player
Cezanne produced his series of

"Card Player" paintings,
drawings, and related studies
in the region of Aix-en-
Provence, his ancestral home
in the South of France, where
he found in the image of
men playing cards
something timeless, like
the mountains cradling an
ancient people. As though
having come together around a
simple peasant table for a
sance or cosmic conference,
the card players seem at once
transient and unmoving, very
much masters of their
POST-
IMPRESSIONISM
Vincent Willem van Gogh
30 March 1853 (Zundert, Netherlands) - 29 July 1890 (Auvers-sur-Oise, France)
Dutch Post-Impressionist Vincent van Gogh's unique vision,

brushwork and use of color provide stylistic links from Impressionism
to the conceptual practice of Abstract Expressionism. Although he
produced his most acclaimed work in a span of less than three years,
his technique, subject matter, sense of movement and vibration in
his compositions influenced many artists of his day and of the future.
His gestural use of line and distortion of reality for emotional effect
became a guiding principle for the Abstract Expressionist artists of
the New York School.
"Instead of trying Van Gogh's dedication to articulating the inner spirituality of man
to reproduce and nature led to a unique fusion of style and content that resulted
exactly what I in dramatic, imaginative, rhythmic, and emotional canvases.
see before me, I His personal temperament came to symbolize the romantic image of
make more the tortured artist and was an icon of self-destructive talent that
would be echoed in the lives of many artists in the 20th century and
arbitrary use of beyond.
color to express
myself more Van Gogh used an impulsive, gestural application of paint and
POST-
IMPRESSIONISM
Vincent van Gogh : Major Works
Vincent Van Gogh

Starry Night
Slide concept by EdelizaStarry

V. Night is often considered to be
Macalandag, UAP Van Gogh's pinnacle achievement.
FOR EDUCATIONAL USE UnlikeONLY most of his works, Starry Night
was painted from memory and not en
For publication, reproduction orthe emphasis on interior,
plein air;
transmission of images, emotional
please life is clear in his depiction of
the sky, which was a radical departure
contact individual artists, estates,
from his previous, more naturalistic
landscapes.
photographers and exhibiting In Starry Night, Van Gogh
followed a strict principal of structure
institutions for permissions and
and composition: the distribution of
rights. forms across the surface of the canvas is
in exacting order. The result is a
landscape perceived through swirling
curves and lines, its seeming chaos
subverted by a rigorous formal
arrangement. Since 1941, The Museum
POST-
IMPRESSIONISM
Vincent Van Gogh

Fourteen Sunflowers in a Vase
Van Gogh's Sunflower series was intended to decorate

the room he was keeping for Gaugin at the Yellow House
in Arles. His lush brushstrokes built up the texture of
sunflowers and employed a wide spectrum of yellow, in
part because recently invented pigments that made
new colors and tonal nuance possible.
Van Gogh used the colors to express the entire lifespan

of the flowers, from the full bloom in bright yellow to
the wilting and dying blossoms rendered in melancholy
ochre. The composition, in the restricted palette and
frontally placed subject, appears simpler and more
deliberate than in other still lifes, yet Van Gogh makes a
powerful statement about the fleetingness of time and
the subtleties of nature.
POST-
IMPRESSIONISM
Vincent Van Gogh

Bedroom
Van Gogh'sBedroomdepicts his living

quarters at 2, Place Lamartine, Arles,
known as the Yellow House. It is one of
his most well known images and is one
of five versions Van Gogh created:
three rendered in oil on canvas and
two are small letter sketches. His use
of bold and vibrant colors to depict the
off-kilter perspective of his trapezoidal
room demonstrated his liberation from
the muted palette and realistic
renderings of Dutch artistic tradition.
He labored over the subject matter,
colors and arrangements of this
composition, writing many letters to
Theo about it, "This time it's just simply
my bedroom, only here colour is to do
everything, and giving by its
simplification a grander style to things,
IMPRESSIONISM
Vincent van Gogh : Self-Portraits
1887 1889 1889

POST-
IMPRESSIONISM
Georges Seurat
2 December 1859 (Paris, France) - 29 March 1891 (Paris, France)
Georges Seurat is chiefly remembered as the pioneer of the Neo-
Impressionist technique commonly known as Divisionism, or
Pointillism, an approach associated with a softly flickering surface of
small dots or strokes of color.
His innovations derived from new quasi-scientific theories about
color and expression, yet the graceful beauty of his work is explained
by the influence of very different sources.
Initially, he believed that a great modern art would show
contemporary life in ways similar to classical art, except that it would
use technologically-informed techniques. Later he grew more
interested in gothic art, and popular posters, and the influence of
these on his work make it some of the first modern art to make use
"Some say they of such unconventional sources for expressive effect. His success
see poetry in my quickly propelled him to the forefront of the Parisian avant-garde. His
paintings; I see triumph was short-lived, as after barely a decade of mature work he
only science." died aged only 31.
But his innovations would be highly influential, shaping the work of
POST-
IMPRESSIONISM
Georges Seurat : Major Works
Georges Seurat
The Bathers
1884-86. Oil on canvas.
Seurat's first important canvas, the

Bathers is his initial attempt at
reconciling classicism with modern,
quasi-scientific approaches to color
and form. It depicts an area on the
Seine near Paris, close to the
factories of Clichy that one can see
in the distance.
Seurat's palette is somewhat
Impressionist in its brightness, yet
his meticulous approach is far
removed from that style's love of
expressing the momentary. The
scene's intermingling of shades also
demonstrates Seurat's interest in
handling of shades of a single hue.
And the working class figures that
populate this scene mark a sharp
contrast with the leisured bourgeois
POST-
IMPRESSIONISM
Georges Seurat : Major Works
Georges Seurat
Sunday Afternoon on the Island of La
Grand Jatte 1884-86. Oil on canvas.
Seurat's Sunday Afternoon on the

Island of La Grand Jatte was one of
the stand-out works in the eighth
and last Impressionist exhibition, in
1884, and after it was shown later
that year, at the Socite des
Artistes Indpendents, it
encouraged critic Flix Fnon to
invent the name 'Neo-
Impressionism.'
The picture took Seurat two years
to complete and he spent much of
this time sketching in the park in
preparation. It was to become the
most famous picture of the 1880s.
Seurat's technique employed tiny
juxtaposed dots of multi-colored
paint which allow the viewer's eye
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
0
0

ART NOUVEAU
1890-1905
ART NOUVEAU
Birth: Art Nouveau rose to prominence when visual artists, designers

and architects began adopting modern and naturalistic modes of
decoration, as opposed to the ornateness of Victorian-era design. This
"new art" stemmed from the Arts & Crafts movement and aspects of
Japonisme.
Ideas: During its brief reign, Art Nouveau went by several different
names: Jugendstil, stile Liberty and Sezessionsstil, which can be
attributed to the style's vast influence and number of practitioners
throughout Europe, yet all represented a decidedly modern take on
decorative design. Simple floral patterns and "whiplash" curves are
common throughout, regardless of medium. The movement's influence
remains widely evident today, surviving in definitive 20th-century
architecture, furniture and jewelry design, and most notably the
paintings of Gustav Klimt.
ARTISTS
KEY
Gustav Klimt Antoni Gaudi

ART NOUVEAU
Gustav Klimt
July 14, 1862 (Baumgarten, Austrian Empire) February 6, 1918 (Vienna,
Austria-Hungary)
Austrian painter Gustav Klimt was Vienna's most renowned

advocator ofArt Nouveau, or, as the style was known in
Germany,Jugendstil("youth style").
He is remembered as one of the greatest decorative painters of the

twentieth century, and he also produced one of the century's most
significant bodies of erotic art. Klimt's primary subject was the
female body, and his works are marked by a frank eroticism
nowhere is this more apparent than in his numerous drawings in
pencil.
"All art is erotic." Initially successful as a conventional academic painter, his

encounter with more modern trends in European art encouraged
him to develop his own eclectic and often fantastic style. His
position as the co-founder and first president of theVienna
Secessionalso ensured that this style would become widely
influential - though Klimt's direct influence on other artists was
ART NOUVEAU
Gustav Klimt : Major Works
Gustav Klimt
The Kiss
1907-08. Oil, gold and silver leaf on canvas.
This is perhaps Klimt's most popular and

renowned celebration of sexual love. In The
Kiss, the woman is being absorbed by the man,
while both figures are engulfed by the body of
gold in which they lie. The background
suggests a night sky, while the bodies teeter at
the edge of a flowery meadow, as if they are in
danger of cascading into the darkness.
Representational forms only barely emerge
from a highly ornate but ultimately abstract
form, in this case the golden shroud, beautifully
juxtaposed against the brown and green.
Indeed, Klimt's biographer Frank Whitford has
pointed out that earlier studies for the picture
show the man with a beard, suggesting that he
might be meant to represent the artist himself,
while the woman represents Block-Bauer.
The Kiss is considered the masterpiece of the
ART NOUVEAU
Gustav Klimt : Major Works
Gustav Klimt
Adele Bloch-Bauer I
1907. Oil, gold and silver leaf on canvas.
Of all the many women Klimt painted from life,

Adele Bloch-Bauer, the wife of a Viennese banker
(and Klimt's lover), was the only woman to sit for
him more than once. This, the first of the two
portraits, is considered by many to be his finest
work.
The sitter is adorned with precious materials and
ancient artifacts, suggesting her wealth and
power; but her stare, and her grasping hands, also
suggest that she is fragile (the disfigured finger on
her right hand is concealed). Despite these
features, Klimt was largely unconcerned at this
time with depicting his sitter's character, and even
less so with providing location and context,
omissions that were common in all of Klimt's
earlier portraits. Klimt's biographer, Frank
Whitford, has described the picture as "the most
elaborate example of the tyranny of the
decorative" in the artist's work.
ART NOUVEAU
Antoni Gaud i Cornet

25 June 1852 (Reus, Catalonia, Spain) - 10 June 1926 (Barcelona, Catalonia,
Spain)
Antoni Gaudi was a Spanish Catalan architect, and the most

popular representative of the Catalan Modernista movement,
which combined elements of Art Nouveau, Japonisme, Gothic
design, and geometric forms. Gaudi's design style has been
referred to as "global," indicating a profound attention to every
detail of his work, from a building's structure and placement down
to its smallest decorative details. Gaudi's masterpiece is
considered to be the Sagrada Familia, a distinctly modern Roman
Catholic church in Barcelona.
Those who look Gaud rarely drew detailed plans of his works, instead preferring to
for the laws of create them as three-dimensional scale models and molding the
Nature as a details as he was conceiving them.
support for their Gauds work enjoys widespread international appeal and many
new works studies are devoted to understanding his architecture. Today, his
collaborate with work finds admirers among architects and the general public alike.
the creator. His masterpiece, the still-uncompleted Sagrada Famlia, is one of
ART NOUVEAU
Antoni Gaudi : Major Works
Antoni Gaudi
Sagrada Familia
Barcelona, Spain. 1882 - ongoing
From 1915 Gaud devoted himself almost exclusively to his

magnum opus, the Sagrada Famlia, a synthesis of his
architectural evolution.
After completion of the crypt and the apse, still in Gothic
style, the rest of the church is conceived in an organic
style, imitating natural shapes with their abundance of
ruled surfaces. He intended the interior to resemble a
forest, with inclined columns like branching trees,
helicoidal in form, creating a simple but sturdy structure.
The Sagrada Famlia has a cruciform plan, with a five-
aisled nave, a transept of three aisles, and an apse with
seven chapels. It has three facades dedicated to the birth,
passion and glory of Jesus, and when completed it will
have eighteen towers: four at each side making a total of
twelve for the apostles, four on the transept invoking the
ART NOUVEAU
Antoni Gaudi
Sagrada Familia
Barcelona, Spain. 1882 -
ongoing
ART NOUVEAU
Antoni Gaudi
Casa Mila
Barcelona,
Spain. 1905-
1910
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
0
0

FAUVISM
1899-1908
FAUVISM
Fauvism was the first 20th century movement

in modern art. Inspired by the examples of van
Gogh, Gauguin, and Neo-Impressionists such as
Seurat and Signac, it grew out of a loosely allied
group of French painters with shared interests.
Henri Matisse was eventually recognized as the
leader of Les Fauves, or The Wild Beasts as
they were called in French, and like the group, he
emphasized the use of intense color as a vehicle
for describing light and space, but also for
communicating emotion. Birth: A movement in
French painting that began around 1898 but
reached its peak and quickly dissolved around
KEY ARTIST
1906
Ideas: Evolving out of Post-Impressionism and
Symbolism, the loosely affiliated group of artists
developed a decorative, anti-naturalistic style to Henri Matisse
express personal feelings towards their subjects.
FAUVISM
Henri Matisse
31 Dec 1869 (Le Cateau-Cambrsis, Nord) - 3 Nov 1954 (Nice, Alpes-
Maritimes)
Henri Matisse is widely regarded as the greatest colorist

of the 20th century, and as a rival to Picasso in the
importance of his innovations.
He emerged as a Postimpressionist, and first achieved
prominence as the leader of the French movement
Fauvism. Although interested in Cubism, he rejected it, and
instead sought to use color as the foundation for expressive,
decorative, and often monumental paintings.
As he once controversially wrote, his sought to create an art
that would be "a soothing, calming influence on the mind, "An artist must
rather like a good armchair." Still life and the nude remained possess Nature. He
favorite subjects throughout his career; North Africa was must identify himself
also an important inspiration; and, towards the end of his with her rhythm, by
life, he made an important contribution to collage with a efforts that will
series of works using cut-out shapes of color. He is also prepare the mastery
highly regarded as a sculptor. which will later
Matisse used pure colors and the white of exposed canvas to
enable him to express
himself in his own
FAUVISM
Henri Matisse : Major Works
Henri Matisse
Woman with a Hat
1905. Oil on canvas. 79.4 x 59.7 cm
Matisse attacked conventional portraiture with this image

of his wife. Amelie's pose and dress are typical for the day,
but Matisse roughly applied brilliant color across her face,
hat, dress, and even the background. This shocked his
contemporaries when he sent the picture to the 1905
Salon d'Automne.
Critic Louis Vauxcelles described the work with the phrase
"Donatello parmi les fauves!" (Donatello among the wild
beasts), referring to a Renaissance-type sculpture that
shared the room with them. His comment was printed on
17 October 1905 in Gil Blas, a daily newspaper, and
passed into popular usage. The exhibition garnered harsh
criticism"A pot of paint has been flung in the face of the
public", said the critic Camille Mauclairbut also some
favourable attention.
FAUVISM
Henri Matisse Henri Matisse

Self-Portrait in a Striped T-shirt Blue Nude (Souvenir de Biskra)
1906. Oil on Canvas 1952. Oil on canvas
FAUVISM
Henri Matisse
Blue Nude II
1952. Gouache-painted paper cut-outs.
Matisse completed a series of four blue

nudes in 1952, each in his favorite pose of
entwined legs and raised arm. Matisse had
been making cut-outs for eleven years, but
had not yet seriously attempted to portray
the human figure. In preparation for these
works, Matisse filled a notebook with
studies. He then created a figure that is
abstracted and simplified, a symbol for the
nude, before incorporating the nude into his
large scale murals.
During the early-to-mid-1940s Matisse was
in poor health. Eventually by 1950 he
stopped painting in favor of his paper
cutouts.The Blue Nudesare a major series'
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
0
0

EXPRESSIONISM
1905-1933
Expressionism is a broad term for a host of
movements in early twentieth-century
Germany, from Die Brcke (1905) and Der
Blaue Reiter (1911) to the early Neue
Sachlichkeit painters in the 20s and 30s.
Many German Expressionists used vivid
colors and abstracted forms to create
spiritually or psychologically intense works,
while others focused on depictions of war,
Futurism
1909- LATE 1920s
Futurism developed in interwar Italy as
an ideology that celebrated the speed,
movement, machinery, and violence of
modern times. Blending realism with
collage and Cubist abstraction, its
visual components include lines of
force and dynamism to indicate objects
moving through space.
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
0
0

CUBISM
1907-1922
CUBISM
Birth: Developed by Picasso and Braque around 1907, the approach

influenced artists on an international scale into the early 1920s and
well beyond.
Ideas: Narrowly conceived, the approach focussed on a new way of
describing space, volume and mass in art, and led to the development
of important new pictorial devices. More generally, Cubism pointed
new paths towards abstract art, and suggested ways of describing the
appearance and experience of life in the modern urban world.
The movement has been described as having two stages: 'Analytic'
Cubism, in which forms seem to be 'analyzed' and fragmented; and
'Synthetic' Cubism, in which newspaper and other foreign materials
Cubism
such as paved the way
chair caning forwood
and geometric abstract
veneer, art
are collaged to the surface of
by
theputting
canvasanas entirely newsigns
'synthetic' emphasis on the objects.
for depicted unity
KEY ARTIST
between the depicted scene in a picture, and the
surface of the canvas. Its innovations would be
taken up by the likes ofPiet Mondrian, who
continued to explore its use of the grid, its Pablo Picasso
abstract system of signs, and its shallow space.
CUBISM
Pablo Picasso "Every act of

25 October 1881 (Mlaga, Spain) - 8 April 1973 (Mougins, creation is first an
France) act of
destruction."
Pablo Diego Jos Francisco de Paula Juan
Nepomuceno Mara de los Remedios Cipriano de la
Santsima Trinidad Ruiz y Picasso, known as Pablo
Picasso was the most dominant and influential
artist of the first half of the twentieth century.
Associated most of all with pioneeringCubism,
alongsideGeorges Braque, he also invented
collage, and made major contributions
toSymbolism,Surrealism, and to the classical
styles of the 1920s.
KEY ARTIST
He saw himself above all as a painter, and yet his
sculpture was greatly influential, and he also
explored areas as diverse as print-making and
ceramics.
Finally, he was a famously charismatic personality: Pablo Picasso
CUBISM Pablo Picasso
Guernica
Pablo Picasso : Major Works 1937. Oil on canvas. 349 cm 776 cm
CUBISM
Pablo Picasso : Major Works
Pablo Picasso
Les Demoiselles d'Avignon.
1907. Oil on Canvas. 244 x 234 cm
Although it is probably the single most

heavily analyzed picture of the century,
ironically,Les Demoiselles
d'Avignonwas not exhibited in public
until 1916. Picasso's friends felt that the
highly distorted brothel scene would be
too controversial.
The work of Paul Cezanne, and also
African masks, were crucial in shaping it,
and for many years it was regarded as
the first Cubist painting. Critics have
since concluded that it is a transitional
work, but this has done nothing to
dampen its enormous power or
influence. Willem de
CUBISM
Pablo Picasso : Major Works
Pablo Picasso Pablo Picasso

Portrait of Gertrude Stein Three Musicians
1906. Oil on Canvas. 1921.
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
0
0

SUPREMATISM
1913 1920s
The brainchild of Kazimir Malevich, Suprematism grew out of
Russian Futurism and the ideas of avant-garde poets, and
also literary critics of the early 1910s who were interested in
the functioning of language and the nature of literature as
an art.
An interest in the nature of language encouraged
Suprematists to reduce art to its essentials. They devised a
radically abstract art composed mostly of simple geometric
forms. Generally expressed through painting, it often
emphasized the texture of the paint as one of the
fundamental, irreducible characteristics of the medium.
Although inspired by rational enquiry, the movement
occasionally took on a strange, absurdist tone, and its
DADA
1916 - 1924
Launched in Zurich in 1916 and quickly
inspired similar groups in New York, Berlin,
Cologne, Paris and elsewhere. Its influence
waned after the Paris group collapsed and
ceded to Surrealism.
Inspired by revulsion at the carnage of WWI,
the artistic and literary movement developed
an anarchic opposition to nationalism,
rationalism and all dominant bourgeois
values. All the various Dada groups opposed
realism and embraced avant-garde shock
tactics, but their tone differed; German Dada
was far more political than the bohemian
DADA "You cannot
define electricity.
The same can be
Marcel Duchamp said of art. It is a
28 July 1887 (Normandy, France) 2 Oct 1968 (Neuilly-sur-Sein, kind of inner
France) current in a
human being, or
The French artist Marcel Duchamp was an instrumental something which
figure in Few artists can boast having changed the course needs no
of art history in the way that Marcel Duchamp did. definition."
Having assimilated the lessons ofCubismandFuturism,
whose joint influence may be felt in his early paintings, he
spearheaded the AmericanDadamovement together with
his friends and collaborators Picabia and Man Ray.
By challenging the very notion of what is art, his first
readymades sent shock waves across the art world that
can still be felt today. Duchamp's ongoing preoccupation
with the mechanisms of desire and human sexuality as
well as his fondness for wordplay aligns his work with that
ofSurrealists, although he steadfastly refused to be
KEY ARTIST
affiliated with any specific artistic movementper se.
In his insistence that art should be driven by ideas above
all, Duchamp is generally considered to be the
father ofConceptualart.
In later years, Duchamp famously spent his time playing Marcel Duchamp
chess, even as he labored away in secret at his last
DADA
Marcel Duchamp : Major Works
Marcel Duchamp
Fountain
1917
The most notorious of the

readymades,Fountainwas submitted to the 1917
Society of Independent Artists under the
pseudonym R. Mutt. The initial R stood for Richard,
French slang for "moneybags" whereas Mutt
referred to JL Mott Ironworks, the New York-based
company, which manufactured the porcelain urinal.
After the work had been rejected by the Society on
the grounds that it was immoral, critics who
championed it disputed this claim, arguing that an
object was invested with new significance when
selected by an artist for display. Testing the limits
of what constitutes a work of art,Fountainstaked
new grounds. What started off as an elaborate
prank designed to poke fun at American avant-
garde art, proved to be one of most influential
artworks of the 20th century.
Pioneered by him, the readymade involves taking
mundane, often utilitarian objects not generally
considered to be art and transforming them, by
DADA
Marcel Duchamp : Major Works
Marcel Duchamp
LHOOQ
1919
Marcel Duchamp's scandalous L.H.O.O.Q is an altered postcard

reproduction of Leonardo Da Vinci's Mona Lisa.
For this "assisted" (which implied a degree of manipulation as
opposed to the "unassisted") readymade, Duchamp penciled a
moustache and a goatee over Mona Lisa's upper lip and chin,
and re-titled the artwork. The name of the piece, L.H.O.O.Q. (in
French l ache o o qu), is a pun, since the letters when
pronounced in French form the sentence "Elle a chaud au cul",
which can be translated as "She has a hot ass," or alternatively
"there is fire down below."
Rather than transmuting an ordinary, manufactured object into a
work of art, as in the bulk of his readymades, in L.H.O.O.Q
Duchamp starts with the representation of an iconic masterpiece
that he takes down from its pedestal by playfully debunking it. In
endowing the Mona Lisa with masculine attributes, he alludes to
Leonardo's purported homosexuality and gestures at the
BAUHAUS
1919 - 1933
The Bauhaus was the most influential modernist art
school of the 20th century, one whose approach to
teaching, and understanding art's relationship to
society and technology, had a major impact both in
Europe and the United States long after it closed. It
was shaped by the 19th and early 20th centuries
trends such asArts and Craftsmovement, which
had sought to level the distinction between fine and
applied arts, and to reunite creativity and
manufacturing.
The school is also renowned for its faculty, which
included artistsWassily Kandinsky,Josef
Albers,Lszl Moholy-Nagy,Paul KleeandJohannes
BAUHAUS
Major Works
Marcel Breuer Marianne Brandt

The Wassily Chair Tea Infuser
Tubular Steel Chair Silver Plated Brass and Ebony
CONSTRUCTIVISM
1915 LATE 1930s
Constructivism was the last and most influential modern art
movement to flourish in Russia in the 20th century. It evolved as the
Bolsheviks came to power in the October Revolution of 1917, and
initially acted as a lightning rod for the hopes and ideas of many of
the most advanced Russian artists who supported the revolution's
goals.
Constructivism borrowed ideas from Cubism, Suprematism and

Futurism, but bent them into a new approach to making objects, one
which sought to abolish the traditional artistic concern with
composition, and replace it with 'construction.' It stressed the
inherent physical characteristics of materials, rather than any
symbolic associations they might support. While seeking to express
the dynamism of the modern world, and that of the rapidly changing
MOVEMENTS:1870 to
1930
1910
1920
1930
190
187
188
189
Suprematism
0
0

SURREALISM
1924 LATE 1966
Developed out of the collapse of the Paris Dada
movement in 1924, it remained powerful until
WWII and maintained a presence through the mid-
1960s.
Surrealism shared the anarchic rejection of
conventional bourgeois values that motivated the
Dada movement. Powerfully influenced by
Freudian theories, Surrealists sought ways to
challenge reality by expressing the unconscious in
SURREALISM
Knowing how to
Salvador Dali look is a way of
May 11, 1904 (Figueres, Spain) - January 23, 1989 (Figueres,
Spain) inventing.
Salvador Dal was a Spanish Surrealist painter who
combined a hyperrealist style with dream-like,
sexualized subject matter. His collaborations with
Hollywood and commercial ventures, alongside his
notoriously dramatic personality, earned him scorn
from some Surrealist colleagues.
Freudian theory underpins Dali's attempts at forging a
formal and visual language capable of rendering his
dreams and hallucinations. These account for some of
the iconic and now ubiquitous images through which
Dali achieved tremendous fame during his lifetime and
KEY ARTIST
beyond.
Obsessive themes of eroticism, death, and decay
permeate Dali's work, reflecting his familiarity with and
synthesis of the psychoanalytical theories of his time.
Salvador Dali
Drawing on blatantly autobiographical material and
SURREALISM
Salvador Dali : Major Works
Salvador Dali
The Persistence of Memory
1931. Oil on canvas. 24cm 33cm.
This iconic and much-reproduced

painting depicts time as a series of
melting watches surrounded by
swarming ants that hint at decay, an
organic process in which Dali held an
unshakeable fascination. Elaborated in
the frontispiece to theSecond
Surrealist Manifesto, the seminal
distinction between hard and soft
objects, associated by Dali with order
and putrefaction respectively, informs
his working method in subverting
inherent textual properties: the
softening of hard objects and
corresponding hardening of soft
objects. It is likely that Dali was using
the clocks to symbolize mortality
(specifically his own) rather than
literal time, as the melting flesh in the
SURREALISM
Salvador Dali : Major Works
Salvador Dali
Soft Construction with Boiled
Beans
(Premonition of Civil War)
1936. Oil on canvas. 100cm 99cm
This painting is an allegorical response to the

Spanish Civil War of 1936-1939, but it is also a
garish and gruesome depiction of a body
destroying itself. Dali painted this work prior to
General Franco's invasion, yet it predicts the
violence, anxiety, and doom many Spaniards felt
during Franco's later rule.
Soft Construction with Boiled Beansis a fine
example of a Dali composition that simultaneously
expresses his sexual obsessions as well as his
political outrage.
This painting expresses the destruction during the
Spanish Civil War. The monster in this painting is
self destructive just as a Civil War is. This painting
is not meant to depict choosing sides although Dali
had many reasons to choose sides in the Spanish
Civil War. His sister was tortured and imprisoned by
communist soldiers fighting for the Republic and
MOVEMENTS:1930 to
present
Minimalism
Kineti Concept
c ArtOp Art ual Art
1980
1990
2000
197
194
195
196
Po Arte
p Pove
0
0
Art ra

Post- Expression
ng sm
Post-
painterly
Abstraction
ABSTRACT EXPRESSIONISM
1924 MID 1960s
The most influential movement in post-war abstract

painting, it flourished in New York in the 1940s and
1950s.
The Abstract Expressionists were committed to an

expressive art of profound emotion and universal
themes. They were interested in myth and archetypal
symbols, and understood painting as a struggle
between self-expression and the chaos of the
unconscious. Sometimes called the New York School,
they included both color field painters and painters of
ABSTRACT
EXPRESSIONISM
Abstract Expressionism was never an ideal label for
the movement which grew up in New York in the 1940s
and 1950s. It was somehow meant to encompass not
only the work of painters who filled their canvases
with fields of color and abstract forms, but also
those who attacked their canvases with a vigorous
gestural expressionism.
All were committed to an expressive art of profound
emotion and universal themes, and most were
shaped by the legacy of Surrealism, a movement which
they translated into a new style fitted to the post-war
mood of anxiety and trauma.
In their success, the New York painters robbed Paris
of its mantle as leader of modern art, and set the
stage for America's post-war dominance of the
ARTISTS
international art world.
KEY
Jackson Pollock Willem De Kooning Mark Rothko
ABSTRACT
EXPRESSIONISM
Jackson Pollock
January 28, 1912 (Cody, Wyoming, U.S.) - august 11, 1956 (Springs, New York,
U.S.)
Jackson Pollock was the most well-known Abstract Expressionist

and the key example of Action Painting.
In its edition of August 8th, 1949, Life magazine ran a feature
article about Jackson Pollock that bore this question in the
headline: "Is he the greatest living painter in the United States?"
Could a painter who flung paint at canvases with a stick, who
poured and hurled it to create roiling vortexes of color and line,
possibly be considered "great"? New York's critics certainly thought
"It doesn't make so, and Pollock's pre-eminence among the Abstract Expressionists
much difference has endured, cemented by the legend of his alcoholism and his
how the paint is early death. The famous 'drip paintings' that he began to produce
put on as long as
in the late 1940s represent one of the most original bodies of work
something has
been said. of the century. At times they could suggest the life-force in nature
Technique is just a itself, at others they could evoke man's entrapment - in the body,
means of arriving in the anxious mind, and in the newly frightening modern world.
at a statement." Pollock's greatness lies in developing one of the most radical
ABSTRACT
EXPRESSIONISM
Jackson Pollock : Major Works
Jackson Pollock
No. 5, 1948
1948. Oil on fiberboard. 2.4m 1.2m
The first time one looks at a Pollock

painting, (one of his mature works),
a certain state of shock and
bewilderment in the face of the
exuberant amounts of detail, may
certainly be expected to occur.
However, if the following example is
encountered after viewing many
Pollock works, especially in a context
such as this one (reproduced in an
There
essay,isarticle
no depth here, not
or catalog), much "stands out" or is "more
the
important" than anything
experience may be far less else, there is no "climactic point," or
"center pole"
electrifying. or such on the surface. Nothing is important,
because everything is important. On the one hand, one can see
this as a complete lack of richness---just overall greyness. On the
other hand, one could see this as remarkably rich: the picture is
filled with tiny "sub-pictures", micro-pictures, anywhere you look.
Zoom in on a 2" square anywhere on the painting, and you are
rewarded with an interesting little structure, a powerful color
combination, or a set of expressive gestures colliding in some
ABSTRACT
EXPRESSIONISM
Jackson Pollock : Major Works
Jackson Pollock
Number 1 (Lavender Mist)
1950. Oil on fiberboard.
One of thirty-two paintings in

Pollock's 1950 solo exhibition at
Betty Parson's New York
gallery,Number 1(Lavender Mist)
was the only painting that sold.
Despite critical praise and media
attention, the artist did not garner
sales of his famous drip paintings
until later in his career. Pollock
titled several paintingsNumber 1,
and coded them with alternate
titles. Thus,Number 1(1949)
andOne, Number Thirty One, are
closely related but upon close
viewing differ slightly.Number 1
(Lavender Mist)exemplifies
ARTISTS
gestural abstraction, in which paint

was poured or applied with
KEY
extreme physicality to reflect the

Jackson Pollock Willem De Kooning artist's inner mind.
Mark The color is
Rothko
expressive, while space is created
ABSTRACT
EXPRESSIONISM
http://www.jacksonpollock.org/
Jackson Pollock Drawing Application
Try drip-painting! This application lets you draw a drip
painting on your computer monitor.
"It doesn't make

much difference
how the paint is
put on as long as
something has
been said.
Technique is just a
means of arriving
at a statement."
ABSTRACT
EXPRESSIONISM
Willem de Kooning
24 April 1904 (Rotterdam, Netherlands) - 19 March 1997 (Long Island, New
York)
After Jackson Pollock, de Kooning was the most prominent
and celebrated of the Abstract Expressionist painters. His
pictures typify the vigorous gestural style of the movement and he,
perhaps, did more than any of his contemporaries to develop a
radically abstract style of painting that fused Cubism, Surrealism
and Expressionism. Although he established his reputation with a
series of entirely abstract pictures, he felt a strong pull towards
traditional subjects and would eventually become most famous for
his pictures of women, which he painted in spells throughout his
life. Later he turned to landscapes, which were also highly
"Art never seems acclaimed, and which he continued to paint even into his eighties,
to make me when his mind was significantly impaired by Alzheimer's disease.
peaceful or pure. I De Kooning strongly opposed the restrictions imposed by naming
always seem to be movements and, while generally considered to be an Abstract
wrapped up in the Expressionist, he never fully abandoned the depiction of the human
melodrama of figure. His paintings of women feature a unique blend of gestural
vulgarity."
abstraction and figuration. Heavily influenced by the Cubism of
ABSTRACT
EXPRESSIONISM
Willem de Kooning : Major Works
Willem de Kooning
Woman I
Woman I is perhaps de Kooning's most famous painting. De

Kooning worked on the picture for two years, revising it
constantly, and aggressively - his dealer noted that his
canvases often had holes punched through from the violence
of his brush strokes.
He applied newspaper to the surface to keep paint workable
for long periods, and when he peeled it off, the imprint often
remained, leaving evidence of his process. Although de
Kooning never conceived the pictures as collages, he
employed the technique as a springboard to begin many of
the pictures in the Women series, pasting magazine images of
women's smiles in the position of the mouth, though this
element rarely survived in the finished product. This use of
popular media as inspiration is a precursor of Pop art, which
developed as a reaction against Abstract Expressionism.
Woman I is noteworthy not only for this process, but also
because it embodies two major themes in de Kooning's work.
The first is the depiction of the female figure. The woman
depicted in Woman I is wholly unlike anything seen in Western
ABSTRACT
EXPRESSIONISM
Willem de Kooning : Major Works
Willem de Kooning Willem de Kooning

Woman III Woman V
1953. Oil on canvas. 1952-53. Oil on
canvas.
ABSTRACT
EXPRESSIONISM
Mark Rothko
25 Sept 1903 (Dvinsk, Vitebsk Province, Russian Empire now Daugavpils,
Latvia) - 25 Feb 1970 (Manhattan, New York)
A prominent figure among the New York School painters, Marcus
Rothkowitz or Mark Rothko moved through many artistic styles
until reaching his signature 1950s motif of soft, rectangular forms
floating on a stained field of color. Heavily influenced by
mythology and philosophy, he was insistent that his art was filled
with content, and brimming with ideas. A fierce champion of
social revolutionary thought, and the right to self-expression,
Rothko also expounded his views in numerous essays and critical
"If you are only reviews.
moved by color
relationships, you Highly informed byNietzsche, Greek mythology, and his Russian-
are missing the Jewish heritage, Rothko's art was profoundly imbued with
point. I am emotional content that he articulated through a range of styles
interested in that evolved from figurative to abstract.
expressing the big Rothko maintained the social revolutionary ideas of his youth
emotions - throughout his life. In particular he supported artist's total
tragedy, ecstasy, freedom of expression, which he felt was compromised by the
doom."
ABSTRACT
EXPRESSIONISM
Mark Rothko : Major Works
Mark Rothko
Entrance to Subway
This early figurative work

demonstrates Rothko's interest
in contemporary urban life.
The architectural features of the
station are sketchily recreated,
including the turnstiles and the
"N" on the wall. Although the
mood of the pictures is softened
somewhat by the influence of
Impressionism, it reflects many
of the artist's feelings towards
the modern city. New York City
was thought to be soulless and
inhuman, and something of that
is conveyed here in the
anonymous, barely rendered
ABSTRACT
EXPRESSIONISM
Mark Rothko : Major Works
Mark Rothko
Slow Swirl at the Edge of the Sea
Slow Swirl at the Edge of the Seais a

representative example of Rothko's
Surrealist period. The influence of Miro
is particularly apparent, specifically in
Miro'sThe Family(1924). Rothko's all-
over composition of muted colors,
strange translucent figures, horizontal
lines, angles, and swirls create a
vibrant yet veiled picture of an
obscure primeval landscape. Painted
while courting Mary Beistel, who
would become his second wife, this
whimsical scene can also be
interpreted as a romance within a
mythical and magical world, where
the figures are enjoying the ocean as
ABSTRACT
EXPRESSIONISM
Other Groundbreaking Works
Franz Kline
Chief
Franz Kline's work typifies that of the

"action painters" celebrated by Harold
Rosenberg. But no matter how
energetic and urgent his pictures
seemed to be, they were always
carefully considered in their execution.
So much so that critics have
speculated wildly on the sources
behind images such as this.Chiefwas
the name of a locomotive Kline
remembered from his childhood, and
it's possible to read the image as a
sensory reminiscence of its power,
sound and steaming engine. Some also
believed that the artist's obsession
with black was connected to his
childhood spent in a coal-mining
community dominated by heavy
ABSTRACT
EXPRESSIONISM
Other Groundbreaking Works
Philip Guston
Zone
Zone, a painting that reflects the focused

concentration of Philip Guston's mature
work, suggests a warm calm, with its mist
of red hatch-marks filling the painting's
center. ("Look at any inspired painting,"
he once said, "it's like a gong sounding; it
puts you in a state of reverberation.")
Here, Guston hones his mark-making, and
builds layers of paint out of quick, small
strokes that are quite distinct from the
wilder gestures of some of his colleagues.
This approach led him to be characterized
at one time as an "American
Impressionist", which suggests just how
varied was the work embraced by the
official title of the movement, Abstract
KINETIC ART
1954 -
Kinetic art is usually a sculptural construction

comprised of moving components, powered by
wind, a motor or the viewers themselves. Its
kinesis is what gives the artwork its overall effect,
hence the name. The first artwork generally
credited as Kinetic Art was Marcel Duchamp's
Bicycle Wheel (1913). Some of the medium's most
famous practitioners include Alexander Calder,
Naum Gabo and Jean Tingeuly
KINETIC ART
Groundbreaking Works
Bridget Riley
Blaze
1964. Screen print on paper.
The zigzag black and white lines

inBlazecreate the perception of a
vortex. As the brain interprets the
image, the alternating pattern appears
to shift back and forth; the interlocking
lines add depth to the form as it
rhythmically curves around the center
of the page. And, although the image is
black and white, prismatic color appears
when the eye focuses on the image.
The perception of motion in what is a
static object demonstrates the interest
in virtual movement that occupied the
Op art wing of the Kinetic movement.
KINETIC ART
Naum Gabo
Kinetic Construction (Standing Wave)
1919-20. Metal, painted wood and electrical
mechanism
Kinetic Construction (Standing Wave)was initially
created by Naum Gabo to demonstrate kinetic
energy to a class. Here a metal strip stand is
mechanized to create a motion that produces the
illusion of volume. The abstracted form embraces
the elements of time and space in a constructed
form. It reflects the origins of Kinetic art in some of
the radical approaches to sculpture born with
Constructivism. What is remarkable about the object
is that, when immobile and stationary, it fails
entirely as a sculpture, being nothing more than a
vertical strip of metal; it is only movement that
lends it interest, and that interest is the product of
an optical illusion. In that sense the artistry of
Gabo'sKinetic Constructionis a fleeting thing,
nothing more than a mirage that can be gone in an
COLOR FIELD PAINTING
LATE 1940s MID 1960s
A term designating a trend within Abstract
Expressionism. It was coined by Clement Greenberg
in the essay "American-type Painting", 1955, and his
support for it encouraged its survival into the 1970s.
Greenberg believed that there was a tendency in
modern painting to apply color in fields, and some
recent painters were bringing that to a climax. Some
early color field painting suggested grand and lyrical
moods, while later work bearing geometric motifs
bordered on Conceptual and Pop Art.later work
bearing geometric motifs bordered on Conceptual
and Pop Art.
COLOR FIELD
PAINTING Works
Groundbreaking
Frank Stella
The Metropolitan Museum of Art 1870-1970
1970. Color offset lithograph poster.
By 1970, color field artists like Frank Stella,

Kenneth Noland and the late Morris Louis had
long established their style as the next phase
in modern abstraction. Stella in particular was
best known for his color field spectrums, in
which bands of varying colors were situated in
such a way as to render the canvas a three-
dimensional field of pure color. What made
these paintings unique, and thus a distinctive
characteristic of most color field work, was the
absence of any representation or figurative
forms. InMetropolitan Museum of Art 1870-
1970, commissioned by the museum for its
100th anniversary, Stella carefully balanced
alternating color bands to create a visual plane
and framed this plane within a field of primary
COLOR FIELD
PAINTING Works
Groundbreaking
Helen Frankenthaler
Nature Abhors a Vacuum
1973. Acrylic on canvas.
Helen Frankenthaler played a crucial role

in the evolution of color field painting.
Some time in or around 1952, Clement
Greenberg invited Morris Louis and
Kenneth Noland to pay a visit to
Frankenthaler's studio in order to witness
her technique of staining untreated
canvas with paint. This seminal moment
marked a turning point for Abstract
Expressionism, and soon this new group
of artists were simplifying the painting
process by applying large bands (or
waves, circles, lines, etc.) of uniform
color to the canvas, and color field
painting advanced further.
COLOR FIELD
PAINTING Works
Groundbreaking
Mark Rothko
No. 2, Green, Red and Blue
Although Rothko never considered himself a

color field painter, his signature approach -
balancing large portions of washed colors -
matches up to critics' understanding of the
style.
Rothko considered color to be a mere
instrument that served a greater purpose. He
believed his fields of color were spiritual planes
that could tap into our most basic human
emotions. For Rothko, color evoked emotion.
Therefore each of Rothko's works was intended
to evoke different meanings depending on the
viewer. In the timeNo. 2, Green, Red and
Bluewas made, Rothko was still using lighter
tones, but as more years passed and Rothko's
mental health increasingly declined, his color
MOVEMENTS:1930 to
present
Minimalism
Kineti Concept
c ArtOp Art ual Art
1980
1990
2000
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ng sm
Post-
painterly
Abstraction
POP ART
MID 1950s EARLY 1970s
The movement developed simultaneously in various
cities in the mid 1950s. Its influence is still felt in
contemporary art.
London's Independent Group may have been the first
to consciously explore popular subject matter in their
art, but Jasper Johns and Robert Rauschenberg also
made use of popular imagery as a route away from
Abstract Expressionism, and towards a Neo-Dada style
in the late 1950s. The movement truly flourished in
New York in the 1960s, but it also saw manifestations
in Paris, with Nouveau Realisme, and in the work of
German artists such as Sigmar Polke and Gerhard
POP ART "How can you say one style
is better than another? You
ought to be able to be an
Andy Warhol Abstract Expressionist next
6 Aug 1928 (Pittsburgh, Pennsylvania) - 22 Feb 1987 (New York week, or a Pop artist, or a
City)
realist, without feeling
Andy Warhol was a leading figure in the visual art you've given up
movement - pop art. After a successful career as a something I think that
commercial illustrator, Warhol became a renowned
and sometimes controversial artist. His works would be so great, to be
explore the relationship between artistic able to change styles. And I
expression, celebrity culture and advertisement. think that's what's is going
He worked in a range of media, including painting, to happen, that's going to
printmaking, sculpture, film, and music. He founded be the whole new scene."
Interview Magazine and was the author of numerous
books, including The Philosophy of Andy Warhol and
Popism: The Warhol Sixties. Andy Warhol is also
notable as a gay man who lived openly as such before
the gay liberation movement. His studio, The Factory,
was a famous gathering place that brought together
distinguished intellectuals, drag queens, playwrights,
KEY ARTIST
Bohemian street people, Hollywood celebrities, and
wealthy patrons.
Warhol has been the subject of numerous retrospective
exhibitions, books, and feature and documentary films.
He coined the widely used expression "15 minutes of
fame". Andy Warhol
POP ART
Andy Warhol : Major Works
Andy Warhol
Campbell's Soup
Cans
1962. Synthetic
polymer paint on
canvas. Each 50.8
cm 40.6 cm
POP ART
Andy Warhol
Untitled from Marilyn
Monroe (Marilyn)
1967. Silkscreen.
After her sudden death in August 1962,
Marilyn Monroe's life and career became a
worldwide obsession. Warhol, being
infatuated with fame and pop culture,
obtained a black-and-white publicity photo
of her, taken in 1953 for her film Niagara,
and used the photo to create several
series of images. Each Marilyn work was
an experiment of dramatically shifting
colors and shadow. With the help of his
assistants, and the printing technique
used, Warhol was able to recreate images
such as this at a fast rate. Marilyn is an
example of the successful evolution of
Warhol's goal of erasing signs of the
artist's hand from the production process.
POP ART
Andy Warhol
Mao
1973. Synthetic polymer paint and silkscreen ink
on canvas
Warhol combines paint and silkscreen in this
image of Mao Zedong, a series that he
created in direct reaction to President
Richard Nixon's recent visit to China.
The painting is very large, 448.3cm by 346.7
cm, its scale evoking the dominating nature
of Mao's rule over China. It also echoes the
towering propagandistic representations that
were being displayed throughout China
during the Cultural Revolution.
The graffiti-like splashes of color, red rouge
and blue eye shadow, literally 'de-faces'
Mao's image - an act of rebellion against the
Communist propaganda machine by using its
own devices against itself.
POP ART
Roy Lichtenstein "I'm never drawing

27 Oct 1923 (Manhattan, New York) - 29 Sept 1997
(Manhattan, New York)
the object itself; I'm
only drawing a
Roy Lichtenstein was one of the first American Pop depiction of the object
artists to achieve widespread renown, and he - a kind of crystallized
became a lightning rod for criticism of the
symbol of it."
movement.
His early work ranged widely in style and subject
matter, and displayed considerable understanding
of modernist painting: Lichtenstein would often
maintain that he was as interested in the abstract
qualities of his images as he was in their subject
matter. However, the mature Pop style he arrived at
in 1961, which was inspired by comic strips, was
KEY ARTIST
greeted by accusations of banality, lack of
originality and, later, even copying.
His high-impact, iconic images have since become
synonymous with Pop art, and his method of Roy Lichtenstein
creating images, which blended aspects of
POP ART
Roy Lichtenstein : Major Works
Roy Lichtenstein
Drowning Girl
1963. Oil and synthetic polymer paint on canvas.
In the early 1960s Lichtenstein gained renown as

a leading Pop Artists for paintings sourced from
comic books, specifically DC Comics. His work,
along with that of Andy Warhol, heralded the
beginning of the Pop Art movement, and,
essentially, the end of Abstract Expressionism as
the dominant style. Lichtenstein did not simply
copy comic pages directly, he employed a
complex technique which involved cropping
images to create entirely new, dramatic
compositions, as inDrowning Girl, whose source
image included the woman's boyfriend standing
on a boat above her. Lichtenstein also condensed
the text of the comic book panels, locating
language as another, crucial visual element; re-
appropriating this emblematic aspect of
POP ART
Roy Lichtenstein : Major Works
Roy Lichtenstein
Brushstrokes
1967. Color screenprint on white wove paper.
Brushstrokes reflects
Lichtensteins interest in the
importance of the brushstroke in
Abstract Expressionism. Abstract
Expressionist artists had made the
brushstroke a vehicle to directly
communicate feelings;
Lichtenstein brushstroke made a
mockery of this aspiration, also
suggesting that though Abstract
Expressionists disdained
commercialization, they were not
immune to it - after all, many of
their pictures were also created in
series, using the same motifs
again and again. Lichtenstein has
OP ART
1964 -
A term coined by critic Jules Langsner in 1959

to describe the developments of a few
California painters.
Ideas: In the wake of Abstract Expressionism
many painters began to move towards greater
clarity of design, and to eschew the grandeur
and melancholy of much gestural painting.
Langsner observed this first in California, but
the trend was widespread and attracted more
OP ART
Art Works
Jesus-Rafael Soto
Sphere bleue de Paris
2000. Wood and paint construction with aluminum rods, lamps, and
rubber tubing
Soto, a Venezuelan who came to France in 1950,
was another of the many South American artists
who made such an important contribution to Op
and Kinetic art. The globe-like form inSphere bleue
de Parisappears to defy gravity, suggesting a
energetic power-source, a world or universe. It is
created by thin strands of blue rubber tubing,
evenly spaced, and moved with a gentle wind or
slight touch. The tubing creates a segmented
sphere that appears to dissolve into thin air as the
viewer circles it. Soto began making such works in
the mid-1960s, and although this piece was
created many years after the Op art movement
went into decline, it demonstrates the endurance
of many of the movement's personalities and their
ideas. An optical illusion is conjured in order to
OP ART
Art Works
Victor Vasarely
Duo - 2
1967. Gouache and acrylic on board.
The contrasting warm and cool shades here create

the ambiguous illusion of three-dimensional
structures. Are they concave, or convex? The
illusion is so effective that we are almost led to
forget that it is a painted image, and made to think
it is a volumetric construction.
Although black and white delivered perhaps the
most memorable Op images, color also intrigued
many Op artists. The scientific study of color had
been central to teaching at the Bauhaus, and
Vasarely certainly benefited from his education at
what was often called the 'Budapest Bauhaus'.
Bauhaus teachers such as Joseph Albers
encouraged students to think not of the
associations or symbolism of colors, which had so
MINIMALISM
EARLY 1960s LATE 1960s
A loosely affiliated group of mostly New York-

based artists began to work in a similar mode in
the early 1960s.
An approach to art - principally sculptural - which
stressed anonymous, industrial manufacturing
and austere, geometric forms. Led by articulate
spokesmen such as former critic Donald Judd, the
movement became a highly self-conscious
attempt to overturn previous conventions of
sculpture, to create objects with simple, indivisible
MINIMALISM
Donald Judd
Untitled
1969. Brass and colored fluorescent plexiglass on
steel brackets
Throughout the 1960s, Judd created
multiple versions of this untitled work,
always retaining the same scale but
never using the same color or materials.
He wanted his work to exist in real three-
dimensional space, rather than
representing a space, or another world,
as painting or even traditional figurative
sculpture tends to do. Referring to his
sculptures as "primary structures," he
discarded the conventions of traditional
sculpture (the plinth, the figure etc..),
and instead created objects which,
although oddly cold, everyday, and
industrial in appearance, seemed to
aspire to the condition of art by the way
MINIMALISM
Tony Smith
Free Ride
1962. Painted Steel.
A lot of Minimalism displays a "less is

more" approach to art, and Tony Smith's
work is no different.
Smith minimized the number of shapes,
lines and colors in his sculpture, and
inFree Ridesought to create an
ambiguous experience of form - partly
evoking a figure, perhaps, or partly a
landscape. Although he was close to
Abstract Expressionists like Pollock and
Newman, the most notable influence on
him was his former teacher Frank Lloyd
Wright. Some of his works even recall
Wright's building designs, which
famously sought to fuse harmoniously
with the natural landscape in which they
MOVEMENTS:1930 to
present
Minimalism
Kineti Concept
c ArtOp Art ual Art
1980
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Abstraction
POST-PAINTERLY ABSTRACTION
EARLY 1950s MID 1970s
Post-Painterly Abstraction was a term developed
by critic Clement Greenberg in 1964 to describe a
diverse range of abstract painters who rejected
the gestural styles of the Abstract Expressionists
and favored instead what he called "openness or
clarity."
Painters as different as Ellsworth Kelly and Helen
Frankenthaler were described by the term. Some
employed geometric form, others veils of stained
color.
POST-PAINTERLY
ABSTRACTION
Kenneth Noland
Cycle
One of Noland's signature series of paintings was

theTargetpaintings, which for him also doubled
as his own brand of color field painting and
geometric abstraction. InCycleNoland created
something particularly uncomplicated and, in
fact, the near opposite of the color field
style.Cycle'scentral target is entirely
surrounded by bare canvas; a compositional
decision also made by fellow painter Morris
Louis. What Noland achieved with this painting
was most likely what Greenberg had in mind
when he wrote about the post-painterly rejection
of the "doctrine" of Abstract Expressionism. By
creating a strikingly simple geometric form and
emphasizing more canvas than paint, Noland
was definitely moving beyond the visual confines
POST-PAINTERLY
ABSTRACTION
Howard Mehring
The Key
1963. Magna on canvas.
In Greenberg's essay for thePost-Painterly

Abstraction catalog, he was careful to point
out that the post-painterly artists were in
fact rejecting the technique of action
painting, but this rejection in no way
constituted an attempt to return to neo-
plasticism or synthetic Cubism. This
assertion is difficult to believe upon looking
at Mehring'sThe Key(which was part of
thePost-Painterlyexhibit), which visibly
recalls Mondrian's geometric abstractions,
at least in form if not in color. However,
what set Mehring's painting apart was his
use of perfect symmetry, both in depicted
and literal shape (painterly form and canvas
measurement, respectively), for which
POST-PAINTERLY
ABSTRACTION
Ellsworth Kelly
Red Blue
Kelly'sRed Bluerecalls in many ways Barnett

Newman's signature "zip" paintings, with the
single dividing line cutting through an
otherwise unified field of color. What set
Kelly's painting apart was the way in which
he applied the pigment. Kelly allowed his
diluted oil paints to soak into the canvas,
rendering the surface a clean and utterly flat
picture plane. Kelly's red divider is also much
wider than Newman's "zips," and applied to
create a cleaner, simpler hard-edged line.
Another key characteristic of Kelly's hard-
edge, color field paintings was his tendency
to only use two opposing colors.
CONCEPTUAL ART
MID 1950s
Developed simultaneously in the mid 1960s in the
United States, Latin America and Europe. The
movement waned in the mid 1970s but its
influence is still profound.
The movement is marked by a focus on ideas and
communication rather than visual perception.
Some of its practitioners have been drawn to a
highly intellectual critique of the institution of art
itself. Many eschew objects altogether, yet others
have created a diverse output of media, from
maps and found objects to texts and photographs.
CONCEPTUAL ART
Robert Rauschenberg
Erased de Kooning Drawing
1953. Charcoal, pencil, crayon and ink drawing by Willem de
Kooning, erased
In 1953 Robert Rauschenberg visited Willem de
Kooning's loft, requesting to take one of de Kooning's
drawings and completely erase it. Rauschenberg
believed that in order for this idea to become a work of
art, the work had to be someone else's and not his
own; if he erased one of his own drawings then the
result would be nothing more than a negated drawing.
Although disapproving at first, de Kooning admitted to
understanding the concept and reluctantly consented,
but on the condition that he (de Kooning) would only
give away something he knew he would miss, thus
making the erasure that much more profound in the
end, and secondly that the drawing would be a
challenge to completely erase. It took Rauschenberg a
little over a month and an estimated fifteen erasers in
CONCEPTUAL ART
Joseph Kosuth
One and Three Chairs
1953. Wood folding chair, mounted photograph of a chair,
and photographic enlargement of a dictionary definition of
"chair"
A physical chair sits between a to-scale
photograph of a chair and a printed definition of
the word "chair." Emblematic of Conceptual
art,One and Three Chairsmakes people
question what constitutes the art - the object,
the idea, the photograph, or a combination of all
three.
Joseph Kosuth once wrote, "The art I call
conceptual is such because it is based on an
inquiry into the nature of art. Thus, it is..a
thinking out of all the implications, of all aspects
of the concept 'art.'" With this work, not only is
the nature of art in question, but also the
authenticity of the objects he has chosen to
POST MINIMALISM
1966 -
Born almost simultaneously in the mid-1960s with the movement
that fathered it, Minimalism, Post-Minimalism was less a coherent
avant-garde than a splintered collection of tendencies including
Process art, Performance, Land art and Body art.
Post-Minimalism describes a collection of reactions against the
abstraction, austerity, and formalism of the Minimalist style. But it
also describes work that extended its ideas: some Process artists
pushed further its interests in the materiality of sculpture; some
elaborated its notion that sculpture could expand beyond the object
they developed new ideas about the placement of sculpture, and
pioneered Land art; and others, including many feminist artists,
reintroduced qualities of emotional expression into Minimalisms
POST MINIMALISM
Major Works
Bruce Nauman
The True Artist Helps the World by Revealing Mystic Truths,
(Window or Wall Sign)
1967. Neon tubing and clear glass tubing
This seminal work was created in the studio Nauman
established in an abandoned grocery store in San
Francisco and modeled after the neon advertisement
signs nearby. It acts as an advertisement of a different
kind. Its colorful, circular text proclaims the words of
the title: "The True Artist Helps the World by Revealing
Mystic Truths."
It is characteristic of Nauman's early neon works, and
typical of the tone of dry satire in much of his oeuvre.
Commenting on high art in the materials of low culture
and advertising, it sets up a clash that questions old
assumptions about the purpose of art and artists, like
are artists just ordinary salesmen? One might say that
the piece is Post-Minimalist simply by virtue of standing
at the borders of so many different styles and
POST MINIMALISM
Major Works
Richard Long
A Line Made by Walking
1967. Photograph and pencil on board
A Line Made by Walkingis highly

characteristic of the conceptual Earth art
created by British artist Richard Long. In
making a line across the grass by the simple
act of walking, Long creates a type of
drawing-without-drawing, doing away
completely with the conventional tools and
using instead his body and nature.
Abandoning the traditional art object in this
way is typical of Post-Minimalism, as is the
way in which Long's line draws attention to
the passing of time and the specific, fleeting
moment in which the line was made.
ART POVERA
1962 1972
The Arte Povera ("poor art") movement emerged in 1960s Italy,
when an artist collective adopted a radical stance against all
established modes of aesthetic order and widely accepted artistic
taste. A key influencer of the movement was Italian art critic
Germano Celant, whose 1967 book, Arte Povera, promoted ideas of
a new art, free from convention.
Prominent Arte Povera artists, such as Alighiero Boetti, Jannis
Kounellis, Mario Merz and Michelangelo Pistoletto, practiced
everything from painting and embroidery to conceptual art and
performance, all designed to represent an utterly original phase in
modern art, away from the dominance of pure abstraction. The
artists' common ground was a stance against a market-driven art
world, wherein the need for commerce trumped the importance of
individual expression.
ART POVERA
Major Works
Luciano Fabro
Floor Tautology
1967. Floor, newspapers
By the time he joined the Arte Povera

group, Luciano Fabro was already a well-
known artist associated with the likes of
Piero Manzoni and Lucio Fontana, two
important precursors of the movement.
HisFloor Tautologyinvolves an area of
floor, kept polished and covered with
newspapers to dry. Shown in Germano
Celant's first survey of Arte Povera,
Fabro's celebration of an ordinary task
was instrumental in his attempt to
recalibrate the concept of fine art. The
elevation of a duty associated with
housework - and most often coded as
women's work - became a theme in his
ART POVERA
Major Works
Mario Merz
Giap's Igloo
1968. Metal tubing, wire mesh, neon
tubing, dirt in bags, batteries,
accumulators
Mario Merz held the distinction of being the
oldest of the Arte Povera artists; he was also
married to the group's only female member,
Marisa Merz. In the first of his signature
igloos, Merz uses a phrase taken from a
Vietnamese military general: "Se il nemico
si concentra perde terreno se il disperde
perde forza" ("If the enemy masses his
forces, he loses ground; if he scatters, he
loses strength"). Merz's igloos provide a
focus for his preoccupation with the
necessities of life - shelter, warmth, and
food - though, as here, they also often
contain neon tubes that suggest more
sophisticated and modern experiences, such
PERFORMANCE ART
1910 -
Performance was first embraced by Futurism and Dada, but it
has been exploited by many avant-gardes. It flourished as a
movement itself in the 1960s and found exponents
internationally. Performance art of this period was particularly
focused on the body and is often referred to as Body Art.
Performance is a genre in which art is presented "live,"
usually by the artist but sometimes with collaborators or
performers. Artists have turned to it whenever they have
become disenchanted with conventional media such as
painting and sculpture, and are seeking to rejuvenate art. In
the 1960s, the movement reflected widespread attempts to
escape the boundaries of the traditional art object. In some
ways it extended the action painting of the Abstract
NEO-EXPRESSIONISM
LATE 1970s EARLY 1990s
Neo-Expressionism can be traced to the rise of
German artist Georg Baselitz and his Neue Wilden
group from the late 1960s, but it flourished
internationally in the 1980s.
Disaffected with the intellectualism of Minimalism
and Conceptual Art, many artists returned to
painting in an expressionist style which reasserted
the creative power of the individual. This took
place almost simultaneously throughout the world
and was marked by interests in primitivism,
graffiti, and the revival of historical styles.
NEO-EXPRESSIONISM
Major Works
Jean-Michel Basquiat
Mona Lisa
1983.Acrylic and oil stick on canvas
This provocative painting is both a

satirical homage to Leonardo's Mona
Lisa and a work of political commentary
on the converging worlds of art and
money. Basquiat's depiction of a
warpedMona Lisasmile fixed within a
dollar bill frame was the artist's way of
saying that, even though art and money
are essentially different things, they are
both forms of currency. Like most of his
paintings, there is a visible urgency to
Basquiat's brush strokes and thick oil
stick lines, as if he were applying these
fleeting mental images onto the canvas
before they vanished altogether.
NEO-EXPRESSIONISM
Major Works
Anselm Kiefer
Zim Zum
1990. Acrylic, emulsion,
crayon, shellac, ashes, and
canvas on lead
Kiefer's Neo-
Expressionist works are
marked by a dark,
almost post-apocalyptic
bleakness; topographies
that have been ravished
and fractured by war.
WithZim Zum, his forms
are enigmatic, yet at the
same time eerily
recognizable, as if he
were imagining these
quasi-abstract scenes for
the viewer and creating
NEO-EXPRESSIONISM
Major Works
Francesco Clemente
Scissors and Butterflies
1999. Oil on linen.
Clemente was one of the few Italian

painters who was a part of the
international array of Neo-Expressionist
artists. Employing a highly sensual style
with quasi-abstract forms combining
human and animal figures, Clemente
mixed elements of erotica with red-hot
anger in this 1999 work. As was typical of
his work, a metamorphosis takes place.
In Scissors and Butterflies, these
metamorphoses occur between human
and animal, the feminine and masculine,
the violent and the sexual. These inner
conflicts of existential expressiveness are
often found in Neo-Expressionism.
GLOSSARY
IMPASTO Painting that applies the pigment thickly sothat brush or paletteknife
marks are visible
JAPONSIM OR JAPONISME Ageneral term for the influence of the arts of Japan
on those of the West, whereas in France, Japonisme is applied to such influence
and is in addition the name of a specific French style (late 1800s).
ARTS AND CRAFTS An international design movement that flourished between
1860 and 1910, that stood for traditional craftsmanship using simple forms and
often applied medieval, romantic or folk styles of decoration and advocated
economic and social reform and has been said to be essentially anti-industrial.
SOURCES

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ART

Futurism The Bauhaus

Post-Impressionism Expressionism Constructivism

Abstract Color Hard- Performance Neo-

Birth:A movement in French painting which was at its

Edouard Manet Claude Monet Edgar Degas Pierre-Auguste Renoir

The movement gained its name after a

Edouard Manet Claude Monet Edgar Degas Pierre-Auguste Renoir

Impressionism was a style of

Edouard Manet Claude Monet Edgar Degas Pierre-Auguste Renoir

The Impressionists loosened their

Edouard Manet Claude Monet Edgar Degas Pierre-Auguste Renoir

As the primary talking point of the Salon des

This melancholic cafe scene is Manet's last

Claude Monet was among the leaders of the

Women in the Garden was painted at Ville

Boulevard des Capucines captures a scene of the

One of Monet's most popular figure paintings,

Monet's Rouen Cathedral series is one of his most

Water Lilies is a part of Monet's water

Edgar Degas is regarded as one of the founders of

When this work and its variant in the Muse

Edgar Degas Edgar Degas

Renoir was a French artist who was a leading painter in the

Renoir's paintings are notable for their vibrant light and

The painting depicts a typical

In the late 19th century, working

Like other works of Renoir's early

The painting depicts a group of

In this painting Renoir has captured

1875 1876 1910

Berthe Morisot was a woman of extraordinary talents who

Although Morisot was unusual for her class and time in

In the mother's face and dark costume Manet's

Berthe Morisot Berthe Morisot

Jacob Abraham Camille Pissarro

Camille Pissarro was a French Impressionist and Neo-

Camille Pissarro painted The

The figure of Pissarro's woodcutter

Futurism The Bauhaus

Post-Impressionism Expressionism Constructivism

Post-Impressionism is a catch-all term for the many and disparate

Ideas:Post-Impressionists turned away from effects of light and

Paul Czanne Vincent van Gogh Georges Seurat

Symbolic and highly personal meanings were important to Post-

Paul Czanne Vincent van Gogh Georges Seurat

Paul Cezanne was the preeminent French artist of the Post-

This portrait is one of the most renowned early

The expressive premise for this piece is suggested

As if to force the issue, Louis-August is portrayed

Cezanne produced his series of

Dutch Post-Impressionist Vincent van Gogh's unique vision,

Vincent Van Gogh

Slide concept by EdelizaStarry

Vincent Van Gogh

Van Gogh's Sunflower series was intended to decorate

Van Gogh used the colors to express the entire lifespan

Vincent Van Gogh

Van Gogh'sBedroomdepicts his living

1887 1889 1889

Seurat's first important canvas, the

Seurat's Sunday Afternoon on the

Futurism The Bauhaus