Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles andphilosophies of theart produced during that era.[1] The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation.[2] Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from thenarrative, which was characteristic of the traditional arts, towardabstraction is characteristic of much modern art. More recent artistic production is often calledcontemporary art orPostmodern art.
Modern art begins with the post-impressionist painters likeVincent van Gogh,Paul Cézanne,Paul Gauguin,Georges Seurat andHenri de Toulouse-Lautrec. These artists were essential to modern art's development.[3] At the beginning of the 20th centuryHenri Matisse and several other young artists including thepre-cubistsGeorges Braque,André Derain,Raoul Dufy,Jean Metzinger andMaurice de Vlaminck revolutionized the Paris art world with "wild," multi-colored, expressive landscapes and figure paintings that the critics calledFauvism.[4] Matisse's two versions ofThe Dance signified a key point in his career and the development of modern painting.[5] It reflected Matisse's incipient fascination withprimitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation andhedonism.
Although modernsculpture andarchitecture are reckoned to have emerged at the end of the 19th century, the beginnings of modernpainting can be located earlier.[15]Francisco Goya is considered by many as the Father of Modern Painting without being a Modernist himself, a fact of art history that later painters associated with Modernism as a style, acknowledge him as an influence.[16][17][18] The date perhaps most commonly identified as marking the birth of modern art as a movement is 1863,[15] the year thatÉdouard Manet showed his paintingLe déjeuner sur l'herbe in theSalon des Refusés in Paris.[19] Earlier dates have also been proposed, among them 1855 (the yearGustave Courbet exhibitedThe Artist's Studio) and 1784 (the yearJacques-Louis David completed his paintingThe Oath of the Horatii).[15] In the words of art historianH. Harvard Arnason: "Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning .... A gradual metamorphosis took place in the course of a hundred years."[15]
The strands of thought that eventually led to modern art can be traced back to theEnlightenment.[b] The modern art criticClement Greenberg, for instance, calledImmanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from the outside ... . Modernism criticizes from the inside."[21] TheFrench Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and accustomed the public to vigorous political and social debate.[22] This gave rise to what art historianErnst Gombrich called a "self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper."[23]
Influences upon these movements were varied: from exposure to Eastern decorative arts, particularlyJapanese printmaking, to the coloristic innovations ofTurner andDelacroix, to a search for morerealism in the depiction of common life, as found in the work of painters such asJean-François Millet. The advocates of realism stood against theidealism of the tradition-boundacademic art that enjoyed public and official favor.[25] The most successful painters of the day worked either through commissions or through large public exhibitions of their work. There were official, government-sponsored painters' unions, while governments regularly held public exhibitions of new fine and decorative arts.
The Impressionists argued that people do not see objects but only the light that they reflect, and therefore painters should paint in natural light (en plein air) rather than in studios and should capture the effects of light in their work.[26] Impressionist artists formed a group,Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions.[27] The style was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a"movement." These traits—establishment of a working method integral to the art, the establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art.
In 1905, a group of four German artists, led byErnst Ludwig Kirchner, formedDie Brücke (The Bridge) in the city ofDresden.[28] This was arguably the founding organization for theGerman Expressionist movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formedDer Blaue Reiter (The Blue Rider) in Munich.[29] The name came fromWassily Kandinsky'sDer Blaue Reiter painting of 1903. Among their members wereKandinsky,Franz Marc,Paul Klee, andAugust Macke. However, the term "Expressionism" did not firmly establish itself until 1913.[30]: 274
Futurism took off in Italy a couple years beforeWorld War I with the publication ofFilippo Tommaso Marinetti'sFuturist Manifesto.[31]Benedetta Cappa Marinetti, wife of Filippo Tommaso Marinetti, created the second wave of the artistic movement started by her husband. "Largely thanks to Benedetta, her husband F.T. Marinetti re orchestrated the shifting ideologies of Futurism to embrace feminine elements of intuition, spirituality, and the mystical forces of the earth."[32] She painted up until his death and spent the rest of her days tending to the spread and growth of this period in Italian art, which celebrated technology, speed and all things new.[33]
During the years between 1910 and the end ofWorld War I and after the heyday ofcubism, several movements emerged in Paris.Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known asAlberto Savinio).[34] Through his brother, he met Pierre Laprade, a member of the jury at theSalon d'Automne where he exhibited three of his dreamlike works:Enigma of the Oracle,Enigma of an Afternoon andSelf-Portrait. In 1913 he exhibited his work at theSalon des Indépendants and Salon d'Automne, and his work was noticed byPablo Picasso,Guillaume Apollinaire, and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings ofSurrealism.Song of Love (1914) is one of the most famous works by de Chirico and is an early example of thesurrealist style, though it was painted ten years before the movement was "founded" byAndré Breton in 1924. TheSchool of Paris, centered inMontparnasse flourished between the two world wars.
By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 byDouglas Crimp),new media art had become a category in itself, with a growing number of artists experimenting with technological means such asvideo art.[40] Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise ofneo-expressionism and the revival offigurative painting.[41]
Towards the end of the 20th century, many artists and architects started questioning the idea of "the modern" and created typicallyPostmodern works.[42]
^"One way of understanding the relation of the terms 'modern,' 'modernity,' and 'Modernism' is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity ... [this means] that Modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries. Social modernity is the home of Modernist art, even where that art rebels against it." — Lawrence E. Cahoone[14]
^"In the seventeenth and eighteenth centuries momentum began to gather behind a newview of the world, which would eventually create a newworld, the modern world." — Lawrence E. Cahoone[20]
^Bayer, Herbert (1938).Bauhaus, 1919–1928(PDF). New York: The Museum of Modern Art: Distributed by New York Graphic Society.ISBN0870702408.{{cite book}}:ISBN / Date incompatibility (help)CS1 maint: publisher location (link)
"CIMA Art Gallery".Times of India Travel. 2015-06-30. Retrieved2021-06-12.
Clement, Russell (1996).Four French Symbolists: A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis. Westport, CN: Greenwood Press.ISBN978-0-313-29752-6.OCLC34191505.
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