A.04 Modern Art Timeline

8/2/2019 A.04 Modern Art Timeline

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1 A.03 Arte Moderno FA UAS 2012 Arq. Celia R. Gastlum

Arte Moderno Lnea de TiempoArtistas, Movimientos y Estilos en el Arte Moderno (1870 1975)

Impresionismo (1870-1890)Impresionismo es el nombre otorgado a un estilo muy

colorido de pintura en Francia a finales del siglo XIX. Los

impresionistas buscaban un anlisis ms exacto de los efectos

del color y la luz en la naturaleza. Se esmeraban en capturar

la atmsfera de un momento particular del da o los efectos

de las diferentes condiciones del clima. Frecuentemente

trabajaban al exterior y aplicaban a su pintura pequeas

pinceladas de colores brillantes lo que significaba el sacrificio

de las lneas y los detalles de los objetos. El impresionismo

abandona la idea convencional de que la sombra de un objeto

se forma de su propio color con algo de tonos marrn onegros aadidos. En su lugar, los impresionistas enriquecen

sus colores con la idea de que una sombra se compone de

trazos de su color complementario. Entre los mas importantes

pintores impresionistas podemos mencionara a Claude

Monet, Pierre Auguste Renoir, Edgar Degas, Camille Pissarro,

Alfred Sisley y Henri de Toulouse Lautrec.

Claude Monet 1840-1926

Catedral de Rouen a plena luz del da 1893/4

Louvre, ParisPost Impresionismo (1885-1905)

Los post impresionistas eran unos pocos artistas

independientes que a finales del siglo XIX se rebelaron contra

las limitaciones del impresionismo para desarrollar un agama

de estilos personales que influenciaron posteriormente al

arte del siglo XX. Los artistas mas reconocidos de esta

corriente son Paul Czanne, Paul Gauguin, Vincent Van Gogh

y Georges Seurat.

Czanne fue una influencia muy importante para Picasso y

Braque en su concepcin del cubismo. Asimismo, la tcnica

vigorosa y vibrante de Van Gogh fue piedra angular para lafutura aparicin del fauvismo y el expresionismo, mientars

que el color simblico de Gauguin y la tcnica puntillista de

Seurat sirvieron de inspiracin a los fauvistas.

Vincent Van Gogh 1853-90

Caf Terrace de noche, 1888

Museo Krller-Mller

Presentacin de diapositivas del Impresionismo y Postimpresionismo:

http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/impressionism_slideshow.html
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Fauvismo (1905-10)

El fauvismo fue un estilo festivo de pintura que se

deleitaba utilizando impactantes colores intensoos,

Fauvism was a joyful style of painting that delighted in

using outrageously bold colours. It was developed in

France at the beginning of the 20th century by Henri

Matisse and Andr Derain. The artists who painted in this

style were known as 'Les Fauves' (the wild beasts), a title

that came from a sarcastic remark in a review by the art

critic Louis Vauxcelles.

Les Fauves believed that colour should be used at its

highest pitch to express the artist's feelings about a

subject, rather than simply to describe what it looks like.

Fauvist paintings have two main characteristics:

extremely simplified drawing and intensely exaggerated

colour. They were a major influence on the

Expressionists.

Henri Matisse 1869-1954

The Open Window, Collioure, 1905

The National Gallery of Art, Washington

German Expressionism c.1905-25

German Expressionism is a style of art that is charged

with an emotional or spiritual vision of the world. The

expressive paintings of Vincent Van Gogh and Edvard

Munch influenced the German Expressionists. They alsodrew their inspiration from German Gothic and 'primitive

art'. The Expressionists were divided into two factions:

Die Brcke and Der Blaue Reiter. Die Brcke (The Bridge)

was an artistic community of young artists in Dresden

who aimed to overthrow the conservative traditions of

German art. Ernst Ludwig Kirchner and Karl Schmidt-

Rottluff were two of its founding members. Der Blaue

Reiter (the Blue Rider) was a group of artists whose

publications and exhibitions sought to find a common

creative ground between the various Expressionist art

forms. Kandinsky, Marc and Macke were among its

founding members.

Ernst Ludwig Kirchner 1880-1938

The Red Tower at Halle, 1915

Folkwang Museum, Essen

Fauvism and Expressionism Slideshow:

http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/fauvism_and_expressionism_slideshow.html
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Abstract Art c.1907 onwards

Abstract art is a generic term that describes two different

methods of abstraction: 'semi abstraction' and 'pure

abstraction'. The word 'abstract' means to withdraw part

of something in order to consider it separately. In

Abstract art that 'something' is one or more of the visual

elements of a subject: its line, shape, tone, pattern,

texture, or form.

Semi-Abstraction is where the image still has one foot in

representational art, (see Cubism and Futurism). It uses a

type of stylisation where the artist selects, develops and

refines specific visual elements (eg. line, color and shape)

in order to create a poetic reconstruction or simplified

essence of the original subject.

Pure Abstraction is where the artist uses visual elements

independently as the actual subject of the work itself.

(see Suprematism, De Styjl and Minimalism).Although elements of abstraction are present in earlier

artworks, the roots of modern abstract art are to be

found in Cubism. Among other important abstract styles

that developed in the 20th century are Orphism,

Rayonism, Constructivism, Tachisme, Abstract

Expressionism, and Op Art.

Georges Braque 1882-1963

Violin and Pitcher, 1910 (detail)

Kunstmuseum, Basel

Abstract Art Slideshow:http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/abstract_art_slideshow.html

Cubism c.1907-15

Cubism was invented around 1907 in Paris by Pablo

Picasso and Georges Braque. It was the first abstract

style of modern art. Cubist paintings ignore the traditions

of perspective drawing and show you many views of a

subject at one time. The Cubists believed that the

traditions of Western art had become exhausted and to

revitalize their work, they drew on the expressive energy

of art from other cultures, particularly African art. There

are two distinct phases of the Cubist style: Analytical

Cubism (pre 1912) and Synthetic Cubism (post 1912).

Cubism influenced many other styles of modern art

including Expressionism, Futurism, Orphism, Vorticism,

Suprematism, Constructivism and De Styjl. Other notable

artists associated with Cubism were Juan Gris, Fernand

Leger, Robert Delaunay, Albert Gleizes, Jean Metzinger,

Louis Marcoussis and Marie Laurencin.

Pablo Picasso 1881-1973

Ambroise Vollard, 1915

Pushkin Museum of Fine Art
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Futurism c.1909-1914

Futurism was a revolutionary Italian movement that

celebrated modernity. The Futurist vision was outlined in

a series of manifestos that attacked the long tradition of

Italian art in favour of a new avant-garde. They glorified

industrialisation, technology, and transport along with

the speed, noise and energy of urban life. The Futurists

adopted the visual vocabulary of Cubism to express their

ideas - but with a slight twist. In a Cubist painting the

artist records selected details of a subject as he moves

around it, whereas in a Futurist painting the subject itself

seems to move around the artist. The effect of this is that

Futurist paintings appear more dynamic than their Cubist

counterparts.

Futurism was founded in 1909 by the poet Filippo

Tommas Marinetti and embraced the arts in their widest

sense. The main figures associated with the movementwere the artists, Umberto Boccioni, Giacomo Balla, Gino

Severini, the musician Luigi Russolo and the architect

Antonio Sant'Elia.

Giacomo Balla 1871-1959

The Rhythm of the Violinist (detail), 1912

Estorick Collection, LondonCubism and Futurism Slideshow:

http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/cubism_and_futurism_slideshow.html

Suprematism c.1915-1925

In 1915, the Russian artist Kazimir Malevich developed

Suprematism, a geometric style of abstract painting

derived from elements of Cubism and Futurism. He

rejected any use of representational images, believing

that the non-representational forms of pure abstraction

had a greater spiritual power and an ability to open the

mind to the supremacy of pure feeling.

Suprematism was a style of pure abstraction that

advocated a mystical approach to art, in contrast with

Constructivism, the major Russian art movement of the

20th Century, whose imagery served the social and

political ideology of the state.

Kazimir Malevich1879-1935

Suprematism, 1915

Stedelijk Museum, Amsterdam
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Constructivism c.1913-1930

Constructivism used the same geometric language as

Suprematism but abandoned its mystical vision in favour

of their 'Socialism of vision' - a Utopian glimpse of a

mechanized modernity according to the ideals of the

October Revolution. However, this was not an art that

was easily understood by the proletariat and it was

eventually repressed and replaced by Socialist Realism.

Tatlin, Rodchenko, El Lissitzky and Naum Gabo were

among the best artists associated with Constructivism.

El Lissitzky 1890-1941

The Red Wedge,1919

www.ibiblio.org

De Styjl c.1917-1931

De Styjl was a Dutch 'style' of pure abstraction developedby Piet Mondrian, Theo Van Doesburg and Bart van der

Leck.

Mondrian was the outstanding artist of the group. He

was a deeply spiritual man who was intent on developing

a universal visual language that was free from any hint of

the nationalism that led to the Great War.

Mondrian gradually refined the elements of his art to a

grid of lines and primary colors which he configured in a

series of compositions that explored his universal

principles of harmony. He saw the elements of line and

color as possessing counteracting cosmic forces. Verticallines embodied the direction and energy of the sun's rays

which were countered by horizontal lines relating to the

earth's movement around it. He saw primary colors

through the same cosmic tinted spectacles: yellow

radiated the sun's energy; blue receded as infinite space

and red materialized where blue and yellow met.

Mondrian's style which he also called 'Neo-Plasticism'

was inspired by the Theosophical beliefs of the

mathematician and philosopher, M.H.J. Schoenmaekers.

Piet Mondrian 1872-1944

Composition with White and Yellow, 1942

Christies, New YorkSuprematism, Constructivism and De Styjl Slideshow:

http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/suprematism_constructivism_de-

styjl_slideshow.html
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Dada c.1916-1922

Dada was not a style of art like Fauvism or Cubism. It was

a form of artistic anarchy born out of disgust for the

social, political and cultural establishment of the time

which it held responsible for Europe's descent into World

War. Dadaism was an anti art stance as it was intent on

destroying the artistic values of the past. The aim of

Dada was to create a climate in which art was alive to the

moment and not paralysed by the corrupted traditions of

the established order. Dadas weapons in the war against

the art establishment were confrontation and

provocation. They confronted the artistic establishment

with the irrationality of their collages and assemblages

and provoked conservative complacency with

outrageous actions at their exhibitions and meetings.

The movement started in Zurich and spread as far as

New York. Marcel Duchamp, Raoul Hausmann, Jean Arpand Kurt Schwitters were among the best of the Dada

artists.

Raoul Hausmann 1886-1971

Tatlin at Home, 1920

Moderna Museet, Stockholm

Surrealism c.1924-1939

Surrealism was the positive response to Dada's

negativity. Its aim, as outlined in the First Surrealist

Manifesto of 1924, was to liberate the artist'simagination by tapping into the unconscious mind to

discover a 'superior' reality - a sur-reality. To achieve this

the Surrealists drew upon the images of dreams, the

effects of combining disassociated images, and the

technique of 'pure psychic automatism', a spontaneous

form of drawing without the conscious control of the

mind. The look of Surrealist art was inspired by the

irrational juxtaposition of images in Dada collages, the

metaphysical art of Giorgio de Chirico, and both

'primitive' and 'outsider' art. The most influential of the

Surrealist artists were Max Ernst, Joan Mir, SalvadorDali and Ren Magritte. The movement broke up at the

outbreak of war in 1939 when several of the Surrealists

left Europe for New York where they had a formative

influence on the development of Abstract Expressionism.

Ren Magritte1898-1967

Time Transfixed, 1938

Art Institute of Chicago

Dada and Surrealism Slideshow:

http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/dada_and_surrealism_slideshow.html
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Abstract Expressionism c.1946-1956

Abstract Expressionism was the first American art style

to exert an influence on a global scale. It drew upon the

spiritual approach of Kandinsky, the automatism of the

Surrealists, and a range of dramatic painting techniques.

Abstract Expressionism was also known as Action

Painting, an existentialist title which implied that the

physical act of painting was as important as the result

itself. The movement embraced paintings from a wide

range of artists whose work was not always purely

abstract or truly expressionistic. The all-over drip

paintings of Jackson Pollock, which entangle the viewer

in a skein of light, color and texture, were the biggest

challenge to the interpretation of pictorial space since

Cubism. The paintings of Mark Rothko bathe the

spectator in an mystical world of diffuse color while the

art of Robert Motherwell sets up an abstract dialoguebetween his 'automatic' calligraphy and the conscious

control of shapes and colors. Willem de Kooning, Franz

Kline, Barnet Newman and Clifford Still were other major

figures associated with the movement.

Jackson Pollock 1912-1956

Full Fathom Five, 1947

MoMA, New YorkAbstract Expressionism Slideshow:

http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/abstract_expressionism_slideshow.html

Pop Art c.1954-1970

Pop Art was the art movement that characterised a

sense of optimism during the post war consumer boom

of the 1950's and 60's. It coincided with the globalization

of pop music and youth culture, personified by Elvis and

The Beatles. Pop Art was brash, colorful, young, fun and

hostile to the artistic establishment. It included different

styles of painting and sculpture from various countries,

but what they all had in common was an interest in

popular culture. The stark look of Pop Art emerged from

a fusion of Dada collages and 'readymades' with the

imagery of the consumer culture. It was seen as anantidote to the introspection of Abstract Expressionism.

The expressive techniques of Jasper Johns and Robert

Rauschenberg provided the stylistic link between

Abstract Expressionism and Pop but the images of

celebrity and consumerism by Andy Warhol and the

comic book iconography of Roy Lichtenstein represent

the style as we know it today.

Andy Warhol 1928-1987

Campbell's Soup 1 (Tomato), 1968

MoMA, New YorkPop Art Slideshow:http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/pop_art_slideshow.html
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Op Art c.1964-1970

Op Art is short for 'optical art'. It was an abstract style

that emerged in the 1960's based on the illusionistic

effects of line, shape, pattern and color. Op Artists such

as Victor Vasarely, Bridget Riley and Richard

Anuszkiewicz play with the perception of the viewer by

subverting the picture plane with ambiguous shapes,

shifting tones and dynamic color relationships. Although

Op Art images are static they generate the illusion of

movement with perceptual tricks that create an unstable

picture surface. The effects of this can be so strong that

you have to look away for fear of losing your balance or

hurting your eyes. Needless to say that the fairground

fun aspect of Op Art was very popular with the public

and was quickly commercialised by the design and

fashion industries.

Victor Vasarely 1906-1997

Gestalt 4, 1970

www.vasarely.comOp Art Slideshow:http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/op_art_slideshow.html

Minimalism c.1960-1975

Minimalism was not only a reaction against the

emotionally charged techniques of Abstract

Expressionism but also a further refinement of pure

abstraction. It was an attempt to discover the essence of

art by reducing the elements of a work to the basic

considerations of shape, surface and materials.

Minimalist art used hard-edged forms and geometric grid

structures. Color was simply used to define space or

suface. Ad Reinhardt, whose late paintings anticipate

Minimalism, put it simply, The more stuff in it, the busier

the work of art, the worse it is. More is less. Less is more.

The eye is a menace to clear sight. The laying bare of

oneself is obscene. Art begins with the getting rid of

nature. Frank Stella, Don Judd, Robert Morris, John

McCracken and Sol LeWitt were important contributers

to Minimalism.

Frank Stella b. 1936

Jarmolince III, 1973

Collection of the artist

Fuente:http://www.artyfactory.com/art_appreciation/timelines/modern_art_timeline.htm
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A.04 Modern Art Timeline

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