20 CENTURY

TH

ART STYLES
20TH CENTURY ART

 became known as “modern art”

 began with Modernism at the late 19th
century
ART STYLES
FAUVISM
 first used by Henri Matisse and André
Derain
 emphasized painterly  qualities and
strong color over the
representational or realistic values
 began around 1900 and continued
beyond 1910
 LUXE, CALME ET
VOLUPTÉ ("LUXURY,
CALM AND
PLEASURE")
by Henri Matisse, 1904. Musée
National d'Art Moderne.
CUBISM
 pioneered by Pablo Picasso and
Georges Braque
 objects are broken up, analyzed,
and re-assembled in an abstracted
form
 has two branches namely;
Analytic Cubism
Synthetic Cubism
ANALYTICAL CUBISM

 developed between 1908 and 1912

 analytic cubists "analyzed" natural forms and
reduced the forms into basic geometric parts
on the two-dimensional picture plane
 uses shapes like the cylinder, sphere and
the cone to represent the natural world
STILL LIFE WITH
FRUIT DISH AND
MANDOLIN
by Juan Gris, 1919, oil on
canvas, Private collection,
Paris.
SYNTHETIC CUBISM

 was used between 1912 and 1919

 characterized by the introduction of different
textures, surfaces, collage elements  and a
large variety of merged subject matter
THREE MUSICIANS
By Pablo Picasso, 1921, Museum
of Modern Art.
ORPHISM
 originated in 1910 until 1914
 coined by the French poet 
Guillaume Apollinaire
 focused on pure abstraction and bright
colors influenced by Fauvism
 ICARUS
by Sonia Delauney, 1930
SYNCHROMISM
 based on the idea that color and 
sound are similar phenomena
 based on color scales, using rhythmic
color forms with advancing and
reducing hues
 typically have a central vortex and
explode in complex color harmonies
 AIRPLANE
SYNCHROMY IN
YELLOW-ORANGE
Stanton MacDonald-Wright,
1920, Oil on canvas,
Metropolitan Museum of Art,
New York.
SURREALISM
 began in the early 1920’s
 features the element of surprise and
unexpected associations
THE ELEPHANT
CELEBES
by Max Ernst, 1921
SYMBOLISM
 represents an outgrowth of the
darker, gothic side of Romanticism
 static and hieratic
 LA MORT DU
FOSSOYEUR ("THE
DEATH OF THE
GRAVEDIGGER")
by Carlos Schwabe
FUTURISM
 originated in Italy in the early 20th
century
 Futurists practiced in every medium of
art, including painting, sculpture,
ceramics, graphic design, industrial
design, interior design, theatre, film,
fashion, literature, music, architecture
and even gastronomy.
 ABSTRACT
SPEED + SOUND
by Giacomo Balla,
1913-1914
ART DECO
 eclectic artistic and design style which
had its origins in Paris in the first
decades of the 20th century
 structure is based on mathematical
geometric shapes
 considered to be an eclectic form of
elegant and stylish modernism
MAIN BUILDING OF
MOSCOW STATE
UNIVERSITY
Photographer: Georg
Dembowski
DADA/DADAISM
 began in Zürich, Switzerland, during
World War I and peaked from 1916 to
1922
 imitated the techniques developed in
cubism through the pasting of cut
pieces of paper items, but extended
their art to encompass items to portray
aspects of life, rather than
representing objects viewed as still life
CUT WITH THE DADA
KITCHEN KNIFE
THROUGH THE LAST
WEIMAR BEER-BELLY
CULTURAL EPOCH IN
GERMANY
Hannah Höch, 1919, collage of
pasted papers, 90x144 cm,
Staatliche Museum, Berlin.
DE STIJL
 refer to a body of work from 1917 to
1931 founded in the Netherlands
 posited on the fundamental principle
of the geometry of the straight line,
the square, and the rectangle, the use
of primary colors with black and white.
 COMPOSITION
WITH YELLOW,
BLUE, AND RED
Piet Mondrian, 1937–42, Oil on
canvas, 72.5 x 69 cm. London,
Tate Gallery
SOCIAL REALISM
 depicts social and racial injustice,
economic hardship, through
unvarnished pictures of life's struggles;
often depicting working class activities
as heroic
 typically convey a message of social or
political protest edged with satire
MIGRANT MOTHER
Dorothea Lange, 1936. A
portrait of Florence Owens
Thompson (1903-1983).
AMERICAN SCENE PAINTING
 refers to a naturalist style of painting
and other works of art of the 1920s
through the 1950s in the United States
 also known as Regionalism
 TILLING THE
FIELDS
George G. Adomeit, Zoar,
1931, Oil on canvas over
Masonite, 25 x 34 inches.
ABSTRACT EXPRESSIONISM
 has many stylistic similarities to the
Russian artists of the early twentieth
century such as Wassily Kandinsky
 involved careful planning, especially
since their large size demanded it
 implied expression of ideas concerning
the spiritual, the unconscious and the
mind
 WOMAN V
Willem De Kooning, 1952–1953.
De Kooning's series of Woman
paintings in the early 1950s
caused a stir in the New York
City avant-garde circle.
NEO-DADA
 has similarities in method or intent to
earlier Dada artwork
 exemplified by its use of modern
materials, popular imagery, and
absurdist contrast
 THE SORCERESS
Jean Tinguely, 1961, welded,
painted, chromed, galvanized,
and rusted iron and steel with
aluminum, glazed ceramic,
copper, hemp, cotton twine,
galvanized wire, springs,
electrical wire, and rubber,
with electric motor; at the
Hirsh horn Museum and
Sculpture Garden
COLOR FIELD
 style of abstract painting that emerged
in New York City during the 1940s and
1950s
 characterized primarily by large fields
of flat, solid color spread across or
stained into the canvas; creating areas
of unbroken surface and a flat picture
plane
 BEGINNING
Kenneth Noland, magna on
canvas painting by Hirsh horn
Museum and Sculpture Garden,
1958. Kenneth Noland working
in Washington, DC., was a
pioneer of the color field
movement in the late 1950s.
POP ART
 emerged in the mid 1950s in Britain and
in the late 1950s in the United States
 characterized by themes and
techniques drawn from popular mass
culture, such as advertising, comic
books and mundane cultural objects
 widely interpreted as a reaction to the
then-dominant ideas of abstract
expressionism, as well as an expansion
upon them
DROWNING GIRL
Roy Lichtenstein, 1963 on
display at the Museum of
Modern Art, New York
PHOTOREALISM
 began in the late 1960s and early
1970s
 based on using the camera and
photograph to create a painting that
appears to be very realistic like a
photograph
 TELEPHONE
BOOTH
Richard Estes, 1968, Oil on
canvas, Richard Estes is
considered to be the leading
artist of the movement.
MINIMALISM
 work is stripped down to its most
fundamental features
 often interpreted as a reaction against
Abstract expressionism and a bridge to
Postmodern art practices
 BLACK SQUARE
Kazimir Malevich, 1913, Oil on
Canvas, State Russian Museum,
St. Petersburg
LYRICAL ABSTRACTION
 characterizing a type of abstract
painting related to Abstract
Expressionism; in use since the 1940s
 re-introduced painterly options into
works
MOUNTAINS AND
SEA
Helen Frankenthaler, 1952
CONCEPTUAL ART
 concept(s) or idea(s) involved in the
work take precedence over traditional
aesthetic and material concerns
 may be constructed by anyone simply
by following a set of written
instructions
ONE AND THREE
CHAIRS
Joseph Kosuth, 1965
NEO-EXPRESSIONISM
 emerged in the late 1970s and
dominated the art market until the mid-
1980s
 portraying recognizable objects, such as
the human body, in a rough and
violently emotional way using vivid
colors and ordinary color harmonies
 LAZARUS
Georg Baselitz, 1984, 248.9 x 331.5 cm
(98 x 130 1/2 in.)
Oil on canvas
Museum of Fine Arts, Boston
APPROPRIATION ART
 uses borrowed elements in the creation
of a new work
 to adopt, borrow, recycle or sample
aspects (or the entire form) of man-
made visual culture
 COMPOSITION
WITH FRUIT,
GUITAR AND
GLASS
Pablo Picasso, 1912
INSTALLATION ART
 site-specific, three-dimensional works
designed to transform the perception of a
space
 incorporates a very broad range of everyday
and natural materials
 EMBANKMENT
Rachel Whitread, at Tate
Modern.