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figure ▁v ase ▁painting ▁and ▁Red - figure ▁v ase ▁painting ▁gives ▁many ▁surviving ▁examples ▁of ▁what ▁Greek ▁painting ▁was . ▁Some ▁famous ▁Greek ▁pain ters ▁on ▁wooden ▁panels ▁who ▁are ▁mentioned ▁in ▁texts ▁are ▁Ap elles , ▁Ze ux is ▁and ▁Par r has ius , ▁however ▁no ▁examples ▁of ▁Anc ient ▁Greek ▁panel ▁painting ▁survive , ▁only ▁written ▁descriptions ▁by ▁their ▁contempor aries ▁or ▁later ▁Romans . ▁Ze ux is ▁lived ▁in ▁ 5 – 6 BC ▁and ▁was ▁said ▁to ▁be ▁the ▁first ▁to ▁use ▁sf um ato . ▁According ▁to ▁Pl iny ▁the ▁Eld er , ▁the ▁real ism ▁of ▁his ▁paintings ▁was ▁such ▁that ▁birds ▁tried ▁to ▁eat ▁the ▁painted ▁gr apes . ▁Ap elles ▁is ▁described ▁as ▁the ▁greatest ▁painter ▁of ▁Ant iqu ity ▁for ▁perfect ▁technique ▁in ▁drawing , ▁brilliant ▁color ▁and ▁modeling . ▁ ▁Roman ▁art ▁was ▁influenced ▁by ▁Greece ▁and ▁can ▁in ▁part ▁be ▁taken ▁as ▁a ▁desc endant ▁of ▁ancient ▁Greek ▁painting . ▁However , ▁Roman ▁painting ▁does ▁have ▁important ▁unique ▁characteristics . ▁Sur v iving ▁Roman ▁paintings ▁include ▁wall ▁paintings ▁and ▁fres co es , ▁many ▁from ▁vill as ▁in ▁Camp ania , ▁in ▁Southern ▁Italy ▁at ▁sites ▁such ▁as ▁Pom pe ii ▁and ▁Her cul ane um . ▁Such ▁painting ▁can ▁be ▁group ed ▁into ▁four ▁main ▁" styles " ▁or ▁periods ▁and ▁may ▁contain ▁the ▁first ▁examples ▁of ▁t rom pe - l ' œ il , ▁pseudo - pers pective , ▁and ▁pure ▁landscape . ▁Almost ▁the ▁only ▁painted |
▁port ra its ▁surviving ▁from ▁the ▁Anc ient ▁world ▁are ▁a ▁large ▁number ▁of ▁coff in - port ra its ▁of ▁bust ▁form ▁found ▁in ▁the ▁Late ▁Ant ique ▁c emetery ▁of ▁Al - F ay um . ▁Although ▁these ▁were ▁neither ▁of ▁the ▁best ▁period ▁nor ▁the ▁highest ▁quality , ▁they ▁are ▁impressive ▁in ▁themselves , ▁and ▁give ▁an ▁idea ▁of ▁the ▁quality ▁that ▁the ▁finest ▁ancient ▁work ▁must ▁have ▁had . ▁A ▁very ▁small ▁number ▁of ▁mini atures ▁from ▁Late ▁Ant ique ▁illustrated ▁books ▁also ▁survive , ▁and ▁a ▁rather ▁larger ▁number ▁of ▁copies ▁of ▁them ▁from ▁the ▁Early ▁Med ieval ▁period . ▁ ▁Middle ▁A ges ▁ ▁The ▁rise ▁of ▁Christianity ▁im part ed ▁a ▁different ▁spirit ▁and ▁aim ▁to ▁painting ▁styles . ▁By z antine ▁art , ▁once ▁its ▁style ▁was ▁established ▁by ▁the ▁ 6 th ▁century , ▁placed ▁great ▁emphasis ▁on ▁ret aining ▁traditional ▁icon ography ▁and ▁style , ▁and ▁gradually ▁evolved ▁during ▁the ▁thousand ▁years ▁of ▁the ▁By z antine ▁Empire ▁and ▁the ▁living ▁traditions ▁of ▁Greek ▁and ▁Russian ▁Orth odox ▁icon - p ain ting . ▁ ▁By z antine ▁painting ▁has ▁a ▁hier atic ▁feeling ▁and ▁ icons ▁were ▁and ▁still ▁are ▁seen ▁as ▁a ▁representation ▁of ▁divine ▁revel ation . ▁ ▁There ▁were ▁many ▁fres cos , ▁but ▁fewer ▁of ▁these ▁have ▁survived ▁than ▁m osa ics . ▁By z antine ▁art ▁has ▁been ▁compared ▁to ▁contemporary ▁ab stra ction , ▁in ▁its ▁flat ness ▁and ▁highly ▁st yl ised ▁dep ictions ▁of |
▁figures ▁and ▁landscape . ▁ ▁Some ▁periods ▁of ▁By z antine ▁art , ▁especially ▁the ▁so - called ▁M aced on ian ▁art ▁of ▁around ▁the ▁ 1 0 th ▁century , ▁are ▁more ▁flexible ▁in ▁approach . ▁F res cos ▁of ▁the ▁Pal ae olog ian ▁Rena issance ▁of ▁the ▁early ▁ 1 4 th ▁century ▁survive ▁in ▁the ▁Ch ora ▁Church ▁in ▁I stan bul . ▁ ▁In ▁post - Ant ique ▁Catholic ▁Europe ▁the ▁first ▁distinctive ▁artistic ▁style ▁to ▁emerge ▁that ▁included ▁painting ▁was ▁the ▁Ins ular ▁art ▁of ▁the ▁British ▁Is les , ▁where ▁the ▁only ▁surviving ▁examples ▁are ▁mini atures ▁in ▁Ill um inated ▁manuscript s ▁such ▁as ▁the ▁Book ▁of ▁K ells . ▁ ▁These ▁are ▁most ▁famous ▁for ▁their ▁abstract ▁decor ation , ▁although ▁figures , ▁and ▁sometimes ▁scenes , ▁were ▁also ▁depicted , ▁especially ▁in ▁Ev angel ist ▁port ra its . ▁Carol ing ian ▁and ▁Ott on ian ▁art ▁also ▁surv ives ▁mostly ▁in ▁manuscript s , ▁although ▁some ▁wall - p ain ting ▁remain , ▁and ▁more ▁are ▁documented . ▁ ▁The ▁art ▁of ▁this ▁period ▁comb ines ▁Ins ular ▁and ▁" bar bar ian " ▁influences ▁with ▁a ▁strong ▁By z antine ▁influence ▁and ▁an ▁asp iration ▁to ▁recover ▁classical ▁monument ality ▁and ▁po ise . ▁ ▁W alls ▁of ▁Roman es que ▁and ▁G oth ic ▁churches ▁were ▁decorated ▁with ▁fres co es ▁as ▁well ▁as ▁sculpt ure ▁and ▁many ▁of ▁the ▁few ▁remaining ▁mur als ▁have ▁great ▁intensity , ▁and |
▁combine ▁the ▁decor ative ▁energy ▁of ▁Ins ular ▁art ▁with ▁a ▁new ▁monument ality ▁in ▁the ▁treatment ▁of ▁figures . ▁Far ▁more ▁mini atures ▁in ▁Ill um inated ▁manuscript s ▁survive ▁from ▁the ▁period , ▁showing ▁the ▁same ▁characteristics , ▁which ▁continue ▁into ▁the ▁G oth ic ▁period . ▁ ▁Panel ▁painting ▁becomes ▁more ▁common ▁during ▁the ▁Roman es que ▁period , ▁under ▁the ▁heavy ▁influence ▁of ▁By z antine ▁ icons . ▁ ▁Tow ards ▁the ▁middle ▁of ▁the ▁ 1 3 th ▁century , ▁Med ieval ▁art ▁and ▁G oth ic ▁painting ▁became ▁more ▁realistic , ▁with ▁the ▁beg innings ▁of ▁interest ▁in ▁the ▁dep iction ▁of ▁volume ▁and ▁perspective ▁in ▁Italy ▁with ▁C im ab ue ▁and ▁then ▁his ▁pup il ▁Gi otto . ▁ ▁From ▁Gi otto ▁on , ▁the ▁treatment ▁of ▁composition ▁by ▁the ▁best ▁pain ters ▁also ▁became ▁much ▁more ▁free ▁and ▁innovative . ▁ ▁They ▁are ▁considered ▁to ▁be ▁the ▁two ▁great ▁medieval ▁masters ▁of ▁painting ▁in ▁western ▁culture . ▁C im ab ue , ▁within ▁the ▁By z antine ▁tradition , ▁used ▁a ▁more ▁realistic ▁and ▁dramatic ▁approach ▁to ▁his ▁art . ▁His ▁pup il , ▁Gi otto , ▁took ▁these ▁innov ations ▁to ▁a ▁higher ▁level ▁which ▁in ▁turn ▁set ▁the ▁found ations ▁for ▁the ▁western ▁painting ▁tradition . ▁Both ▁artists ▁were ▁pione ers ▁in ▁the ▁move ▁towards ▁natural ism . ▁ ▁Ch urches ▁were ▁built ▁with ▁more ▁and ▁more ▁windows ▁and ▁the ▁use ▁of ▁color ful ▁st ained ▁glass ▁become ▁a ▁st ap |
le ▁in ▁decor ation . ▁One ▁of ▁the ▁most ▁famous ▁examples ▁of ▁this ▁is ▁found ▁in ▁the ▁cat hedral ▁of ▁Not re ▁D ame ▁de ▁Paris . ▁By ▁the ▁ 1 4 th ▁century ▁Western ▁societies ▁were ▁both ▁rich er ▁and ▁more ▁cultiv ated ▁and ▁pain ters ▁found ▁new ▁pat rons ▁in ▁the ▁nob ility ▁and ▁even ▁the ▁bour ge ois ie . ▁Ill um inated ▁manuscript s ▁took ▁on ▁a ▁new ▁character ▁and ▁slim , ▁fashion ably ▁dressed ▁court ▁women ▁were ▁shown ▁in ▁their ▁landsc apes . ▁This ▁style ▁soon ▁became ▁known ▁as ▁International ▁style ▁and ▁temper a ▁panel ▁paintings ▁and ▁alt arp ie ces ▁gained ▁importance . ▁ ▁Rena issance ▁and ▁M anner ism ▁ ▁The ▁Rena issance ▁( F rench ▁for ▁' reb irth '), ▁a ▁cultural ▁movement ▁roughly ▁sp anning ▁the ▁ 1 4 th ▁through ▁the ▁mid - 1 7 th ▁century , ▁her ald ed ▁the ▁study ▁of ▁classical ▁sources , ▁as ▁well ▁as ▁advances ▁in ▁science ▁which ▁profound ly ▁influenced ▁European ▁intellectual ▁and ▁artistic ▁life . ▁In ▁the ▁Low ▁Count ries , ▁especially ▁in ▁modern ▁day ▁F land ers , ▁a ▁new ▁way ▁of ▁painting ▁was ▁established ▁in ▁the ▁beginning ▁of ▁the ▁ 1 5 th ▁century . ▁In ▁the ▁foot steps ▁of ▁the ▁developments ▁made ▁in ▁the ▁ill um ination ▁of ▁manuscript s , ▁especially ▁by ▁the ▁Lim bourg ▁Brothers , ▁artists ▁became ▁fasc inated ▁by ▁the ▁tang ible ▁in ▁the ▁visible ▁world ▁and ▁began ▁representing ▁objects ▁in ▁an ▁extremely ▁natural istic ▁way . ▁The |
▁adoption ▁of ▁oil ▁painting ▁whose ▁invention ▁was ▁tradition ally , ▁but ▁err one ously , ▁cred ited ▁to ▁Jan ▁van ▁E y ck , ▁made ▁possible ▁a ▁new ▁ver is imil itude ▁in ▁dep ict ing ▁this ▁natural ism . ▁The ▁medium ▁of ▁oil ▁paint ▁was ▁already ▁present ▁in ▁the ▁work ▁of ▁Mel ch ior ▁Bro eder lam , ▁but ▁pain ters ▁like ▁Jan ▁van ▁E y ck ▁and ▁Robert ▁Camp in ▁brought ▁its ▁use ▁to ▁new ▁he ights ▁and ▁employed ▁it ▁to ▁represent ▁the ▁natural ism ▁they ▁were ▁aim ing ▁for . ▁With ▁this ▁new ▁medium ▁the ▁pain ters ▁of ▁this ▁period ▁were ▁capable ▁of ▁creating ▁rich er ▁colors ▁with ▁a ▁deep ▁intense ▁ton ality . ▁The ▁illusion ▁of ▁gl owing ▁light ▁with ▁a ▁por cel ain - like ▁finish ▁characterized ▁Early ▁Nether land ish ▁painting ▁and ▁was ▁a ▁major ▁difference ▁to ▁the ▁mat te ▁surface ▁of ▁temper a ▁paint ▁used ▁in ▁Italy . ▁Unlike ▁the ▁Ital ians , ▁whose ▁work ▁drew ▁heavily ▁from ▁the ▁art ▁of ▁Anc ient ▁Greece ▁and ▁Rome , ▁the ▁northern ers ▁retained ▁a ▁sty list ic ▁resid ue ▁of ▁the ▁sculpt ure ▁and ▁ill um inated ▁manuscript s ▁of ▁the ▁Middle ▁A ges ▁( especially ▁its ▁natural ism ). ▁The ▁most ▁important ▁artist ▁of ▁this ▁time ▁was ▁Jan ▁van ▁E y ck , ▁whose ▁work ▁ranks ▁among ▁the ▁finest ▁made ▁by ▁artists ▁who ▁are ▁now ▁known ▁as ▁Early ▁Nether land ish ▁pain ters ▁or ▁F lem ish ▁Pr imit ives ▁( since ▁most ▁artists ▁were ▁active ▁in |
▁cities ▁in ▁modern ▁day ▁F land ers ). ▁The ▁first ▁painter ▁of ▁this ▁period ▁was ▁the ▁Master ▁of ▁Fl ém alle , ▁now adays ▁identified ▁as ▁Robert ▁Camp in , ▁whose ▁work ▁follows ▁the ▁art ▁of ▁the ▁International ▁G oth ic . ▁Another ▁important ▁painter ▁of ▁this ▁period ▁was ▁Rog ier ▁van ▁der ▁We y den , ▁whose ▁compos itions ▁stressed ▁human ▁emotion ▁and ▁drama , ▁demonstrated ▁for ▁instance ▁in ▁his ▁Des cent ▁from ▁the ▁Cross , ▁which ▁ranks ▁among ▁the ▁most ▁famous ▁works ▁of ▁the ▁ 1 5 th ▁century ▁and ▁was ▁the ▁most ▁influential ▁Nether land ish ▁painting ▁of ▁Christ ' s ▁cru c if ix ion . ▁Other ▁important ▁artists ▁from ▁this ▁period ▁are ▁Hugo ▁van ▁der ▁Go es ▁( wh ose ▁work ▁was ▁highly ▁influential ▁in ▁Italy ), ▁D ier ic ▁B outs ▁( who ▁was ▁among ▁the ▁first ▁northern ▁pain ters ▁to ▁demonstrate ▁the ▁use ▁of ▁a ▁single ▁van ishing ▁point ), ▁Pet rus ▁Christ us , ▁Hans ▁Mem ling ▁and ▁Ger ard ▁David . ▁ ▁In ▁Italy , ▁the ▁art ▁of ▁Class ical ▁ant iqu ity ▁inspired ▁a ▁style ▁of ▁painting ▁that ▁emphas ized ▁the ▁ideal . ▁Art ists ▁such ▁as ▁Pa olo ▁U cc ello , ▁Mas acc io , ▁Fra ▁Angel ico , ▁Pier o ▁della ▁Frances ca , ▁Andrea ▁Man te g na , ▁Filip po ▁L ippi , ▁Sand ro ▁B ott ic elli , ▁Leon ardo ▁da ▁Vin ci , ▁Michel angel o ▁Bu on ar rot i , ▁and ▁R aph |
ael ▁took ▁painting ▁to ▁a ▁higher ▁level ▁through ▁the ▁use ▁of ▁perspective , ▁the ▁study ▁of ▁human ▁an at omy ▁and ▁proportion , ▁and ▁through ▁their ▁development ▁of ▁an ▁unpre ced ented ▁ref inement ▁in ▁drawing ▁and ▁painting ▁techniques . ▁A ▁somewhat ▁more ▁natural istic ▁style ▁emerged ▁in ▁Ven ice . ▁Pain ters ▁of ▁the ▁Ven et ian ▁school , ▁such ▁as ▁Giovanni ▁Bell ini , ▁G ior g ione , ▁Tit ian , ▁T int oret to , ▁and ▁Ver ones e , ▁were ▁less ▁concerned ▁with ▁precision ▁in ▁their ▁drawing ▁than ▁with ▁the ▁rich ness ▁of ▁color ▁and ▁unity ▁of ▁effect ▁that ▁could ▁be ▁achieved ▁by ▁a ▁more ▁spont aneous ▁approach ▁to ▁painting . ▁ ▁F lem ish , ▁Dutch ▁and ▁German ▁pain ters ▁of ▁the ▁Rena issance ▁such ▁as ▁Hans ▁Hol be in ▁the ▁Young er , ▁Al bre cht ▁D ür er , ▁Lucas ▁Cr an ach , ▁Mat th ias ▁Gr ü new ald , ▁Hier onymous ▁Bos ch , ▁and ▁Piet er ▁Br ue gel ▁represent ▁a ▁different ▁approach ▁from ▁their ▁Italian ▁colleagues , ▁one ▁that ▁is ▁more ▁realistic ▁and ▁less ▁ideal ized . ▁Gen re ▁painting ▁became ▁a ▁popular ▁id iom ▁amongst ▁the ▁Northern ▁pain ters ▁like ▁Piet er ▁Br ue gel . ▁ ▁Rena issance ▁painting ▁reflects ▁the ▁revolution ▁of ▁ideas ▁and ▁science ▁( astr onomy , ▁ge ography ) ▁that ▁occurred ▁in ▁this ▁period , ▁the ▁Re formation , ▁and ▁the ▁invention ▁of ▁the ▁printing ▁press . ▁D ür er , ▁considered ▁one ▁of |
▁the ▁greatest ▁of ▁print makers , ▁states ▁that ▁pain ters ▁are ▁not ▁mere ▁art is ans ▁but ▁think ers ▁as ▁well . ▁With ▁the ▁development ▁of ▁eas el ▁painting ▁in ▁the ▁Rena issance , ▁painting ▁gained ▁independence ▁from ▁architecture . ▁E as el ▁paintings — mov able ▁pictures ▁which ▁could ▁be ▁hung ▁easily ▁on ▁walls — bec ame ▁a ▁popular ▁alternative ▁to ▁paintings ▁fixed ▁to ▁furniture , ▁walls ▁or ▁other ▁structures . ▁Following ▁centuries ▁dominated ▁by ▁religious ▁imag ery , ▁sec ular ▁subject ▁matter ▁slowly ▁returned ▁to ▁Western ▁painting . ▁Art ists ▁included ▁vis ions ▁of ▁the ▁world ▁around ▁them , ▁or ▁the ▁products ▁of ▁their ▁own ▁imag inations ▁in ▁their ▁paintings . ▁Those ▁who ▁could ▁afford ▁the ▁expense ▁could ▁become ▁pat rons ▁and ▁commission ▁port ra its ▁of ▁themselves ▁or ▁their ▁family . ▁ ▁The ▁High ▁Rena issance ▁gave ▁rise ▁to ▁a ▁st yl ized ▁art ▁known ▁as ▁M anner ism . ▁In ▁place ▁of ▁the ▁balanced ▁compos itions ▁and ▁rational ▁approach ▁to ▁perspective ▁that ▁characterized ▁art ▁at ▁the ▁dawn ▁of ▁the ▁ 1 6 th ▁century , ▁the ▁M anner ists ▁sought ▁inst ability , ▁art if ice , ▁and ▁doubt . ▁The ▁un pert urbed ▁faces ▁and ▁gest ures ▁of ▁Pier o ▁della ▁Frances ca ▁and ▁the ▁calm ▁Vir g ins ▁of ▁R aph ael ▁are ▁replaced ▁by ▁the ▁trou bled ▁expressions ▁of ▁Pont orm o ▁and ▁the ▁emotional ▁intensity ▁of ▁El ▁Gre co . ▁Rest less ▁and ▁un stable ▁compos itions , ▁often ▁extreme ▁or ▁dis j unct ive |
▁effects ▁of ▁perspective , ▁and ▁st yl ized ▁pos es ▁are ▁characteristic ▁of ▁Italian ▁M anner ists ▁such ▁as ▁T int oret to , ▁Pont orm o , ▁and ▁Bron z ino , ▁and ▁appeared ▁later ▁in ▁the ▁work ▁of ▁Northern ▁M anner ists ▁such ▁as ▁Hend rick ▁G olt z ius , ▁Bar th ol ome us ▁Spr anger , ▁and ▁Jo ach im ▁W te w ael . ▁ ▁Bar o que ▁and ▁Roc oco ▁ ▁Bar o que ▁painting ▁is ▁associated ▁with ▁the ▁Bar o que ▁cultural ▁movement , ▁a ▁movement ▁often ▁identified ▁with ▁Abs olut ism ▁and ▁the ▁Coun ter ▁Re formation ▁or ▁Catholic ▁Rev ival ; ▁the ▁existence ▁of ▁important ▁Bar o que ▁painting ▁in ▁non - abs olut ist ▁and ▁Protest ant ▁states ▁also , ▁however , ▁unders co res ▁its ▁popularity , ▁as ▁the ▁style ▁spread ▁throughout ▁Western ▁Europe . ▁ ▁Bar o que ▁painting ▁is ▁characterized ▁by ▁great ▁drama , ▁rich , ▁deep ▁color , ▁and ▁intense ▁light ▁and ▁dark ▁shadows . ▁Bar o que ▁art ▁was ▁meant ▁to ▁ev oke ▁emotion ▁and ▁passion ▁instead ▁of ▁the ▁calm ▁rational ity ▁that ▁had ▁been ▁pri zed ▁during ▁the ▁Rena issance . ▁During ▁the ▁period ▁beginning ▁around ▁ 1 6 0 0 ▁and ▁continuing ▁throughout ▁the ▁ 1 7 th ▁century , ▁painting ▁is ▁characterized ▁as ▁Bar o que . ▁Among ▁the ▁greatest ▁pain ters ▁of ▁the ▁Bar o que ▁are ▁Car av aggio , ▁Rem brand t , ▁Fr ans ▁H als , ▁Rub ens , |
▁Vel áz que z , ▁P ous sin , ▁and ▁Johannes ▁Verm e er . ▁Car av aggio ▁is ▁an ▁he ir ▁of ▁the ▁human ist ▁painting ▁of ▁the ▁High ▁Rena issance . ▁His ▁realistic ▁approach ▁to ▁the ▁human ▁figure , ▁painted ▁directly ▁from ▁life ▁and ▁dramatically ▁spot lit ▁against ▁a ▁dark ▁background , ▁shocked ▁his ▁contempor aries ▁and ▁opened ▁a ▁new ▁chapter ▁in ▁the ▁history ▁of ▁painting . ▁Bar o que ▁painting ▁often ▁dram at izes ▁scenes ▁using ▁light ▁effects ; ▁this ▁can ▁be ▁seen ▁in ▁works ▁by ▁Rem brand t , ▁Verm e er , ▁Le ▁N ain , ▁La ▁Tour , ▁and ▁J use pe ▁de ▁R iber a . ▁ ▁In ▁Italy , ▁the ▁Bar o que ▁style ▁is ▁ep it om ized ▁by ▁religious ▁and ▁myth ological ▁paintings ▁in ▁the ▁Grand ▁M anner ▁by ▁artists ▁such ▁as ▁the ▁Car rac ci , ▁Gu ido ▁Ren i , ▁and ▁Luc a ▁Gi ord ano . ▁Ill usion istic ▁church ▁ceiling ▁fres co es ▁by ▁Piet ro ▁da ▁Cort ona ▁seemed ▁to ▁open ▁to ▁the ▁sky . ▁A ▁much ▁quiet er ▁type ▁of ▁Bar o que ▁emerged ▁in ▁the ▁Dutch ▁Republic , ▁where ▁eas el ▁paintings ▁of ▁everyday ▁subjects ▁were ▁popular ▁with ▁middle - class ▁collect ors , ▁and ▁many ▁pain ters ▁became ▁specialists ▁in ▁genre , ▁others ▁in ▁landscape ▁or ▁se asc ape ▁or ▁still ▁life . ▁Verm e er , ▁Ger ard ▁ter ▁Bor ch , ▁and ▁Piet er ▁de ▁H oo ch ▁brought ▁great ▁technical ▁ref inement |
▁to ▁the ▁painting ▁of ▁domestic ▁scenes , ▁as ▁did ▁W ille m ▁Cl a esz . ▁H eda ▁to ▁still ▁life . ▁In ▁contrast , ▁Rem brand t ▁exc elled ▁in ▁painting ▁every ▁type ▁of ▁subject , ▁and ▁developed ▁an ▁individual ▁painter ly ▁style ▁in ▁which ▁the ▁ch iar osc uro ▁and ▁dark ▁background s ▁derived ▁from ▁Car av aggio ▁and ▁the ▁U tre cht ▁Car av agg ists ▁lose ▁their ▁the atr ical ▁quality . ▁ ▁During ▁the ▁ 1 8 th ▁century , ▁Roc oco ▁followed ▁as ▁a ▁lighter ▁extension ▁of ▁Bar o que , ▁often ▁f riv ol ous ▁and ▁er otic . ▁Roc oco ▁developed ▁first ▁in ▁the ▁decor ative ▁arts ▁and ▁interior ▁design ▁in ▁France . ▁Louis ▁XV ' s ▁success ion ▁brought ▁a ▁change ▁in ▁the ▁court ▁artists ▁and ▁general ▁artistic ▁fashion . ▁ ▁The ▁ 1 7 3 0 s ▁represented ▁the ▁height ▁of ▁Roc oco ▁development ▁in ▁France ▁exempl ified ▁by ▁the ▁works ▁of ▁Ant oine ▁Wat te au ▁and ▁François ▁B ouch er . ▁ ▁Roc oco ▁still ▁maintained ▁the ▁Bar o que ▁taste ▁for ▁complex ▁forms ▁and ▁intr icate ▁patterns , ▁but ▁by ▁this ▁point , ▁it ▁had ▁begun ▁to ▁integrate ▁a ▁variety ▁of ▁diverse ▁characteristics , ▁including ▁a ▁taste ▁for ▁Ori ental ▁designs ▁and ▁asym metric ▁compos itions . ▁ ▁The ▁Roc oco ▁style ▁spread ▁with ▁French ▁artists ▁and ▁en gr aved ▁publications . ▁ ▁It ▁was ▁readily ▁received ▁in ▁the ▁Catholic ▁parts ▁of ▁Germany , ▁Bo hem ia , ▁and ▁Austria |
, ▁where ▁it ▁was ▁merged ▁with ▁the ▁l ively ▁German ▁Bar o que ▁traditions . ▁ ▁German ▁Roc oco ▁was ▁applied ▁with ▁enthusiasm ▁to ▁churches ▁and ▁pal aces , ▁particularly ▁in ▁the ▁south , ▁while ▁Freder ician ▁Roc oco ▁developed ▁in ▁the ▁Kingdom ▁of ▁Pr ussia . ▁ ▁The ▁French ▁masters ▁Wat te au , ▁B ouch er ▁and ▁Fr agon ard ▁represent ▁the ▁style , ▁as ▁do ▁Giovanni ▁Batt ista ▁T ie pol o ▁and ▁Jean - B apt iste - Sim é on ▁Ch ard in ▁who ▁was ▁considered ▁by ▁some ▁as ▁the ▁best ▁French ▁painter ▁of ▁the ▁ 1 8 th ▁century ▁– ▁the ▁Anti - R oc oco . ▁Port ra iture ▁was ▁an ▁important ▁component ▁of ▁painting ▁in ▁all ▁countries , ▁but ▁especially ▁in ▁England , ▁where ▁the ▁leaders ▁were ▁William ▁H og arth , ▁in ▁a ▁bl unt ▁real ist ▁style , ▁and ▁Francis ▁Hay man , ▁Angel ica ▁K au ff man ▁( who ▁was ▁Swiss ), ▁Thomas ▁G ains borough ▁and ▁Joshua ▁Reyn olds ▁in ▁more ▁fl attering ▁styles ▁influenced ▁by ▁Anthony ▁van ▁Dy ck . ▁In ▁France ▁during ▁the ▁Roc oco ▁era ▁Jean - B apt iste ▁Gre u ze ▁( the ▁favorite ▁painter ▁of ▁Den is ▁D ider ot ), ▁exc elled ▁in ▁port ra its ▁and ▁history ▁paintings , ▁and ▁Maurice ▁Qu entin ▁de ▁La ▁Tour ▁and ▁É l is abeth ▁V ig ée - L eb run ▁were ▁highly ▁accomplished ▁portrait ▁pain ters . ▁La ▁Tour ▁specialized ▁in ▁past el ▁painting |
, ▁which ▁became ▁a ▁popular ▁medium ▁during ▁this ▁period . ▁ ▁William ▁H og arth ▁helped ▁develop ▁a ▁theoretical ▁foundation ▁for ▁Roc oco ▁beauty . ▁Though ▁not ▁intention ally ▁refer encing ▁the ▁movement , ▁he ▁argued ▁in ▁his ▁Analysis ▁of ▁Beaut y ▁( 1 7 5 3 ) ▁that ▁the ▁und ulating ▁lines ▁and ▁S - cur ves ▁prominent ▁in ▁Roc oco ▁were ▁the ▁basis ▁for ▁grace ▁and ▁beauty ▁in ▁art ▁or ▁nature ▁( un like ▁the ▁straight ▁line ▁or ▁the ▁circle ▁in ▁Classic ism ). ▁The ▁beginning ▁of ▁the ▁end ▁for ▁Roc oco ▁came ▁in ▁the ▁early ▁ 1 7 6 0 s ▁as ▁figures ▁like ▁Vol ta ire ▁and ▁Jacques - Fr anç ois ▁Bl ond el ▁began ▁to ▁voice ▁their ▁criticism ▁of ▁the ▁super f icial ity ▁and ▁degener acy ▁of ▁the ▁art . ▁ ▁Bl ond el ▁dec ried ▁the ▁" rid ic ulous ▁j umble ▁of ▁shell s , ▁drag ons , ▁re eds , ▁palm - tre es ▁and ▁plants " ▁in ▁contemporary ▁inter iors . ▁ ▁By ▁ 1 7 8 5 , ▁Roc oco ▁had ▁passed ▁out ▁of ▁fashion ▁in ▁France , ▁replaced ▁by ▁the ▁order ▁and ▁serious ness ▁of ▁Ne oc lass ical ▁artists ▁like ▁Jacques - Lou is ▁David . ▁▁ 1 9 th ▁century : ▁Ne o - class icism , ▁History ▁painting , ▁Rom antic ism , ▁Im pression ism , ▁Post - Im pression ism , ▁Symbol ism ▁ ▁After ▁Roc oco ▁there ▁a rose ▁in ▁the ▁late ▁ 1 |
8 th ▁century , ▁in ▁architecture , ▁and ▁then ▁in ▁painting ▁severe ▁ne o - class icism , ▁best ▁represented ▁by ▁such ▁artists ▁as ▁David ▁and ▁his ▁he ir ▁Ing res . ▁Ing res ' ▁work ▁already ▁contains ▁much ▁of ▁the ▁sens ual ity , ▁but ▁none ▁of ▁the ▁spont ane ity , ▁that ▁was ▁to ▁character ize ▁Rom antic ism . ▁This ▁movement ▁turned ▁its ▁attention ▁toward ▁landscape ▁and ▁nature ▁as ▁well ▁as ▁the ▁human ▁figure ▁and ▁the ▁sup rem acy ▁of ▁natural ▁order ▁above ▁man kind ' s ▁will . ▁There ▁is ▁a ▁pant he ist ▁philosophy ▁( see ▁Sp ino za ▁and ▁H eg el ) ▁within ▁this ▁con ception ▁that ▁oppos es ▁En light en ment ▁ide als ▁by ▁seeing ▁man kind ' s ▁dest iny ▁in ▁a ▁more ▁tragic ▁or ▁p ess im istic ▁light . ▁The ▁idea ▁that ▁human ▁beings ▁are ▁not ▁above ▁the ▁forces ▁of ▁Nature ▁is ▁in ▁contrad iction ▁to ▁Anc ient ▁Greek ▁and ▁Rena issance ▁ide als ▁where ▁man kind ▁was ▁above ▁all ▁things ▁and ▁owned ▁his ▁fate . ▁This ▁thinking ▁led ▁romantic ▁artists ▁to ▁dep ict ▁the ▁sub l ime , ▁ruined ▁churches , ▁ship w re cks , ▁mass ac res ▁and ▁mad ness . ▁ ▁By ▁the ▁mid - 1 9 th - century ▁pain ters ▁became ▁liber ated ▁from ▁the ▁demands ▁of ▁their ▁patron age ▁to ▁only ▁dep ict ▁scenes ▁from ▁religion , ▁myth ology , ▁port ra iture ▁or ▁history . ▁The ▁idea ▁" art ▁for ▁art ' s |
▁sake " ▁began ▁to ▁find ▁expression ▁in ▁the ▁work ▁of ▁pain ters ▁like ▁Francisco ▁de ▁G oya , ▁John ▁Const able , ▁and ▁J . M . W . ▁Turner . ▁Rom antic ▁pain ters ▁saw ▁landscape ▁painting ▁as ▁an ▁important ▁genre ▁to ▁express ▁the ▁van ity ▁of ▁man kind ▁in ▁opposition ▁to ▁the ▁grand eur ▁of ▁nature . ▁Until ▁then , ▁landscape ▁painting ▁wasn ' t ▁considered ▁the ▁most ▁important ▁genre ▁for ▁pain ters ▁( like ▁port ra iture ▁or ▁history ▁painting ). ▁But ▁pain ters ▁like ▁J . M . W . ▁Turner ▁and ▁Cas par ▁David ▁Friedrich ▁managed ▁to ▁elev ate ▁landscape ▁painting ▁to ▁an ▁em in ence ▁riv alling ▁history ▁painting . ▁Some ▁of ▁the ▁major ▁pain ters ▁of ▁this ▁period ▁are ▁Eug ène ▁Del ac ro ix , ▁Th é od ore ▁G éric ault , ▁J . ▁M . ▁W . ▁Turner , ▁Cas par ▁David ▁Friedrich ▁and ▁John ▁Const able . ▁Francisco ▁de ▁G oya ' s ▁late ▁work ▁demonstr ates ▁the ▁Rom antic ▁interest ▁in ▁the ▁irr ational , ▁while ▁the ▁work ▁of ▁Arnold ▁B ö ck lin ▁ev okes ▁mystery ▁and ▁the ▁paintings ▁of ▁A est hetic ▁movement ▁artist ▁James ▁Mc Ne ill ▁Wh ist ler ▁ev oke ▁both ▁sophistic ation ▁and ▁dec ad ence . ▁In ▁the ▁United ▁States ▁the ▁Rom antic ▁tradition ▁of ▁landscape ▁painting ▁was ▁known ▁as ▁the ▁Hudson ▁River ▁School : ▁ex ponents ▁include ▁Thomas ▁Cole , ▁Freder ic ▁Ed win ▁Church , ▁Albert ▁B ier stadt , ▁Thomas ▁Mor |
an , ▁and ▁John ▁Frederick ▁K ens ett . ▁L umin ism ▁was ▁a ▁movement ▁in ▁American ▁landscape ▁painting ▁related ▁to ▁the ▁Hudson ▁River ▁School . ▁ ▁The ▁leading ▁Barb izon ▁School ▁painter ▁Cam ille ▁Cor ot ▁painted ▁in ▁both ▁a ▁romantic ▁and ▁a ▁realistic ▁ve in ; ▁his ▁work ▁pre fig ures ▁Im pression ism , ▁as ▁does ▁the ▁paintings ▁of ▁Eug ène ▁B oud in ▁who ▁was ▁one ▁of ▁the ▁first ▁French ▁landscape ▁pain ters ▁to ▁paint ▁out doors . ▁B oud in ▁was ▁also ▁an ▁important ▁influence ▁on ▁the ▁young ▁Claude ▁Mon et , ▁whom ▁in ▁ 1 8 5 7 ▁he ▁introduced ▁to ▁Ple in ▁air ▁painting . ▁A ▁major ▁force ▁in ▁the ▁turn ▁towards ▁Real ism ▁at ▁mid - century ▁was ▁Gust ave ▁Cour bet . ▁In ▁the ▁latter ▁third ▁of ▁the ▁century ▁Im pression ists ▁like ▁É d ou ard ▁Man et , ▁Claude ▁Mon et , ▁Pierre - Aug ust e ▁Ren oir , ▁Cam ille ▁P iss ar ro , ▁Alfred ▁S is ley , ▁Bert he ▁Mor is ot , ▁Mary ▁Cass att , ▁and ▁Ed gar ▁Deg as ▁worked ▁in ▁a ▁more ▁direct ▁approach ▁than ▁had ▁previously ▁been ▁exhib ited ▁publicly . ▁They ▁es che wed ▁alleg ory ▁and ▁narrative ▁in ▁favor ▁of ▁individual ized ▁responses ▁to ▁the ▁modern ▁world , ▁sometimes ▁painted ▁with ▁little ▁or ▁no ▁prepar atory ▁study , ▁re lying ▁on ▁de ft ness ▁of ▁drawing ▁and ▁a ▁highly ▁chrom atic ▁pal lette . ▁Man et , ▁Deg as , |
▁Ren oir , ▁Mor is ot , ▁and ▁Cass att ▁concentrated ▁primarily ▁on ▁the ▁human ▁subject . ▁Both ▁Man et ▁and ▁Deg as ▁re interpret ed ▁classical ▁fig ur ative ▁can ons ▁within ▁contemporary ▁situations ; ▁in ▁Man et ' s ▁case ▁the ▁re - imag in ings ▁met ▁with ▁hostile ▁public ▁reception . ▁Ren oir , ▁Mor is ot , ▁and ▁Cass att ▁turned ▁to ▁domestic ▁life ▁for ▁inspiration , ▁with ▁Ren oir ▁focusing ▁on ▁the ▁female ▁n ude . ▁Mon et , ▁P iss ar ro , ▁and ▁S is ley ▁used ▁the ▁landscape ▁as ▁their ▁primary ▁mot if , ▁the ▁trans ience ▁of ▁light ▁and ▁weather ▁playing ▁a ▁major ▁role ▁in ▁their ▁work . ▁While ▁S is ley ▁most ▁closely ▁ad her ed ▁to ▁the ▁original ▁princip als ▁of ▁the ▁Im pression ist ▁perception ▁of ▁the ▁landscape , ▁Mon et ▁sought ▁challenges ▁in ▁increasingly ▁chrom atic ▁and ▁change able ▁conditions , ▁cul min ating ▁in ▁his ▁series ▁of ▁monument al ▁works ▁of ▁Water ▁Lil ies ▁painted ▁in ▁G iver ny . ▁ ▁P iss ar ro ▁adopted ▁some ▁of ▁the ▁experiments ▁of ▁Post - Im pression ism . ▁S light ly ▁younger ▁Post - Im pression ists ▁like ▁Vincent ▁van ▁G og h , ▁Paul ▁G au gu in , ▁and ▁Georges ▁Se ur at , ▁along ▁with ▁Paul ▁C é z anne ▁led ▁art ▁to ▁the ▁edge ▁of ▁modern ism ; ▁for ▁G au gu in ▁Im pression ism ▁gave ▁way ▁to ▁a ▁personal ▁symbol ism ; ▁Se ur |
at ▁transformed ▁Im pression ism ' s ▁broken ▁color ▁into ▁a ▁scientific ▁optical ▁study , ▁structured ▁on ▁f rie ze - like ▁compos itions ; ▁Van ▁G og h ' s ▁turb ulent ▁method ▁of ▁paint ▁application , ▁coupled ▁with ▁a ▁son orous ▁use ▁of ▁color , ▁predicted ▁Expression ism ▁and ▁F au v ism , ▁and ▁C é z anne , ▁des iring ▁to ▁un ite ▁classical ▁composition ▁with ▁a ▁revolutionary ▁ab stra ction ▁of ▁natural ▁forms , ▁would ▁come ▁to ▁be ▁seen ▁as ▁a ▁pre cursor ▁of ▁ 2 0 th - century ▁art . ▁The ▁spell ▁of ▁Im pression ism ▁was ▁felt ▁throughout ▁the ▁world , ▁including ▁in ▁the ▁United ▁States , ▁where ▁it ▁became ▁integral ▁to ▁the ▁painting ▁of ▁American ▁Im pression ists ▁such ▁as ▁Ch ilde ▁Hass am , ▁John ▁Tw acht man , ▁and ▁Theod ore ▁Robinson ; ▁and ▁in ▁Australia ▁where ▁pain ters ▁of ▁the ▁He idel berg ▁School ▁such ▁as ▁Arthur ▁Street on , ▁Frederick ▁McC ub bin ▁and ▁Charles ▁Con der ▁painted ▁en ▁ple in ▁air ▁and ▁were ▁particularly ▁interested ▁in ▁the ▁Australian ▁landscape ▁and ▁light . ▁It ▁also ▁ex ert ed ▁influence ▁on ▁pain ters ▁who ▁were ▁not ▁primarily ▁Im pression istic ▁in ▁theory , ▁like ▁the ▁portrait ▁and ▁landscape ▁painter ▁John ▁S inger ▁S arg ent . ▁At ▁the ▁same ▁time ▁in ▁America ▁at ▁the ▁turn ▁of ▁the ▁ 2 0 th ▁century ▁there ▁existed ▁a ▁native ▁and ▁nearly ▁ins ular ▁real ism , ▁as ▁rich ly ▁embod ied ▁in ▁the ▁fig |
ur ative ▁work ▁of ▁Thomas ▁E ak ins , ▁the ▁Ash can ▁School , ▁and ▁the ▁landsc apes ▁and ▁se asc apes ▁of ▁W ins low ▁Hom er , ▁all ▁of ▁whose ▁paintings ▁were ▁deeply ▁invested ▁in ▁the ▁solid ity ▁of ▁natural ▁forms . ▁The ▁vision ary ▁landscape , ▁a ▁mot ive ▁largely ▁dependent ▁on ▁the ▁ambig uity ▁of ▁the ▁no ct urn e , ▁found ▁its ▁advoc ates ▁in ▁Albert ▁Pink ham ▁Ry der ▁and ▁Ralph ▁Albert ▁Bl ak el ock . ▁ ▁In ▁the ▁late ▁ 1 9 th ▁century ▁there ▁also ▁were ▁several , ▁rather ▁dis sim ilar , ▁groups ▁of ▁Symbol ist ▁pain ters ▁whose ▁works ▁reson ated ▁with ▁younger ▁artists ▁of ▁the ▁ 2 0 th ▁century , ▁especially ▁with ▁the ▁F au v ists ▁and ▁the ▁Sur real ists . ▁Among ▁them ▁were ▁Gust ave ▁More au , ▁Od ilon ▁Red on , ▁Pierre ▁Pu vis ▁de ▁Ch av ann es , ▁Henri ▁Fant in - Lat our , ▁Arnold ▁B ö ck lin , ▁Ed vard ▁M unch , ▁F é lic ien ▁R ops , ▁and ▁Jan ▁To or op , ▁and ▁Gust ave ▁K lim t ▁amongst ▁others ▁including ▁the ▁Russian ▁Symbol ists ▁like ▁Mik h ail ▁V rub el . ▁ ▁Symbol ist ▁pain ters ▁min ed ▁myth ology ▁and ▁dream ▁imag ery ▁for ▁a ▁visual ▁language ▁of ▁the ▁soul , ▁seeking ▁ev oc ative ▁paintings ▁that ▁brought ▁to ▁mind ▁a ▁static ▁world ▁of ▁silence . ▁The ▁symbols ▁used ▁in ▁Symbol ism ▁are |
▁not ▁the ▁familiar ▁em ble ms ▁of ▁mainstream ▁icon ography ▁but ▁intens ely ▁personal , ▁private , ▁obsc ure ▁and ▁ambig uous ▁references . ▁More ▁a ▁philosophy ▁than ▁an ▁actual ▁style ▁of ▁art , ▁the ▁Symbol ist ▁pain ters ▁influenced ▁the ▁contemporary ▁Art ▁Nou ve au ▁movement ▁and ▁Les ▁N ab is . ▁In ▁their ▁exploration ▁of ▁dream like ▁subjects , ▁symbol ist ▁pain ters ▁are ▁found ▁across ▁centuries ▁and ▁cultures , ▁as ▁they ▁are ▁still ▁today ; ▁Bernard ▁Del v aille ▁has ▁described ▁Ren é ▁Mag rit te ' s ▁sur real ism ▁as ▁" Symbol ism ▁plus ▁Freud ". ▁▁ 2 0 th - century ▁modern ▁and ▁contemporary ▁ ▁The ▁heritage ▁of ▁pain ters ▁like ▁Van ▁G og h , ▁C é z anne , ▁G au gu in , ▁and ▁Se ur at ▁was ▁essential ▁for ▁the ▁development ▁of ▁modern ▁art . ▁At ▁the ▁beginning ▁of ▁the ▁ 2 0 th ▁century ▁Henri ▁Mat isse ▁and ▁several ▁other ▁young ▁artists ▁revolution ized ▁the ▁Paris ▁art ▁world ▁with ▁" w ild ", ▁multi - colored , ▁express ive , ▁landsc apes ▁and ▁figure ▁paintings ▁that ▁the ▁critics ▁called ▁F au v ism . ▁P ablo ▁Pic asso ▁made ▁his ▁first ▁cub ist ▁paintings ▁based ▁on ▁C é z anne ' s ▁idea ▁that ▁all ▁dep iction ▁of ▁nature ▁can ▁be ▁reduced ▁to ▁three ▁sol ids : ▁c ube , ▁sphere ▁and ▁cone . ▁ ▁P ione ers ▁of ▁the ▁ 2 0 th ▁century ▁ ▁The ▁heritage ▁of ▁pain ters ▁like |
▁Van ▁G og h , ▁C é z anne , ▁G au gu in , ▁and ▁Se ur at ▁was ▁essential ▁for ▁the ▁development ▁of ▁modern ▁art . ▁At ▁the ▁beginning ▁of ▁the ▁ 2 0 th ▁century ▁Henri ▁Mat isse ▁and ▁several ▁other ▁young ▁artists ▁including ▁the ▁pre - c ub ist ▁Georges ▁Bra que , ▁André ▁Der ain , ▁Ra oul ▁D uf y ▁and ▁Maurice ▁de ▁V lam in ck ▁revolution ized ▁the ▁Paris ▁art ▁world ▁with ▁" w ild ", ▁multi - colored , ▁express ive , ▁landsc apes ▁and ▁figure ▁paintings ▁that ▁the ▁critics ▁called ▁F au v ism . ▁Henri ▁Mat isse ' s ▁second ▁version ▁of ▁The ▁Dance ▁sign ifies ▁a ▁key ▁point ▁in ▁his ▁career ▁and ▁in ▁the ▁development ▁of ▁modern ▁painting . ▁It ▁reflects ▁Mat isse ' s ▁inc ip ient ▁fasc ination ▁with ▁primitive ▁art : ▁the ▁intense ▁warm ▁colors ▁against ▁the ▁cool ▁blue - green ▁background ▁and ▁the ▁rhythm ical ▁success ion ▁of ▁dancing ▁n udes ▁convey ▁the ▁feelings ▁of ▁emotional ▁liber ation ▁and ▁he don ism . ▁P ablo ▁Pic asso ▁made ▁his ▁first ▁cub ist ▁paintings ▁based ▁on ▁C é z anne ' s ▁idea ▁that ▁all ▁dep iction ▁of ▁nature ▁can ▁be ▁reduced ▁to ▁three ▁sol ids : ▁c ube , ▁sphere ▁and ▁cone . ▁With ▁the ▁painting ▁Les ▁Dem ois elles ▁d ' Av ign on ▁ 1 9 0 7 , ▁Pic asso ▁dramatically ▁created ▁a ▁new ▁and ▁radical ▁picture ▁dep ict ing ▁a ▁raw ▁and ▁primitive |
▁bro the l ▁scene ▁with ▁five ▁prost itutes , ▁viol ently ▁painted ▁women , ▁rem inis cent ▁of ▁African ▁trib al ▁masks ▁and ▁his ▁own ▁new ▁Cub ist ▁invent ions . ▁analyt ic ▁Cub ism ▁was ▁joint ly ▁developed ▁by ▁P ablo ▁Pic asso ▁and ▁Georges ▁Bra que , ▁exempl ified ▁by ▁Vi olin ▁and ▁Cand l est ick , ▁Paris , ▁from ▁about ▁ 1 9 0 8 ▁through ▁ 1 9 1 2 . ▁Anal yt ic ▁cub ism , ▁the ▁first ▁clear ▁manifest ation ▁of ▁cub ism , ▁was ▁followed ▁by ▁synthetic ▁cub ism , ▁pract ised ▁by ▁Bra que , ▁Pic asso , ▁Fern and ▁Lé ger , ▁Juan ▁Gr is , ▁Albert ▁Gle izes , ▁Marcel ▁D uch amp ▁and ▁countless ▁other ▁artists ▁into ▁the ▁ 1 9 2 0 s . ▁Sy nt hetic ▁cub ism ▁is ▁characterized ▁by ▁the ▁introduction ▁of ▁different ▁text ures , ▁surfaces , ▁coll age ▁elements , ▁pap ier ▁coll é ▁and ▁a ▁large ▁variety ▁of ▁merged ▁subject ▁matter . ▁ ▁Les ▁F au ves ▁( F rench ▁for ▁The ▁Wild ▁Be asts ) ▁were ▁early - 2 0 th - century ▁pain ters , ▁experiment ing ▁with ▁freedom ▁of ▁expression ▁through ▁color . ▁The ▁name ▁was ▁given , ▁humor ously ▁and ▁not ▁as ▁a ▁compliment , ▁to ▁the ▁group ▁by ▁art ▁critic ▁Louis ▁V aux cell es . ▁F au v ism ▁was ▁a ▁short - l ived ▁and ▁loose ▁group ing ▁of ▁early - 2 0 th - century ▁artists |
▁whose ▁works ▁emphas ized ▁painter ly ▁qualities , ▁and ▁the ▁imagin ative ▁use ▁of ▁deep ▁color ▁over ▁the ▁represent ational ▁values . ▁F au v ists ▁made ▁the ▁subject ▁of ▁the ▁painting ▁easy ▁to ▁read , ▁exagger ated ▁pers pectives ▁and ▁an ▁interesting ▁presc ient ▁prediction ▁of ▁the ▁F au ves ▁was ▁expressed ▁in ▁ 1 8 8 8 ▁by ▁Paul ▁G au gu in ▁to ▁Paul ▁S ér us ier , ▁ ▁" How ▁do ▁you ▁see ▁these ▁trees ? ▁They ▁are ▁yellow . ▁So , ▁put ▁in ▁yellow ; ▁this ▁shadow , ▁rather ▁blue , ▁paint ▁it ▁with ▁pure ▁ul tr amar ine ; ▁these ▁red ▁leaves ? ▁Put ▁in ▁ver mil ion ." ▁ ▁The ▁leaders ▁of ▁the ▁movement ▁were ▁Henri ▁Mat isse ▁and ▁André ▁Der ain ▁– ▁friendly ▁riv als ▁of ▁a ▁sort , ▁each ▁with ▁his ▁own ▁followers . ▁Ult imately ▁Mat isse ▁became ▁the ▁y ang ▁to ▁Pic asso ' s ▁y in ▁in ▁the ▁ 2 0 th ▁century . ▁F au v ist ▁pain ters ▁included ▁Albert ▁Mar quet , ▁Charles ▁Cam oin , ▁Maurice ▁de ▁V lam in ck , ▁Ra oul ▁D uf y , ▁O thon ▁F ries z , ▁the ▁Dutch ▁painter ▁Ke es ▁van ▁D ong en , ▁and ▁Pic asso ' s ▁partner ▁in ▁Cub ism , ▁Georges ▁Bra que ▁amongst ▁others . ▁F au v ism , ▁as ▁a ▁movement , ▁had ▁no ▁concrete ▁theories , ▁and ▁was ▁short ▁lived , ▁beginning ▁in ▁ 1 9 0 5 |
▁and ▁ending ▁in ▁ 1 9 0 7 , ▁they ▁only ▁had ▁three ▁exhib itions . ▁Mat isse ▁was ▁seen ▁as ▁the ▁leader ▁of ▁the ▁movement , ▁due ▁to ▁his ▁senior ity ▁in ▁age ▁and ▁prior ▁self - est ablish ment ▁in ▁the ▁academic ▁art ▁world . ▁His ▁ 1 9 0 5 ▁portrait ▁of ▁M me . ▁Mat isse ▁The ▁Green ▁Line , ▁( ab ove ), ▁caused ▁a ▁sensation ▁in ▁Paris ▁when ▁it ▁was ▁first ▁exhib ited . ▁He ▁said ▁he ▁wanted ▁to ▁create ▁art ▁to ▁delight ; ▁art ▁as ▁a ▁decor ation ▁was ▁his ▁purpose ▁and ▁it ▁can ▁be ▁said ▁that ▁his ▁use ▁of ▁bright ▁colors ▁tries ▁to ▁maintain ▁ser en ity ▁of ▁composition . ▁In ▁ 1 9 0 6 ▁at ▁the ▁suggestion ▁of ▁his ▁dealer ▁Amb ro ise ▁V oll ard , ▁André ▁Der ain ▁went ▁to ▁London ▁and ▁produced ▁a ▁series ▁of ▁paintings ▁like ▁Ch aring ▁Cross ▁Bridge , ▁London ▁( ab ove ) ▁in ▁the ▁F au v ist ▁style , ▁par ap hr asing ▁the ▁famous ▁series ▁by ▁the ▁Im pression ist ▁painter ▁Claude ▁Mon et . ▁Masters ▁like ▁Henri ▁Mat isse ▁and ▁Pierre ▁Bon n ard ▁continued ▁developing ▁their ▁narrative ▁styles ▁independent ▁of ▁any ▁movement ▁throughout ▁the ▁ 2 0 th ▁century . ▁ ▁By ▁ 1 9 0 7 ▁F au v ism ▁no ▁longer ▁was ▁a ▁shock ing ▁new ▁movement , ▁soon ▁it ▁was ▁replaced ▁by ▁Cub ism ▁on ▁the ▁critics ' ▁radar ▁screen ▁as ▁the ▁latest ▁new ▁development ▁in ▁Cont emporary |
▁Art ▁of ▁the ▁time . ▁In ▁ 1 9 0 7 ▁App ol ina ire , ▁comment ing ▁about ▁Mat isse ▁in ▁an ▁article ▁published ▁in ▁La ▁Fal ange , ▁said , ▁" We ▁are ▁not ▁here ▁in ▁the ▁presence ▁of ▁an ▁extr av ag ant ▁or ▁an ▁extrem ist ▁undert aking : ▁Mat isse ' s ▁art ▁is ▁em in ently ▁reasonable ." ▁Anal yt ic ▁cub ism ▁ ▁was ▁joint ly ▁developed ▁by ▁P ablo ▁Pic asso ▁and ▁Georges ▁Bra que ▁from ▁about ▁ 1 9 0 8 ▁through ▁ 1 9 1 2 . ▁Anal yt ic ▁cub ism , ▁the ▁first ▁clear ▁manifest ation ▁of ▁cub ism , ▁was ▁followed ▁by ▁Sy nt hetic ▁cub ism , ▁pract ised ▁by ▁Bra que , ▁Pic asso , ▁Fern and ▁Lé ger , ▁Juan ▁Gr is , ▁Albert ▁Gle izes , ▁Marcel ▁D uch amp ▁and ▁countless ▁other ▁artists ▁into ▁the ▁ 1 9 2 0 s . ▁Sy nt hetic ▁cub ism ▁is ▁characterized ▁by ▁the ▁introduction ▁of ▁different ▁text ures , ▁surfaces , ▁coll age ▁elements , ▁pap ier ▁coll é ▁and ▁a ▁large ▁variety ▁of ▁merged ▁subject ▁matter . ▁ ▁During ▁the ▁years ▁between ▁ 1 9 1 0 ▁and ▁the ▁end ▁of ▁World ▁War ▁I ▁and ▁after ▁the ▁hey day ▁of ▁cub ism , ▁several ▁movements ▁emerged ▁in ▁Paris . ▁G ior gio ▁De ▁Ch ir ico ▁moved ▁to ▁Paris ▁in ▁July ▁ 1 9 1 1 , ▁where ▁he ▁joined ▁his ▁brother ▁Andrea ▁( the ▁poet |
▁and ▁painter ▁known ▁as ▁Alberto ▁Sav in io ). ▁Through ▁his ▁brother ▁he ▁met ▁Pierre ▁Lap rade ▁a ▁member ▁of ▁the ▁jury ▁at ▁the ▁Sal on ▁d ' Autom ne , ▁where ▁he ▁exhib ited ▁three ▁of ▁his ▁dream like ▁works : ▁En igma ▁of ▁the ▁Oracle , ▁En igma ▁of ▁an ▁After noon ▁and ▁Self - Port rait . ▁During ▁ 1 9 1 3 ▁he ▁exhib ited ▁his ▁work ▁at ▁the ▁Sal on ▁des ▁Ind é pend ants ▁and ▁Sal on ▁d ' Autom ne , ▁his ▁work ▁was ▁noticed ▁by ▁P ablo ▁Pic asso ▁and ▁Gu illa ume ▁Ap oll ina ire ▁and ▁several ▁others . ▁His ▁compelling ▁and ▁mysterious ▁paintings ▁are ▁considered ▁instrumental ▁to ▁the ▁early ▁beg innings ▁of ▁Sur real ism . ▁During ▁the ▁first ▁half ▁of ▁the ▁ 2 0 th ▁century ▁in ▁Europe ▁masters ▁like ▁Georges ▁Bra que , ▁André ▁Der ain , ▁and ▁G ior gio ▁De ▁Ch ir ico ▁continued ▁painting ▁independent ▁of ▁any ▁movement . ▁ ▁P ione ers ▁of ▁Modern ▁art ▁ ▁In ▁the ▁first ▁two ▁decades ▁of ▁the ▁ 2 0 th ▁century ▁and ▁after ▁Cub ism , ▁several ▁other ▁important ▁movements ▁emerged ; ▁fut ur ism ▁( B alla ), ▁abstract ▁art ▁( K and insky ), ▁Der ▁Bl a ue ▁Re iter ), ▁Bau haus , ▁( K and insky ) ▁and ▁( K lee ), ▁Or ph ism , ▁( R ober t ▁D ela un ay ▁and ▁Fr anti š ek ▁K up ka ), ▁Syn ch |
rom ism ▁( M organ ▁Russell ), ▁De ▁St ij l ▁( M ond rian ), ▁Sup rem at ism ▁( Mal ev ich ), ▁Construct iv ism ▁( T at lin ), ▁D ada ism ▁( D uch amp , ▁Pic ab ia , ▁Ar p ) ▁and ▁Sur real ism ▁( De ▁Ch ir ico , ▁André ▁Bre ton , ▁Mir ó , ▁Mag rit te , ▁Dal í , ▁Ernst ). ▁Modern ▁painting ▁influenced ▁all ▁the ▁visual ▁arts , ▁from ▁Modern ist ▁architecture ▁and ▁design , ▁to ▁avant - gar de ▁film , ▁theatre ▁and ▁modern ▁dance ▁and ▁became ▁an ▁experimental ▁laboratory ▁for ▁the ▁expression ▁of ▁visual ▁experience , ▁from ▁photography ▁and ▁concrete ▁poetry ▁to ▁advertising ▁art ▁and ▁fashion . ▁Van ▁G og h ' s ▁painting ▁ex ert ed ▁great ▁influence ▁upon ▁ 2 0 th - century ▁Expression ism , ▁as ▁can ▁be ▁seen ▁in ▁the ▁work ▁of ▁the ▁F au ves , ▁Die ▁Br ü cke ▁( a ▁group ▁led ▁by ▁German ▁painter ▁Ernst ▁Kir ch ner ), ▁and ▁the ▁Expression ism ▁of ▁Ed vard ▁M unch , ▁Eg on ▁Sch iele , ▁Marc ▁Ch ag all , ▁A med e o ▁Mod ig l iani , ▁Ch aim ▁S outine ▁and ▁others .. ▁ ▁W ass ily ▁K and insky ▁a ▁Russian ▁painter , ▁print maker ▁and ▁art ▁the or ist , ▁one ▁of ▁the ▁most ▁famous ▁ 2 0 th - century ▁artists ▁is ▁generally ▁considered ▁the ▁first ▁important ▁painter ▁of ▁modern ▁abstract ▁art . |
▁As ▁an ▁early ▁Modern ist , ▁in ▁search ▁of ▁new ▁modes ▁of ▁visual ▁expression , ▁and ▁spiritual ▁expression , ▁he ▁the or ized ▁as ▁did ▁contemporary ▁occ ult ists ▁and ▁the osoph ists , ▁that ▁pure ▁visual ▁ab stra ction ▁had ▁cor ollary ▁vibr ations ▁with ▁sound ▁and ▁music . ▁They ▁pos ited ▁that ▁pure ▁ab stra ction ▁could ▁express ▁pure ▁spiritual ity . ▁His ▁earliest ▁ab stra ctions ▁were ▁generally ▁titled ▁as ▁the ▁example ▁in ▁the ▁( ab ove ▁gallery ) ▁Com position ▁VII , ▁making ▁connection ▁to ▁the ▁work ▁of ▁the ▁compos ers ▁of ▁music . ▁K and insky ▁included ▁many ▁of ▁his ▁theories ▁about ▁abstract ▁art ▁in ▁his ▁book ▁Con cer ning ▁the ▁Spirit ual ▁in ▁Art . ▁Robert ▁D ela un ay ▁was ▁a ▁French ▁artist ▁who ▁is ▁associated ▁with ▁Or ph ism , ▁( re min is cent ▁of ▁a ▁link ▁between ▁pure ▁ab stra ction ▁and ▁cub ism ). ▁His ▁later ▁works ▁were ▁more ▁abstract , ▁rem inis cent ▁of ▁Paul ▁K lee . ▁His ▁key ▁contributions ▁to ▁abstract ▁painting ▁refer ▁to ▁his ▁bold ▁use ▁of ▁color , ▁and ▁a ▁clear ▁love ▁of ▁experiment ation ▁of ▁both ▁depth ▁and ▁tone . ▁At ▁the ▁invitation ▁of ▁W ass ily ▁K and insky , ▁D ela un ay ▁and ▁his ▁wife ▁the ▁artist ▁Son ia ▁D ela un ay , ▁joined ▁The ▁Blue ▁R ider ▁( Der ▁Bl a ue ▁Re iter ), ▁a ▁Mun ich - based ▁group ▁of ▁abstract ▁artists , ▁in ▁ 1 9 1 1 |
, ▁and ▁his ▁art ▁took ▁a ▁turn ▁to ▁the ▁abstract . ▁ ▁Other ▁major ▁pione ers ▁of ▁early ▁ab stra ction ▁include ▁Russian ▁painter ▁Kas imir ▁Mal ev ich , ▁who ▁after ▁the ▁Russian ▁Revolution ▁in ▁ 1 9 1 7 , ▁and ▁after ▁pressure ▁from ▁the ▁Stalin ist ▁regime ▁in ▁ 1 9 2 4 ▁returned ▁to ▁painting ▁imag ery ▁and ▁Pe as ants ▁and ▁Work ers ▁in ▁the ▁field , ▁and ▁Swiss ▁painter ▁Paul ▁K lee ▁whose ▁master ful ▁color ▁experiments ▁made ▁him ▁an ▁important ▁pione er ▁of ▁abstract ▁painting ▁at ▁the ▁Bau haus . ▁Still ▁other ▁important ▁pione ers ▁of ▁abstract ▁painting ▁include ▁the ▁Swedish ▁artist ▁Hil ma ▁af ▁Kl int , ▁Czech ▁painter ▁Fr anti š ek ▁K up ka ▁as ▁well ▁as ▁American ▁artists ▁St anton ▁Mac Donald - W right ▁and ▁Morgan ▁Russell ▁who , ▁in ▁ 1 9 1 2 , ▁founded ▁Syn ch rom ism , ▁an ▁art ▁movement ▁that ▁closely ▁re semb les ▁Or ph ism . ▁ ▁Expression ism ▁and ▁Symbol ism ▁are ▁broad ▁rub rics ▁that ▁involve ▁several ▁important ▁and ▁related ▁movements ▁in ▁ 2 0 th - century ▁painting ▁that ▁dominated ▁much ▁of ▁the ▁avant - gar de ▁art ▁being ▁made ▁in ▁Western , ▁Eastern ▁and ▁Northern ▁Europe . ▁Expression ist ▁works ▁were ▁painted ▁largely ▁between ▁World ▁War ▁I ▁and ▁World ▁War ▁II , ▁mostly ▁in ▁France , ▁Germany , ▁Norway , ▁Russia , ▁Belgium , ▁and ▁Austria . ▁Expression ist ▁artists ▁are ▁related ▁to ▁both ▁Sur real ism ▁and ▁Symbol |
ism ▁and ▁are ▁each ▁uniqu ely ▁and ▁somewhat ▁ecc entric ally ▁personal . ▁F au v ism , ▁Die ▁Br ü cke , ▁and ▁Der ▁Bl a ue ▁Re iter ▁are ▁three ▁of ▁the ▁best ▁known ▁groups ▁of ▁Expression ist ▁and ▁Symbol ist ▁pain ters . ▁ ▁Art ists ▁as ▁interesting ▁and ▁diverse ▁as ▁Marc ▁Ch ag all , ▁whose ▁painting ▁I ▁and ▁the ▁Village , ▁( ab ove ) ▁tells ▁an ▁aut obi ographical ▁story ▁that ▁exam ines ▁the ▁relationship ▁between ▁the ▁artist ▁and ▁his ▁origins , ▁with ▁a ▁le x icon ▁of ▁artistic ▁Symbol ism . ▁Gust av ▁K lim t , ▁Eg on ▁Sch iele , ▁Ed vard ▁M unch , ▁Em il ▁N ol de , ▁Ch aim ▁S outine , ▁James ▁En sor , ▁O sk ar ▁K ok os ch ka , ▁Ernst ▁Ludwig ▁Kir ch ner , ▁Max ▁Beck mann , ▁Franz ▁Marc , ▁K ä the ▁Sch midt ▁K oll w itz , ▁Georges ▁Rou ault , ▁A med e o ▁Mod ig l iani ▁and ▁some ▁of ▁the ▁Americans ▁abroad ▁like ▁Mars den ▁Hart ley , ▁and ▁Stuart ▁Davis , ▁were ▁considered ▁influential ▁expression ist ▁pain ters . ▁Although ▁Alberto ▁Gi acom etti ▁is ▁primarily ▁thought ▁of ▁as ▁an ▁intense ▁Sur real ist ▁sculpt or , ▁he ▁made ▁intense ▁expression ist ▁paintings ▁as ▁well . ▁ ▁P ione ers ▁of ▁ab stra ction ▁ ▁Piet ▁Mond rian ' s ▁art ▁was ▁also ▁related ▁to ▁his ▁spiritual ▁and ▁philosoph ical ▁studies . ▁In ▁ 1 |
9 0 8 ▁he ▁became ▁interested ▁in ▁the ▁the osoph ical ▁movement ▁launched ▁by ▁Hel ena ▁Pet rov na ▁Bl av at sky ▁in ▁the ▁late ▁ 1 9 th ▁century . ▁Bl av at sky ▁believed ▁that ▁it ▁was ▁possible ▁to ▁att ain ▁a ▁knowledge ▁of ▁nature ▁more ▁profound ▁than ▁that ▁provided ▁by ▁emp irical ▁means , ▁and ▁much ▁of ▁Mond rian ' s ▁work ▁for ▁the ▁rest ▁of ▁his ▁life ▁was ▁inspired ▁by ▁his ▁search ▁for ▁that ▁spiritual ▁knowledge . ▁ ▁De ▁St ij l ▁also ▁known ▁as ▁ne opl astic ism , ▁was ▁a ▁Dutch ▁artistic ▁movement ▁founded ▁in ▁ 1 9 1 7 . ▁The ▁term ▁De ▁St ij l ▁is ▁used ▁to ▁refer ▁to ▁a ▁body ▁of ▁work ▁from ▁ 1 9 1 7 ▁to ▁ 1 9 3 1 ▁founded ▁in ▁the ▁Netherlands . ▁ ▁De ▁St ij l ▁is ▁also ▁the ▁name ▁of ▁a ▁journal ▁that ▁was ▁published ▁by ▁the ▁Dutch ▁painter , ▁designer , ▁writer , ▁and ▁critic ▁The o ▁van ▁Does burg ▁propag ating ▁the ▁group ' s ▁theories . ▁Next ▁to ▁van ▁Does burg , ▁the ▁group ' s ▁principal ▁members ▁were ▁the ▁pain ters ▁Piet ▁Mond rian , ▁Vil mos ▁H usz ár , ▁and ▁Bart ▁van ▁der ▁Le ck , ▁and ▁the ▁architect s ▁G err it ▁R iet vel d , ▁Robert ▁van ▁' t ▁Hoff , ▁and ▁J . ▁J . ▁P . ▁O ud . ▁The ▁artistic ▁philosophy ▁that ▁formed ▁a ▁basis ▁for ▁the ▁group ' s ▁work |
▁is ▁known ▁as ▁ne opl astic ism ▁– ▁the ▁new ▁plastic ▁art ▁( or ▁N ieu we ▁Be el ding ▁in ▁Dutch ). ▁ ▁Pro ponents ▁of ▁De ▁St ij l ▁sought ▁to ▁express ▁a ▁new ▁ut op ian ▁ideal ▁of ▁spiritual ▁harmony ▁and ▁order . ▁They ▁advoc ated ▁pure ▁ab stra ction ▁and ▁univers ality ▁by ▁a ▁reduction ▁to ▁the ▁essential s ▁of ▁form ▁and ▁colour ; ▁they ▁simpl ified ▁visual ▁compos itions ▁to ▁the ▁vertical ▁and ▁horizontal ▁directions , ▁and ▁used ▁only ▁primary ▁colors ▁along ▁with ▁black ▁and ▁white . ▁Indeed , ▁according ▁to ▁the ▁T ate ▁Gallery ' s ▁online ▁article ▁on ▁ne opl astic ism , ▁Mond rian ▁himself ▁sets ▁forth ▁these ▁del imit ations ▁in ▁his ▁essay ▁" Ne o - Pl astic ism ▁in ▁Pict orial ▁Art ". ▁He ▁writes , ▁" ... this ▁new ▁plastic ▁idea ▁will ▁ignore ▁the ▁particular s ▁of ▁appearance , ▁that ▁is ▁to ▁say , ▁natural ▁form ▁and ▁colour . ▁On ▁the ▁contrary , ▁it ▁should ▁find ▁its ▁expression ▁in ▁the ▁ab stra ction ▁of ▁form ▁and ▁colour , ▁that ▁is ▁to ▁say , ▁in ▁the ▁straight ▁line ▁and ▁the ▁clearly ▁defined ▁primary ▁colour ." ▁The ▁T ate ▁article ▁further ▁summar izes ▁that ▁this ▁art ▁allows ▁" only ▁primary ▁colours ▁and ▁non - col ours , ▁only ▁squ ares ▁and ▁rect angles , ▁only ▁straight ▁and ▁horizontal ▁or ▁vertical ▁line ." ▁The ▁G ug gen heim ▁Museum ' s ▁online ▁article ▁on ▁De ▁St ij l ▁summar izes ▁these ▁traits ▁in |
▁similar ▁terms : ▁" It ▁[ De ▁St ij l ] ▁was ▁pos ited ▁on ▁the ▁fundamental ▁principle ▁of ▁the ▁geometry ▁of ▁the ▁straight ▁line , ▁the ▁square , ▁and ▁the ▁rectangle , ▁combined ▁with ▁a ▁strong ▁asym met rical ity ; ▁the ▁predomin ant ▁use ▁of ▁pure ▁primary ▁colors ▁with ▁black ▁and ▁white ; ▁and ▁the ▁relationship ▁between ▁positive ▁and ▁negative ▁elements ▁in ▁an ▁arrangement ▁of ▁non - object ive ▁forms ▁and ▁lines ." ▁ ▁De ▁St ij l ▁movement ▁was ▁influenced ▁by ▁Cub ist ▁painting ▁as ▁well ▁as ▁by ▁the ▁myst icism ▁and ▁the ▁ideas ▁about ▁" ide al " ▁geometric ▁forms ▁( such ▁as ▁the ▁" per fect ▁straight ▁line ") ▁in ▁the ▁ne op lat onic ▁philosophy ▁of ▁mat hem atic ian ▁M . ▁H . ▁J . ▁Sch oen ma ek ers . ▁The ▁works ▁of ▁De ▁St ij l ▁would ▁influence ▁the ▁Bau haus ▁style ▁and ▁the ▁international ▁style ▁of ▁architecture ▁as ▁well ▁as ▁clothing ▁and ▁interior ▁design . ▁However , ▁it ▁did ▁not ▁follow ▁the ▁general ▁guidelines ▁of ▁an ▁" ism " ▁( C ub ism , ▁Fut ur ism , ▁Sur real ism ), ▁nor ▁did ▁it ▁ad here ▁to ▁the ▁principles ▁of ▁art ▁schools ▁like ▁Bau haus ; ▁it ▁was ▁a ▁collective ▁project , ▁a ▁joint ▁enterprise . ▁ ▁D ada ▁and ▁Sur real ism ▁ ▁Marcel ▁D uch amp , ▁came ▁to ▁international ▁prom in ence ▁in ▁the ▁wake ▁of ▁his ▁not orious ▁success ▁at ▁the ▁New ▁York ▁City ▁Arm ory ▁Show ▁in |
▁ 1 9 1 3 , ▁( so on ▁after ▁he ▁den ounced ▁art making ▁for ▁che ss ). ▁After ▁D uch amp ' s ▁N ude ▁Desc ending ▁a ▁St air case ▁became ▁the ▁international ▁cause ▁cele bre ▁at ▁the ▁ 1 9 1 3 ▁Arm ory ▁show ▁in ▁New ▁York ▁he ▁created ▁The ▁Br ide ▁St ri pped ▁B are ▁by ▁Her ▁B achel ors , ▁Even , ▁Large ▁Glass . ▁The ▁Large ▁Glass ▁pushed ▁the ▁art ▁of ▁painting ▁to ▁radical ▁new ▁limits ▁being ▁part ▁painting , ▁part ▁coll age , ▁part ▁construction . ▁D uch amp ▁became ▁closely ▁associated ▁with ▁the ▁D ada ▁movement ▁that ▁began ▁in ▁neutral ▁Zur ich , ▁Switzerland , ▁during ▁World ▁War ▁I ▁and ▁pe aked ▁from ▁ 1 9 1 6 ▁to ▁ 1 9 2 0 . ▁The ▁movement ▁primarily ▁involved ▁visual ▁arts , ▁literature ▁( po etry , ▁art ▁manifest oes , ▁art ▁theory ), ▁theatre , ▁and ▁graphic ▁design , ▁and ▁concentrated ▁its ▁anti ▁war ▁polit ic ▁through ▁a ▁re jection ▁of ▁the ▁prev ailing ▁standards ▁in ▁art ▁through ▁anti - art ▁cultural ▁works . ▁Francis ▁Pic ab ia , ▁Man ▁Ray , ▁Kurt ▁Schw it ters , ▁Tr istan ▁T z ara , ▁Hans ▁Rich ter , ▁Jean ▁Ar p , ▁Sophie ▁T ae uber - Ar p , ▁along ▁with ▁D uch amp ▁and ▁many ▁others ▁are ▁associated ▁with ▁the ▁D ada ist ▁movement . ▁D uch amp ▁and ▁several ▁D ada ists ▁are ▁also ▁associated ▁with ▁Sur real ism |
, ▁the ▁movement ▁that ▁dominated ▁European ▁painting ▁in ▁the ▁ 1 9 2 0 s ▁and ▁ 1 9 3 0 s . ▁ ▁In ▁ 1 9 2 4 ▁André ▁Bre ton ▁published ▁the ▁Sur real ist ▁Man ifest o . ▁The ▁Sur real ist ▁movement ▁in ▁painting ▁became ▁syn onymous ▁with ▁the ▁avant - gar de ▁and ▁which ▁featured ▁artists ▁whose ▁works ▁varied ▁from ▁the ▁abstract ▁to ▁the ▁super - real ist . ▁With ▁works ▁on ▁paper ▁like ▁Machine ▁Turn ▁Quick ly , ▁( ab ove ) ▁Francis ▁Pic ab ia ▁continued ▁his ▁involvement ▁in ▁the ▁D ada ▁movement ▁through ▁ 1 9 1 9 ▁in ▁Zur ich ▁and ▁Paris , ▁before ▁breaking ▁away ▁from ▁it ▁after ▁developing ▁an ▁interest ▁in ▁Sur real ist ▁art . ▁Y ves ▁T angu y , ▁Ren é ▁Mag rit te ▁and ▁Salvador ▁Dal í ▁are ▁particularly ▁known ▁for ▁their ▁realistic ▁dep ictions ▁of ▁dream ▁imag ery ▁and ▁fantastic ▁manifest ations ▁of ▁the ▁imagination . ▁Joan ▁Mir ó ' s ▁The ▁T illed ▁Field ▁of ▁ 1 9 2 3 – 1 9 2 4 ▁ver ges ▁on ▁ab stra ction , ▁this ▁early ▁painting ▁of ▁a ▁complex ▁of ▁objects ▁and ▁figures , ▁and ▁arrangements ▁of ▁sex ually ▁active ▁characters ; ▁was ▁Mir ó ' s ▁first ▁Sur real ist ▁master piece . ▁Mir ó ' s ▁The ▁T illed ▁Field ▁also ▁contains ▁several ▁par alle ls ▁to ▁Bos ch ' s ▁Garden ▁of ▁Earth ly ▁Del ights : ▁similar ▁fl ocks ▁of ▁birds ; |
▁pool s ▁from ▁which ▁living ▁creatures ▁emerge ; ▁and ▁overs ize ▁dis emb od ied ▁ears ▁all ▁echo ▁the ▁Dutch ▁master ' s ▁work ▁that ▁Mir ó ▁saw ▁as ▁a ▁young ▁painter ▁in ▁The ▁Pr ado . ▁The ▁more ▁abstract ▁Joan ▁Mir ó , ▁Jean ▁Ar p , ▁André ▁Mass on , ▁and ▁Max ▁Ernst ▁were ▁very ▁influential , ▁especially ▁in ▁the ▁United ▁States ▁during ▁the ▁ 1 9 4 0 s . ▁Throughout ▁the ▁ 1 9 3 0 s , ▁Sur real ism ▁continued ▁to ▁become ▁more ▁visible ▁to ▁the ▁public ▁at ▁large . ▁A ▁Sur real ist ▁group ▁developed ▁in ▁Britain ▁and , ▁according ▁to ▁Bre ton , ▁their ▁ 1 9 3 6 ▁London ▁International ▁Sur real ist ▁Exhib ition ▁was ▁a ▁high ▁water ▁mark ▁of ▁the ▁period ▁and ▁became ▁the ▁model ▁for ▁international ▁exhib itions . ▁Sur real ist ▁groups ▁in ▁Japan , ▁and ▁especially ▁in ▁Latin ▁America , ▁the ▁Caribbean ▁and ▁in ▁Mexico ▁produced ▁innovative ▁and ▁original ▁works . ▁ ▁Dal í ▁and ▁Mag rit te ▁created ▁some ▁of ▁the ▁most ▁widely ▁recognized ▁images ▁of ▁the ▁movement . ▁The ▁ 1 9 2 8 / 1 9 2 9 ▁painting ▁This ▁Is ▁Not ▁A ▁P ipe , ▁by ▁Mag rit te ▁is ▁the ▁subject ▁of ▁a ▁Michel ▁Fou c ault ▁ 1 9 7 3 ▁book , ▁This ▁is ▁not ▁a ▁P ipe ▁( English ▁edition , ▁ 1 9 9 1 ), ▁that ▁discuss es ▁the ▁painting ▁and ▁its ▁parad ox . ▁Dal í ▁joined ▁the |
▁group ▁in ▁ 1 9 2 9 , ▁and ▁participated ▁in ▁the ▁rapid ▁establishment ▁of ▁the ▁visual ▁style ▁between ▁ 1 9 3 0 ▁and ▁ 1 9 3 5 . ▁ ▁Sur real ism ▁as ▁a ▁visual ▁movement ▁had ▁found ▁a ▁method : ▁to ▁expose ▁psychological ▁truth ▁by ▁stri pping ▁ordinary ▁objects ▁of ▁their ▁normal ▁significance , ▁in ▁order ▁to ▁create ▁a ▁compelling ▁image ▁that ▁was ▁beyond ▁ordinary ▁formal ▁organization , ▁and ▁perception , ▁sometimes ▁ev oking ▁em pathy ▁from ▁the ▁view er , ▁sometimes ▁laughter ▁and ▁sometimes ▁outrage ▁and ▁bew ild er ment . ▁▁ 1 9 3 1 ▁marked ▁a ▁year ▁when ▁several ▁Sur real ist ▁pain ters ▁produced ▁works ▁which ▁marked ▁turning ▁points ▁in ▁their ▁sty list ic ▁evolution : ▁in ▁one ▁example , ▁liquid ▁shapes ▁become ▁the ▁trad emark ▁of ▁Dal í , ▁particularly ▁in ▁his ▁The ▁Pers istence ▁of ▁Memory , ▁which ▁features ▁the ▁image ▁of ▁watches ▁that ▁sag ▁as ▁if ▁they ▁are ▁mel ting . ▁Ev oc ations ▁of ▁time ▁and ▁its ▁compelling ▁mystery ▁and ▁absurd ity . ▁ ▁The ▁characteristics ▁of ▁this ▁style ▁– ▁a ▁combination ▁of ▁the ▁dep ict ive , ▁the ▁abstract , ▁and ▁the ▁psychological ▁– ▁came ▁to ▁stand ▁for ▁the ▁alien ation ▁which ▁many ▁people ▁felt ▁in ▁the ▁modern ist ▁period , ▁combined ▁with ▁the ▁sense ▁of ▁reaching ▁more ▁deeply ▁into ▁the ▁psy che , ▁to ▁be ▁" made ▁whole ▁with ▁one ' s ▁individual ity ." ▁ ▁Max ▁Ernst ▁whose ▁ 1 9 2 0 ▁painting ▁Mur der ing ▁Air |
plane , ▁studied ▁philosophy ▁and ▁psychology ▁in ▁Bon n ▁and ▁was ▁interested ▁in ▁the ▁alternative ▁real ities ▁experienced ▁by ▁the ▁insane . ▁His ▁paintings ▁may ▁have ▁been ▁inspired ▁by ▁the ▁psy cho anal yst ▁Sig mund ▁Freud ' s ▁study ▁of ▁the ▁del usions ▁of ▁a ▁par ano iac , ▁Daniel ▁Paul ▁Sch re ber . ▁Freud ▁identified ▁Sch re ber ' s ▁fantasy ▁of ▁becoming ▁a ▁woman ▁as ▁a ▁cas tr ation ▁complex . ▁The ▁central ▁image ▁of ▁two ▁pairs ▁of ▁legs ▁refers ▁to ▁Sch re ber ' s ▁her map h ro dit ic ▁desires . ▁Ernst ' s ▁in scription ▁on ▁the ▁back ▁of ▁the ▁painting ▁reads : ▁The ▁picture ▁is ▁curious ▁because ▁of ▁its ▁symmetry . ▁The ▁two ▁sex es ▁balance ▁one ▁another . ▁ ▁During ▁the ▁ 1 9 2 0 s ▁André ▁Mass on ' s ▁work ▁was ▁enorm ously ▁influential ▁in ▁helping ▁the ▁newly ▁arrived ▁in ▁Paris ▁and ▁young ▁artist ▁Joan ▁Mir ó ▁find ▁his ▁roots ▁in ▁the ▁new ▁Sur real ist ▁painting . ▁Mir ó ▁acknowledged ▁in ▁letters ▁to ▁his ▁dealer ▁Pierre ▁Mat isse ▁the ▁importance ▁of ▁Mass on ▁as ▁an ▁example ▁to ▁him ▁in ▁his ▁early ▁years ▁in ▁Paris . ▁ ▁Long ▁after ▁personal , ▁political ▁and ▁professional ▁t ensions ▁have ▁fragment ed ▁the ▁Sur real ist ▁group ▁into ▁thin ▁air ▁and ▁et her , ▁Mag rit te , ▁Mir ó , ▁Dal í ▁and ▁the ▁other ▁Sur real ists ▁continue ▁to ▁define ▁a ▁visual ▁program ▁in ▁the ▁arts . ▁Other ▁prominent ▁sur real |
ist ▁artists ▁include ▁G ior gio ▁de ▁Ch ir ico , ▁Mé ret ▁O ppen heim , ▁Toy en , ▁Gr é go ire ▁Mich on ze , ▁Roberto ▁Matt a , ▁Kay ▁S age , ▁Leon ora ▁Car ring ton , ▁Dor othe a ▁T anning , ▁and ▁Leon or ▁F ini ▁among ▁others . ▁ ▁Before ▁and ▁after ▁the ▁war ▁ ▁Der ▁Bl a ue ▁Re iter ▁was ▁a ▁German ▁movement ▁lasting ▁from ▁ 1 9 1 1 ▁to ▁ 1 9 1 4 , ▁fundamental ▁to ▁Expression ism , ▁along ▁with ▁Die ▁Br ü cke ▁which ▁was ▁founded ▁the ▁previous ▁decade ▁in ▁ 1 9 0 5 ▁and ▁was ▁a ▁group ▁of ▁German ▁expression ist ▁artists ▁formed ▁in ▁D res den ▁in ▁ 1 9 0 5 . ▁Found ing ▁members ▁of ▁Die ▁Br ü cke ▁were ▁F ritz ▁B ley l , ▁Er ich ▁He ck el , ▁Ernst ▁Ludwig ▁Kir ch ner ▁and ▁Karl ▁Sch midt - R ott l uff . ▁Later ▁members ▁included ▁Max ▁Pe ch stein , ▁Otto ▁Mu eller ▁and ▁others . ▁The ▁group ▁was ▁one ▁of ▁the ▁sem inal ▁ones , ▁which ▁in ▁due ▁course ▁had ▁a ▁major ▁impact ▁on ▁the ▁evolution ▁of ▁modern ▁art ▁in ▁the ▁ 2 0 th ▁century ▁and ▁created ▁the ▁style ▁of ▁Expression ism . ▁ ▁W ass ily ▁K and insky , ▁Franz ▁Marc , ▁August ▁Mac ke , ▁Alex ej ▁von ▁J aw l ens ky , ▁whose ▁psych ically ▁express ive ▁painting ▁of ▁the ▁Russian |
▁d ancer ▁Port rait ▁of ▁Alexander ▁Sak har off , ▁ 1 9 0 9 ▁is ▁in ▁the ▁gallery ▁above , ▁Marian ne ▁von ▁Were f kin , ▁Ly onel ▁Fe ining er ▁and ▁others ▁founded ▁the ▁Der ▁Bl a ue ▁Re iter ▁group ▁in ▁response ▁to ▁the ▁re jection ▁of ▁K and insky ' s ▁painting ▁Last ▁Jud g ement ▁from ▁an ▁exhibition . ▁Der ▁Bl a ue ▁Re iter ▁lack ed ▁a ▁central ▁artistic ▁manifest o , ▁but ▁was ▁centered ▁around ▁K and insky ▁and ▁Marc . ▁Art ists ▁Gab ri ele ▁Mün ter ▁and ▁Paul ▁K lee ▁were ▁also ▁involved . ▁ ▁The ▁name ▁of ▁the ▁movement ▁comes ▁from ▁a ▁painting ▁by ▁K and insky ▁created ▁in ▁ 1 9 0 3 . ▁It ▁is ▁also ▁claimed ▁that ▁the ▁name ▁could ▁have ▁derived ▁from ▁Marc ' s ▁enthusiasm ▁for ▁horses ▁and ▁K and insky ' s ▁love ▁of ▁the ▁colour ▁blue . ▁For ▁K and insky , ▁blue ▁is ▁the ▁colour ▁of ▁spiritual ity : ▁the ▁dark er ▁the ▁blue , ▁the ▁more ▁it ▁aw ak ens ▁human ▁desire ▁for ▁the ▁eternal . ▁ ▁In ▁the ▁USA ▁during ▁the ▁period ▁between ▁World ▁War ▁I ▁and ▁World ▁War ▁II ▁pain ters ▁t ended ▁to ▁go ▁to ▁Europe ▁for ▁recognition . ▁Art ists ▁like ▁Mars den ▁Hart ley , ▁Patrick ▁Henry ▁Bruce , ▁Ger ald ▁Murphy ▁and ▁Stuart ▁Davis , ▁created ▁reput ations ▁abroad . ▁In ▁New ▁York ▁City , ▁Albert ▁Pink ham ▁Ry der ▁and ▁Ralph ▁Bl ak el ock ▁were |
▁influential ▁and ▁important ▁figures ▁in ▁advanced ▁American ▁painting ▁between ▁ 1 9 0 0 ▁and ▁ 1 9 2 0 . ▁During ▁the ▁ 1 9 2 0 s ▁photographer ▁Alfred ▁St ie gl itz ▁exhib ited ▁Georgia ▁O ' K ee ff e , ▁Arthur ▁D ove , ▁Alfred ▁Henry ▁Maur er , ▁Charles ▁Dem uth , ▁John ▁Mar in ▁and ▁other ▁artists ▁including ▁European ▁Masters ▁Henri ▁Mat isse , ▁August e ▁Rod in , ▁Henri ▁R ous seau , ▁Paul ▁C é z anne , ▁and ▁P ablo ▁Pic asso , ▁at ▁his ▁gallery ▁the ▁ 2 9 1 . ▁ ▁Social ▁consciousness ▁ ▁During ▁the ▁ 1 9 2 0 s ▁and ▁the ▁ 1 9 3 0 s ▁and ▁the ▁Great ▁Dep ression , ▁Sur real ism , ▁late ▁Cub ism , ▁the ▁Bau haus , ▁De ▁St ij l , ▁D ada , ▁German ▁Expression ism , ▁Expression ism , ▁and ▁modern ist ▁and ▁master ful ▁color ▁pain ters ▁like ▁Henri ▁Mat isse ▁and ▁Pierre ▁Bon n ard ▁characterized ▁the ▁European ▁art ▁scene . ▁In ▁Germany ▁Max ▁Beck mann , ▁Otto ▁D ix , ▁George ▁G ros z ▁and ▁others ▁polit ic ized ▁their ▁paintings , ▁fo resh adow ing ▁the ▁coming ▁of ▁World ▁War ▁II . ▁While ▁in ▁America ▁American ▁Sc ene ▁painting ▁and ▁the ▁social ▁real ism ▁and ▁regional ism ▁movements ▁that ▁contained ▁both ▁political ▁and ▁social ▁comment ary ▁dominated ▁the ▁art ▁world . ▁Art ists ▁like ▁Ben ▁Sh ahn , ▁Thomas ▁Hart ▁Bent on , |
▁Grant ▁Wood , ▁George ▁T ook er , ▁John ▁Ste uart ▁Cur ry , ▁R egin ald ▁Mar sh , ▁and ▁others ▁became ▁prominent . ▁In ▁Latin ▁America ▁besides ▁the ▁U rugu ay an ▁painter ▁Jo aqu ín ▁Tor res ▁Garc ía ▁and ▁R uf ino ▁Tam ay o ▁from ▁Mexico , ▁the ▁m ural ist ▁movement ▁with ▁Diego ▁River a , ▁David ▁S ique iros , ▁José ▁O roz co , ▁Pedro ▁Nel ▁G ó me z ▁and ▁Santiago ▁Mart ine z ▁Del g ado ▁and ▁the ▁Symbol ist ▁paintings ▁by ▁Fr ida ▁K ah lo ▁began ▁a ▁re naissance ▁of ▁the ▁arts ▁for ▁the ▁region , ▁with ▁a ▁use ▁of ▁color ▁and ▁historic , ▁and ▁political ▁messages . ▁Fr ida ▁K ah lo ' s ▁Symbol ist ▁works ▁also ▁relate ▁strongly ▁to ▁Sur real ism ▁and ▁to ▁the ▁Magic ▁Real ism ▁movement ▁in ▁literature . ▁The ▁psychological ▁drama ▁in ▁many ▁of ▁K ah lo ' s ▁self ▁port ra its ▁( ab ove ) ▁unders core ▁the ▁vital ity ▁and ▁relev ance ▁of ▁her ▁paintings ▁to ▁artists ▁in ▁the ▁ 2 1 st ▁century . ▁ ▁American ▁G oth ic ▁is ▁a ▁painting ▁by ▁Grant ▁Wood ▁from ▁ 1 9 3 0 . ▁Port ray ing ▁a ▁pitch f ork - hold ing ▁farmer ▁and ▁a ▁younger ▁woman ▁in ▁front ▁of ▁a ▁house ▁of ▁Car p enter ▁G oth ic ▁style , ▁it ▁is ▁one ▁of ▁the ▁most ▁familiar ▁images ▁in ▁ 2 0 th - century ▁American ▁art . ▁Art |
▁critics ▁had ▁favor able ▁opinions ▁about ▁the ▁painting , ▁like ▁Ger tr ude ▁Stein ▁and ▁Christopher ▁Mor ley , ▁they ▁assumed ▁the ▁painting ▁was ▁meant ▁to ▁be ▁a ▁sat ire ▁of ▁rural ▁small - town ▁life . ▁It ▁was ▁thus ▁seen ▁as ▁part ▁of ▁the ▁trend ▁towards ▁increasingly ▁critical ▁dep ictions ▁of ▁rural ▁America , ▁along ▁the ▁lines ▁of ▁Sher wood ▁Anderson ' s ▁ 1 9 1 9 ▁W ines burg , ▁Ohio , ▁S incl air ▁Lewis ' ▁ 1 9 2 0 ▁Main ▁Street , ▁and ▁Carl ▁Van ▁V ech ten ' s ▁The ▁T atto o ed ▁Count ess ▁in ▁literature . ▁However , ▁with ▁the ▁on set ▁of ▁the ▁Great ▁Dep ression , ▁the ▁painting ▁came ▁to ▁be ▁seen ▁as ▁a ▁dep iction ▁of ▁stead fast ▁American ▁pione er ▁spirit . ▁ ▁Diego ▁River a ▁is ▁perhaps ▁best ▁known ▁by ▁the ▁public ▁world ▁for ▁his ▁ 1 9 3 3 ▁m ural , ▁" Man ▁at ▁the ▁Cross ro ads ", ▁in ▁the ▁lobby ▁of ▁the ▁R CA ▁Building ▁at ▁Roc ke f eller ▁Center . ▁When ▁his ▁patron ▁Nelson ▁Roc ke f eller ▁discovered ▁that ▁the ▁m ural ▁included ▁a ▁portrait ▁of ▁Vlad imir ▁Len in ▁and ▁other ▁commun ist ▁imag ery , ▁he ▁fired ▁River a , ▁and ▁the ▁un finished ▁work ▁was ▁eventually ▁destroyed ▁by ▁Roc ke f eller ' s ▁staff . ▁The ▁film ▁C rad le ▁Will ▁Rock ▁includes ▁a ▁dram at ization ▁of ▁the ▁controversy . ▁Fr ida ▁K ah lo ▁( |
R iver a ' s ▁wife ' s ) ▁works ▁are ▁often ▁characterized ▁by ▁their ▁stark ▁port ray als ▁of ▁pain . ▁Of ▁her ▁ 1 4 3 ▁paintings ▁ 5 5 ▁are ▁self - port ra its , ▁which ▁frequently ▁incorporate ▁symbol ic ▁port ray als ▁of ▁her ▁physical ▁and ▁psychological ▁wounds . ▁K ah lo ▁was ▁deeply ▁influenced ▁by ▁ind igenous ▁Mexican ▁culture , ▁which ▁is ▁apparent ▁in ▁her ▁paintings ' ▁bright ▁colors ▁and ▁dramatic ▁symbol ism . ▁Christian ▁and ▁Jewish ▁themes ▁are ▁often ▁depicted ▁in ▁her ▁work ▁as ▁well ; ▁she ▁combined ▁elements ▁of ▁the ▁classic ▁religious ▁Mexican ▁tradition — which ▁were ▁often ▁bloody ▁and ▁violent — with ▁sur real ist ▁render ings . ▁While ▁her ▁paintings ▁are ▁not ▁over t ly ▁Christian ▁they ▁certainly ▁contain ▁elements ▁of ▁the ▁mac ab re ▁Mexican ▁Christian ▁style ▁of ▁religious ▁paintings . ▁ ▁Political ▁activ ism ▁was ▁an ▁important ▁piece ▁of ▁David ▁S ique iros ' ▁life , ▁and ▁frequently ▁inspired ▁him ▁to ▁set ▁aside ▁his ▁artistic ▁career . ▁His ▁art ▁was ▁deeply ▁ro oted ▁in ▁the ▁Mexican ▁Revolution , ▁a ▁violent ▁and ▁cha otic ▁period ▁in ▁Mexican ▁history ▁in ▁which ▁various ▁social ▁and ▁political ▁fa ctions ▁fought ▁for ▁recognition ▁and ▁power . ▁The ▁period ▁from ▁the ▁ 1 9 2 0 s ▁to ▁the ▁ 1 9 5 0 s ▁is ▁known ▁as ▁the ▁Mexican ▁Rena issance , ▁and ▁S ique iros ▁was ▁active ▁in ▁the ▁attempt ▁to ▁create ▁an ▁art ▁that ▁was ▁at ▁once ▁Mexican ▁and ▁universal . ▁He ▁briefly ▁gave |
▁up ▁painting ▁to ▁focus ▁on ▁organ izing ▁min ers ▁in ▁J alis co . ▁ ▁World ▁conflict ▁ ▁During ▁the ▁ 1 9 3 0 s ▁radical ▁left ist ▁politics ▁characterized ▁many ▁of ▁the ▁artists ▁connected ▁to ▁Sur real ism , ▁including ▁P ablo ▁Pic asso . ▁On ▁ 2 6 ▁April ▁ 1 9 3 7 , ▁during ▁the ▁Spanish ▁Civil ▁War , ▁the ▁Bas que ▁town ▁of ▁G ern ika ▁was ▁the ▁scene ▁of ▁the ▁" B omb ing ▁of ▁G ern ika " ▁by ▁the ▁Cond or ▁Leg ion ▁of ▁Nazi ▁Germany ' s ▁Luft w affe . ▁The ▁Germans ▁were ▁attacking ▁to ▁support ▁the ▁efforts ▁of ▁Francisco ▁Franco ▁to ▁over throw ▁the ▁Bas que ▁Government ▁and ▁the ▁Spanish ▁Republican ▁government . ▁The ▁town ▁was ▁devast ated , ▁though ▁the ▁B isc ay an ▁assembly ▁and ▁the ▁Oak ▁of ▁G ern ika ▁survived . ▁P ablo ▁Pic asso ▁painted ▁his ▁m ural ▁s ized ▁Gu ern ica ▁to ▁comm emor ate ▁the ▁hor rors ▁of ▁the ▁bomb ing . ▁ ▁In ▁its ▁final ▁form , ▁Gu ern ica ▁is ▁an ▁immense ▁black ▁and ▁white , ▁ ▁tall ▁and ▁ ▁wide ▁m ural ▁painted ▁in ▁oil . ▁The ▁m ural ▁presents ▁a ▁scene ▁of ▁death , ▁violence , ▁brut ality , ▁suffering , ▁and ▁helpless ness ▁without ▁port ray ing ▁their ▁immediate ▁causes . ▁The ▁choice ▁to ▁paint ▁in ▁black ▁and ▁white ▁contrast s ▁with ▁the ▁intensity ▁of ▁the ▁scene ▁depicted ▁and ▁inv okes ▁the ▁immedi acy ▁of ▁a ▁newspaper ▁photograph |
. ▁Pic asso ▁painted ▁the ▁m ural ▁s ized ▁painting ▁called ▁Gu ern ica ▁in ▁protest ▁of ▁the ▁bomb ing . ▁The ▁painting ▁was ▁first ▁exhib ited ▁in ▁Paris ▁in ▁ 1 9 3 7 , ▁then ▁Sc and in avia , ▁then ▁London ▁in ▁ 1 9 3 8 ▁and ▁finally ▁in ▁ 1 9 3 9 ▁at ▁Pic asso ' s ▁request ▁the ▁painting ▁was ▁sent ▁to ▁the ▁United ▁States ▁in ▁an ▁extended ▁loan ▁( for ▁safe keeping ) ▁at ▁Mo MA . ▁The ▁painting ▁went ▁on ▁a ▁tour ▁of ▁museum s ▁throughout ▁the ▁USA ▁until ▁its ▁final ▁return ▁to ▁the ▁Museum ▁of ▁Modern ▁Art ▁in ▁New ▁York ▁City ▁where ▁it ▁was ▁exhib ited ▁for ▁nearly ▁thirty ▁years . ▁Finally ▁in ▁accord ▁with ▁P ablo ▁Pic asso ' s ▁wish ▁to ▁give ▁the ▁painting ▁to ▁the ▁people ▁of ▁Spain ▁as ▁a ▁gift , ▁it ▁was ▁sent ▁to ▁Spain ▁in ▁ 1 9 8 1 . ▁ ▁During ▁the ▁Great ▁Dep ression ▁of ▁the ▁ 1 9 3 0 s , ▁through ▁the ▁years ▁of ▁World ▁War ▁II ▁American ▁art ▁was ▁characterized ▁by ▁Social ▁Real ism ▁and ▁American ▁Sc ene ▁Pain ting ▁in ▁the ▁work ▁of ▁Grant ▁Wood , ▁Edward ▁Hop per , ▁Ben ▁Sh ahn , ▁Thomas ▁Hart ▁Bent on , ▁and ▁several ▁others . ▁N ighth aw ks ▁( 1 9 4 2 ) ▁is ▁a ▁painting ▁by ▁Edward ▁Hop per ▁that ▁port r ays ▁people ▁sitting ▁in ▁a ▁downtown ▁d iner ▁late ▁at ▁night . ▁It ▁is ▁not ▁only |
▁Hop per ' s ▁most ▁famous ▁painting , ▁but ▁one ▁of ▁the ▁most ▁recogn izable ▁in ▁American ▁art . ▁It ▁is ▁currently ▁in ▁the ▁collection ▁of ▁the ▁Art ▁Institute ▁of ▁Chicago . ▁The ▁scene ▁was ▁inspired ▁by ▁a ▁d iner ▁( since ▁demol ished ) ▁in ▁Green wich ▁Village , ▁Hop per ' s ▁home ▁neighborhood ▁in ▁Manhattan . ▁Hop per ▁began ▁painting ▁it ▁immediately ▁after ▁the ▁attack ▁on ▁Pearl ▁Harbor . ▁After ▁this ▁event ▁there ▁was ▁a ▁large ▁feeling ▁of ▁glo om iness ▁over ▁the ▁country , ▁a ▁feeling ▁that ▁is ▁port rayed ▁in ▁the ▁painting . ▁The ▁urban ▁street ▁is ▁empty ▁outside ▁the ▁d iner , ▁and ▁inside ▁none ▁of ▁the ▁three ▁pat rons ▁is ▁apparently ▁looking ▁or ▁talking ▁to ▁the ▁others ▁but ▁instead ▁is ▁lost ▁in ▁their ▁own ▁thoughts . ▁This ▁port ray al ▁of ▁modern ▁urban ▁life ▁as ▁empty ▁or ▁lonely ▁is ▁a ▁common ▁theme ▁throughout ▁Hop per ' s ▁work . ▁ ▁The ▁D ynamic ▁for ▁artists ▁in ▁Europe ▁during ▁the ▁ 1 9 3 0 s ▁deter ior ated ▁rapidly ▁as ▁the ▁Nazi ' s ▁power ▁in ▁Germany ▁and ▁across ▁Eastern ▁Europe ▁increased . ▁The ▁climate ▁became ▁so ▁hostile ▁for ▁artists ▁and ▁art ▁associated ▁with ▁Modern ism ▁and ▁ab stra ction ▁that ▁many ▁left ▁for ▁the ▁Amer icas . ▁Deg ener ate ▁art ▁was ▁a ▁term ▁adopted ▁by ▁the ▁Nazi ▁regime ▁in ▁Germany ▁for ▁virtually ▁all ▁modern ▁art . ▁Such ▁art ▁was ▁banned ▁on ▁the ▁grounds ▁that ▁it ▁was ▁un - G erman ▁or ▁Jewish ▁Bol she |
v ist ▁in ▁nature , ▁and ▁those ▁identified ▁as ▁degener ate ▁artists ▁were ▁subject ed ▁to ▁san ctions . ▁These ▁included ▁being ▁dismissed ▁from ▁teaching ▁positions , ▁being ▁for bidden ▁to ▁exhibit ▁or ▁to ▁sell ▁their ▁art , ▁and ▁in ▁some ▁cases ▁being ▁for bidden ▁to ▁produce ▁art ▁entirely . ▁ ▁Deg ener ate ▁Art ▁was ▁also ▁the ▁title ▁of ▁an ▁exhibition , ▁mounted ▁by ▁the ▁Naz is ▁in ▁Mun ich ▁in ▁ 1 9 3 7 , ▁consisting ▁of ▁modern ist ▁art works ▁cha ot ically ▁hung ▁and ▁accompanied ▁by ▁text ▁labels ▁der iding ▁the ▁art . ▁Des igned ▁to ▁infl ame ▁public ▁opinion ▁against ▁modern ism , ▁the ▁exhibition ▁subsequently ▁traveled ▁to ▁several ▁other ▁cities ▁in ▁Germany ▁and ▁Austria . ▁German ▁artist ▁Max ▁Beck mann ▁and ▁scores ▁of ▁others ▁fled ▁Europe ▁for ▁New ▁York . ▁In ▁New ▁York ▁City ▁a ▁new ▁generation ▁of ▁young ▁and ▁exciting ▁Modern ist ▁pain ters ▁led ▁by ▁Ar sh ile ▁G ork y , ▁W ille m ▁de ▁K oon ing , ▁and ▁others ▁were ▁just ▁beginning ▁to ▁come ▁of ▁age . ▁ ▁Ar sh ile ▁G ork y ' s ▁portrait ▁of ▁someone ▁who ▁might ▁be ▁W ille m ▁de ▁K oon ing ▁( ab ove ) ▁is ▁an ▁example ▁of ▁the ▁evolution ▁of ▁abstract ▁expression ism ▁from ▁the ▁context ▁of ▁figure ▁painting , ▁cub ism ▁and ▁sur real ism . ▁Along ▁with ▁his ▁friends ▁de ▁K oon ing ▁and ▁John ▁D . ▁Graham ▁G ork y ▁created ▁bio - m orph ically ▁shaped ▁and |
▁abstract ed ▁fig ur ative ▁compos itions ▁that ▁by ▁the ▁ 1 9 4 0 s ▁evolved ▁into ▁totally ▁abstract ▁paintings . ▁G ork y ' s ▁work ▁seems ▁to ▁be ▁a ▁careful ▁analysis ▁of ▁memory , ▁emotion ▁and ▁shape , ▁using ▁line ▁and ▁color ▁to ▁express ▁feeling ▁and ▁nature . ▁ ▁Tow ards ▁mid - century ▁ ▁The ▁ 1 9 4 0 s ▁in ▁New ▁York ▁City ▁her ald ed ▁the ▁triumph ▁of ▁American ▁abstract ▁expression ism , ▁a ▁modern ist ▁movement ▁that ▁combined ▁lessons ▁learned ▁from ▁Henri ▁Mat isse , ▁P ablo ▁Pic asso , ▁Sur real ism , ▁Joan ▁Mir ó , ▁Cub ism , ▁F au v ism , ▁and ▁early ▁Modern ism ▁via ▁great ▁teachers ▁in ▁America ▁like ▁Hans ▁Hof mann ▁and ▁John ▁D . ▁Graham . ▁American ▁artists ▁benef ited ▁from ▁the ▁presence ▁of ▁Piet ▁Mond rian , ▁Fern and ▁Lé ger , ▁Max ▁Ernst ▁and ▁the ▁André ▁Bre ton ▁group , ▁Pierre ▁Mat isse ' s ▁gallery , ▁and ▁Peg gy ▁G ug gen heim ' s ▁gallery ▁The ▁Art ▁of ▁This ▁Century , ▁as ▁well ▁as ▁other ▁factors . ▁The ▁fig ur ative ▁work ▁of ▁Francis ▁B acon , ▁Fr ida ▁K ah lo , ▁Edward ▁Hop per , ▁Luc ian ▁Freud , ▁Andrew ▁Wy eth ▁and ▁others ▁served ▁as ▁a ▁kind ▁of ▁alternative ▁to ▁abstract ▁expression ism . ▁ ▁Post - Second ▁World ▁War ▁American ▁painting ▁called ▁Abstract ▁expression ism ▁included ▁artists ▁like ▁Jackson ▁Poll ock , ▁W ille m ▁de ▁K oon |
ing , ▁Ar sh ile ▁G ork y , ▁Mark ▁Roth ko , ▁Hans ▁Hof mann , ▁C ly ff ord ▁Still , ▁Franz ▁K line , ▁Ad olph ▁Gott lie b , ▁Mark ▁Tob ey , ▁Barn ett ▁New man , ▁James ▁Brook s , ▁Philip ▁Gust on , ▁Robert ▁Mother well , ▁Con rad ▁Mar ca - R elli , ▁Jack ▁T work ov , ▁William ▁B azi otes , ▁Richard ▁P ous ette - D art , ▁Ad ▁Rein hard t , ▁H ed da ▁Ster ne , ▁Jimmy ▁Ernst , ▁Est eb an ▁Vic ente , ▁Brad ley ▁Walker ▁Tom lin , ▁and ▁Theod or os ▁St amos , ▁among ▁others . ▁American ▁Abstract ▁expression ism ▁got ▁its ▁name ▁in ▁ 1 9 4 6 ▁from ▁the ▁art ▁critic ▁Robert ▁Co ates . ▁It ▁is ▁seen ▁as ▁combining ▁the ▁emotional ▁intensity ▁and ▁self - den ial ▁of ▁the ▁German ▁Expression ists ▁with ▁the ▁anti - fig ur ative ▁aesthetic ▁of ▁the ▁European ▁abstract ▁schools ▁such ▁as ▁fut ur ism , ▁the ▁Bau haus ▁and ▁synthetic ▁cub ism . ▁Abstract ▁expression ism , ▁action ▁painting , ▁and ▁Color ▁Field ▁painting ▁are ▁syn onymous ▁with ▁the ▁New ▁York ▁School . ▁ ▁Techn ically ▁Sur real ism ▁was ▁an ▁important ▁predecess or ▁for ▁abstract ▁expression ism ▁with ▁its ▁emphasis ▁on ▁spont aneous , ▁automatic ▁or ▁sub conscious ▁creation . ▁Jackson ▁Poll ock ' s ▁dri pping ▁paint ▁onto ▁a ▁canvas ▁laid ▁on ▁the ▁floor ▁is ▁a ▁technique ▁that ▁has ▁its ▁roots ▁in |
▁the ▁work ▁of ▁André ▁Mass on . ▁Another ▁important ▁early ▁manifest ation ▁of ▁what ▁came ▁to ▁be ▁abstract ▁expression ism ▁is ▁the ▁work ▁of ▁American ▁North west ▁artist ▁Mark ▁Tob ey , ▁especially ▁his ▁" white ▁writing " ▁can v ases , ▁which , ▁though ▁generally ▁not ▁large ▁in ▁scale , ▁anticip ate ▁the ▁" all ▁over " ▁look ▁of ▁Poll ock ' s ▁dri p ▁paintings . ▁ ▁Abstract ▁expression ism ▁ ▁Additionally , ▁Abstract ▁expression ism ▁has ▁an ▁image ▁of ▁being ▁rebell ious , ▁an arch ic , ▁highly ▁id ios ync r atic ▁and , ▁some ▁feel , ▁rather ▁n ih il istic . ▁In ▁practice , ▁the ▁term ▁is ▁applied ▁to ▁any ▁number ▁of ▁artists ▁working ▁( most ly ) ▁in ▁New ▁York ▁who ▁had ▁quite ▁different ▁styles , ▁and ▁even ▁applied ▁to ▁work ▁which ▁is ▁not ▁especially ▁abstract ▁nor ▁expression ist . ▁Poll ock ' s ▁energet ic ▁" action ▁paintings ", ▁with ▁their ▁" bus y " ▁feel , ▁are ▁different ▁both ▁technically ▁and ▁aest het ically , ▁to ▁the ▁violent ▁and ▁gro tes que ▁Women ▁series ▁of ▁W ille m ▁de ▁K oon ing . ▁As ▁seen ▁above ▁in ▁the ▁gallery ▁Woman ▁V ▁is ▁one ▁of ▁a ▁series ▁of ▁six ▁paintings ▁made ▁by ▁de ▁K oon ing ▁between ▁ 1 9 5 0 ▁and ▁ 1 9 5 3 ▁that ▁dep ict ▁a ▁three - qu arter - length ▁female ▁figure . ▁He ▁began ▁the ▁first ▁of ▁these ▁paintings , ▁Woman ▁I ▁collection : ▁The ▁Museum |
▁of ▁Modern ▁Art , ▁New ▁York ▁City , ▁in ▁June ▁ 1 9 5 0 , ▁repeatedly ▁changing ▁and ▁painting ▁out ▁the ▁image ▁until ▁January ▁or ▁February ▁ 1 9 5 2 , ▁when ▁the ▁painting ▁was ▁abandoned ▁un finished . ▁The ▁art ▁historian ▁Mey er ▁Sch api ro ▁saw ▁the ▁painting ▁in ▁de ▁K oon ing ' s ▁studio ▁soon ▁afterwards ▁and ▁encouraged ▁the ▁artist ▁to ▁pers ist . ▁De ▁K oon ing ' s ▁response ▁was ▁to ▁begin ▁three ▁other ▁paintings ▁on ▁the ▁same ▁theme ; ▁Woman ▁II ▁collection : ▁The ▁Museum ▁of ▁Modern ▁Art , ▁New ▁York ▁City , ▁Woman ▁III , ▁Te hr an ▁Museum ▁of ▁Cont emporary ▁Art , ▁Woman ▁IV , ▁Nelson - At kins ▁Museum ▁of ▁Art , ▁Kansas ▁City , ▁Missouri . ▁During ▁the ▁summer ▁of ▁ 1 9 5 2 , ▁spent ▁at ▁East ▁Ham pton , ▁de ▁K oon ing ▁further ▁explored ▁the ▁theme ▁through ▁drawings ▁and ▁past els . ▁He ▁may ▁have ▁finished ▁work ▁on ▁Woman ▁I ▁by ▁the ▁end ▁of ▁June , ▁or ▁possibly ▁as ▁late ▁as ▁November ▁ 1 9 5 2 , ▁and ▁probably ▁the ▁other ▁three ▁women ▁pictures ▁were ▁concluded ▁at ▁much ▁the ▁same ▁time . ▁The ▁Woman ▁series ▁are ▁decided ly ▁fig ur ative ▁paintings . ▁Another ▁important ▁artist ▁is ▁Franz ▁K line , ▁as ▁demonstrated ▁by ▁his ▁painting ▁High ▁Street , ▁ 1 9 5 0 ▁as ▁with ▁Jackson ▁Poll ock ▁and ▁other ▁Abstract ▁Expression ists , ▁was ▁lab elled ▁an ▁" action ▁painter " ▁because |
▁of ▁his ▁seemingly ▁spont aneous ▁and ▁intense ▁style , ▁focusing ▁less , ▁or ▁not ▁at ▁all , ▁on ▁figures ▁or ▁imag ery , ▁but ▁on ▁the ▁actual ▁brush ▁stro kes ▁and ▁use ▁of ▁canvas . ▁ ▁C ly ff ord ▁Still , ▁Barn ett ▁New man , ▁Ad olph ▁Gott lie b , ▁and ▁the ▁ser en ely ▁sh immer ing ▁blocks ▁of ▁color ▁in ▁Mark ▁Roth ko ' s ▁work ▁( which ▁is ▁not ▁what ▁would ▁usually ▁be ▁called ▁expression ist ▁and ▁which ▁Roth ko ▁denied ▁was ▁abstract ), ▁are ▁classified ▁as ▁abstract ▁expression ists , ▁al beit ▁from ▁what ▁C lement ▁Green berg ▁term ed ▁the ▁Color ▁Field ▁direction ▁of ▁abstract ▁expression ism . ▁Both ▁Hans ▁Hof mann ▁and ▁Robert ▁Mother well ▁( g allery ) ▁can ▁be ▁comfort ably ▁described ▁as ▁practition ers ▁of ▁action ▁painting ▁and ▁Color ▁Field ▁painting . ▁ ▁Abstract ▁expression ism ▁has ▁many ▁sty list ic ▁similar ities ▁to ▁the ▁Russian ▁artists ▁of ▁the ▁early ▁ 2 0 th ▁century ▁such ▁as ▁W ass ily ▁K and insky . ▁Although ▁it ▁is ▁true ▁that ▁spont ane ity ▁or ▁of ▁the ▁impression ▁of ▁spont ane ity ▁characterized ▁many ▁of ▁the ▁abstract ▁expression ists ▁works , ▁most ▁of ▁these ▁paintings ▁involved ▁careful ▁planning , ▁especially ▁since ▁their ▁large ▁size ▁demanded ▁it . ▁An ▁exception ▁might ▁be ▁the ▁dri p ▁paintings ▁of ▁Poll ock . ▁ ▁Why ▁this ▁style ▁gained ▁mainstream ▁acceptance ▁in ▁the ▁ 1 9 5 0 s ▁is ▁a ▁matter ▁of ▁debate . ▁American ▁Social ▁real |
ism ▁had ▁been ▁the ▁mainstream ▁in ▁the ▁ 1 9 3 0 s . ▁It ▁had ▁been ▁influenced ▁not ▁only ▁by ▁the ▁Great ▁Dep ression ▁but ▁also ▁by ▁the ▁Social ▁Real ists ▁of ▁Mexico ▁such ▁as ▁David ▁Alf aro ▁S ique iros ▁and ▁Diego ▁River a . ▁The ▁political ▁climate ▁after ▁World ▁War ▁II ▁did ▁not ▁long ▁toler ate ▁the ▁social ▁protests ▁of ▁those ▁pain ters . ▁Abstract ▁expression ism ▁a rose ▁during ▁World ▁War ▁II ▁and ▁began ▁to ▁be ▁show c ased ▁during ▁the ▁early ▁ 1 9 4 0 s ▁at ▁g aller ies ▁in ▁New ▁York ▁like ▁The ▁Art ▁of ▁This ▁Century ▁Gallery . ▁The ▁late ▁ 1 9 4 0 s ▁through ▁the ▁mid - 1 9 5 0 s ▁us her ed ▁in ▁the ▁McC arth y ▁era . ▁It ▁was ▁after ▁World ▁War ▁II ▁and ▁a ▁time ▁of ▁political ▁conserv at ism ▁and ▁extreme ▁artistic ▁cens orship ▁in ▁the ▁United ▁States . ▁Some ▁people ▁have ▁con ject ured ▁that ▁since ▁the ▁subject ▁matter ▁was ▁often ▁totally ▁abstract , ▁Abstract ▁expression ism ▁became ▁a ▁safe ▁strategy ▁for ▁artists ▁to ▁pursue ▁this ▁style . ▁Abstract ▁art ▁could ▁be ▁seen ▁as ▁ap ol it ical . ▁Or ▁if ▁the ▁art ▁was ▁political , ▁the ▁message ▁was ▁largely ▁for ▁the ▁ins iders . ▁However , ▁those ▁the or ists ▁are ▁in ▁the ▁minority . ▁As ▁the ▁first ▁truly ▁original ▁school ▁of ▁painting ▁in ▁America , ▁Abstract ▁expression ism ▁demonstrated ▁the ▁vital ity ▁and ▁creativity ▁of ▁the ▁country ▁in ▁the ▁post - |
war ▁years , ▁as ▁well ▁as ▁its ▁ability ▁( or ▁need ) ▁to ▁develop ▁an ▁aesthetic ▁sense ▁that ▁was ▁not ▁constr ained ▁by ▁the ▁European ▁standards ▁of ▁beauty . ▁ ▁Although ▁Abstract ▁expression ism ▁spread ▁quickly ▁throughout ▁the ▁United ▁States , ▁the ▁major ▁centers ▁of ▁this ▁style ▁were ▁New ▁York ▁City ▁and ▁California , ▁especially ▁in ▁the ▁New ▁York ▁School , ▁and ▁the ▁San ▁Francisco ▁Bay ▁area . ▁Abstract ▁expression ist ▁paintings ▁share ▁certain ▁characteristics , ▁including ▁the ▁use ▁of ▁large ▁can v ases , ▁an ▁" all - over " ▁approach , ▁in ▁which ▁the ▁whole ▁canvas ▁is ▁treated ▁with ▁equal ▁importance ▁( as ▁opposed ▁to ▁the ▁center ▁being ▁of ▁more ▁interest ▁than ▁the ▁edges ). ▁The ▁canvas ▁as ▁the ▁arena ▁became ▁a ▁cred o ▁of ▁action ▁painting , ▁while ▁the ▁integrity ▁of ▁the ▁picture ▁plane ▁became ▁a ▁cred o ▁of ▁the ▁Color ▁Field ▁pain ters . ▁Many ▁other ▁artists ▁began ▁exhib iting ▁their ▁abstract ▁expression ist ▁related ▁paintings ▁during ▁the ▁ 1 9 5 0 s ▁including ▁Alfred ▁Les lie , ▁Sam ▁Francis , ▁Joan ▁Mitchell , ▁Helen ▁Frank ent hal er , ▁Cy ▁Tw omb ly , ▁Mil ton ▁Res nick , ▁Michael ▁Gold berg , ▁Norman ▁Bl uh m , ▁Ray ▁Parker , ▁Nicol as ▁Car one , ▁Grace ▁Hart igan , ▁Fried el ▁D z ub as , ▁and ▁Robert ▁Good n ough ▁among ▁others . ▁ ▁During ▁the ▁ 1 9 5 0 s ▁Color ▁Field ▁painting ▁initially ▁referred ▁to ▁a ▁particular ▁type ▁of ▁abstract ▁expression ism |
, ▁especially ▁the ▁work ▁of ▁Mark ▁Roth ko , ▁C ly ff ord ▁Still , ▁Barn ett ▁New man , ▁Robert ▁Mother well ▁and ▁Ad olph ▁Gott lie b . ▁It ▁essentially ▁involved ▁abstract ▁paintings ▁with ▁large , ▁flat ▁expans es ▁of ▁color ▁that ▁expressed ▁the ▁sens ual , ▁and ▁visual ▁feelings ▁and ▁properties ▁of ▁large ▁areas ▁of ▁nu anced ▁surface . ▁Art ▁critic ▁C lement ▁Green berg ▁perceived ▁Color ▁Field ▁painting ▁as ▁related ▁to ▁but ▁different ▁from ▁Action ▁painting . ▁The ▁overall ▁exp anse ▁and ▁gest alt ▁of ▁the ▁work ▁of ▁the ▁early ▁color ▁field ▁pain ters ▁speaks ▁of ▁an ▁almost ▁religious ▁experience , ▁aw est ru ck ▁in ▁the ▁face ▁of ▁an ▁expanding ▁universe ▁of ▁sens ual ity , ▁color ▁and ▁surface . ▁During ▁the ▁early - to - mid - 1 9 6 0 s , ▁Color ▁Field ▁painting ▁came ▁to ▁refer ▁to ▁the ▁styles ▁of ▁artists ▁like ▁J ules ▁Ol its ki , ▁Kenn eth ▁N ol and , ▁and ▁Helen ▁Frank ent hal er , ▁whose ▁works ▁were ▁related ▁to ▁second - gener ation ▁abstract ▁expression ism , ▁and ▁to ▁younger ▁artists ▁like ▁Larry ▁Z ox , ▁and ▁Frank ▁St ella , ▁– ▁all ▁moving ▁in ▁a ▁new ▁direction . ▁Art ists ▁like ▁C ly ff ord ▁Still , ▁Mark ▁Roth ko , ▁Hans ▁Hof mann , ▁Morris ▁Louis , ▁J ules ▁Ol its ki , ▁Kenn eth ▁N ol and , ▁Helen ▁Frank ent hal er , ▁Larry ▁Z ox , ▁and ▁others ▁often ▁used ▁greatly ▁reduced |
▁references ▁to ▁nature , ▁and ▁they ▁painted ▁with ▁a ▁highly ▁artic ulated ▁and ▁psychological ▁use ▁of ▁color . ▁In ▁general ▁these ▁artists ▁eliminated ▁recogn izable ▁imag ery . ▁In ▁Mountains ▁and ▁Sea , ▁from ▁ 1 9 5 2 , ▁a ▁sem inal ▁work ▁of ▁Color ▁Field ▁painting ▁by ▁Helen ▁Frank ent hal er ▁the ▁artist ▁used ▁the ▁stain ▁technique ▁for ▁the ▁first ▁time . ▁ ▁In ▁Europe ▁there ▁was ▁the ▁continu ation ▁of ▁Sur real ism , ▁Cub ism , ▁D ada ▁and ▁the ▁works ▁of ▁Mat isse . ▁Also ▁in ▁Europe , ▁T ach isme ▁( the ▁European ▁equivalent ▁to ▁Abstract ▁expression ism ) ▁took ▁hold ▁of ▁the ▁newest ▁generation . ▁Serge ▁Pol i ak off , ▁Nicol as ▁de ▁Sta ël , ▁Georges ▁Math ieu , ▁V ie ira ▁da ▁Silva , ▁Jean ▁Dub uff et , ▁Y ves ▁Klein ▁and ▁Pierre ▁Soul ages ▁among ▁others ▁are ▁considered ▁important ▁figures ▁in ▁post - war ▁European ▁painting . ▁ ▁Eventually ▁abstract ▁painting ▁in ▁America ▁evolved ▁into ▁movements ▁such ▁as ▁Ne o - D ada , ▁Color ▁Field ▁painting , ▁Post ▁painter ly ▁ab stra ction , ▁Op ▁art , ▁hard - edge ▁painting , ▁Min imal ▁art , ▁shaped ▁canvas ▁painting , ▁L yr ical ▁Ab stra ction , ▁Ne o - expression ism ▁and ▁the ▁continu ation ▁of ▁Abstract ▁expression ism . ▁As ▁a ▁response ▁to ▁the ▁tendency ▁toward ▁ab stra ction ▁imag ery ▁emerged ▁through ▁various ▁new ▁movements , ▁notably ▁Pop ▁art . ▁ ▁Pop ▁art ▁ ▁E arlier |
▁in ▁England ▁in ▁ 1 9 5 6 ▁the ▁term ▁Pop ▁Art ▁was ▁used ▁by ▁Lawrence ▁Allow ay ▁for ▁paintings ▁that ▁celebrated ▁consumer ism ▁of ▁the ▁post ▁World ▁War ▁II ▁era . ▁This ▁movement ▁rejected ▁abstract ▁expression ism ▁and ▁its ▁focus ▁on ▁the ▁her m ene ut ic ▁and ▁psychological ▁interior , ▁in ▁favor ▁of ▁art ▁which ▁depicted , ▁and ▁often ▁celebrated ▁material ▁consumer ▁culture , ▁advertising , ▁and ▁icon ography ▁of ▁the ▁mass ▁production ▁age . ▁The ▁early ▁works ▁of ▁David ▁H ock ney ▁and ▁the ▁works ▁of ▁Richard ▁Hamilton ▁Peter ▁Blake ▁and ▁Edu ardo ▁Pa ol oz zi ▁were ▁considered ▁sem inal ▁examples ▁in ▁the ▁movement . ▁ ▁Pop ▁art ▁in ▁America ▁was ▁to ▁a ▁large ▁degree ▁initially ▁inspired ▁by ▁the ▁works ▁of ▁J asper ▁John s , ▁Larry ▁Rivers , ▁and ▁Robert ▁R aus chen berg . ▁Although ▁the ▁paintings ▁of ▁Ger ald ▁Murphy , ▁Stuart ▁Davis ▁and ▁Charles ▁Dem uth ▁during ▁the ▁ 1 9 2 0 s ▁and ▁ 1 9 3 0 s ▁set ▁the ▁table ▁for ▁pop ▁art ▁in ▁America . ▁In ▁New ▁York ▁City ▁during ▁the ▁mid - 1 9 5 0 s ▁Robert ▁R aus chen berg ▁and ▁J asper ▁John s ▁created ▁works ▁of ▁art ▁that ▁at ▁first ▁seemed ▁to ▁be ▁continu ations ▁of ▁Abstract ▁expression ist ▁painting . ▁Actually ▁their ▁works ▁and ▁the ▁work ▁of ▁Larry ▁Rivers , ▁were ▁radical ▁depart ures ▁from ▁abstract ▁expression ism ▁especially ▁in ▁the ▁use ▁of ▁ban al ▁and ▁literal ▁imag ery ▁and ▁the ▁inclusion ▁and ▁the |
▁combining ▁of ▁m und ane ▁materials ▁into ▁their ▁work . ▁The ▁innov ations ▁of ▁John s ' ▁specific ▁use ▁of ▁various ▁images ▁and ▁objects ▁like ▁chairs , ▁numbers , ▁targets , ▁beer ▁c ans ▁and ▁the ▁American ▁flag ; ▁Rivers ▁paintings ▁of ▁subjects ▁drawn ▁from ▁popular ▁culture ▁such ▁as ▁George ▁Washington ▁crossing ▁the ▁Del aware , ▁and ▁his ▁incl usions ▁of ▁images ▁from ▁advertis ements ▁like ▁the ▁cam el ▁from ▁Cam el ▁cig arettes , ▁and ▁R aus chen berg ' s ▁surprising ▁const ructions ▁using ▁incl usions ▁of ▁objects ▁and ▁pictures ▁taken ▁from ▁popular ▁culture , ▁hardware ▁stores , ▁junk y ards , ▁the ▁city ▁streets , ▁and ▁tax id erm y ▁gave ▁rise ▁to ▁a ▁radical ▁new ▁movement ▁in ▁American ▁art . ▁Eventually ▁by ▁ 1 9 6 3 ▁the ▁movement ▁came ▁to ▁be ▁known ▁worldwide ▁as ▁pop ▁art . ▁ ▁American ▁pop ▁art ▁is ▁exempl ified ▁by ▁artists : ▁Andy ▁War hol , ▁Cl a es ▁Old enburg , ▁Wayne ▁Th ie ba ud , ▁James ▁Rosen qu ist , ▁Jim ▁D ine , ▁Tom ▁W ess el mann ▁and ▁Roy ▁L ichten stein ▁among ▁others . ▁L ichten stein ' s ▁most ▁important ▁work ▁is ▁arg u ably ▁Wh a am ! ▁( 1 9 6 3 , ▁T ate ▁Modern , ▁London ), ▁one ▁of ▁the ▁earliest ▁known ▁examples ▁of ▁pop ▁art , ▁adapted ▁a ▁comic - book ▁panel ▁from ▁a ▁ 1 9 6 2 ▁issue ▁of ▁DC ▁Com ics ' ▁All - American ▁Men ▁of ▁War |
. ▁The ▁painting ▁dep icts ▁a ▁fighter ▁aircraft ▁firing ▁a ▁rock et ▁into ▁an ▁enemy ▁plane , ▁with ▁a ▁red - and - y ellow ▁explosion . ▁The ▁cart oon ▁style ▁is ▁height ened ▁by ▁the ▁use ▁of ▁the ▁on om at op oe ic ▁letter ing ▁" Wh a am !" ▁and ▁the ▁box ed ▁c aption ▁" I ▁pressed ▁the ▁fire ▁control ... ▁and ▁ahead ▁of ▁me ▁rock ets ▁bl azed ▁through ▁the ▁sky ..." ▁Pop ▁art ▁mer ges ▁popular ▁and ▁mass ▁culture ▁with ▁fine ▁art , ▁while ▁inject ing ▁humor , ▁iron y , ▁and ▁recogn izable ▁imag ery ▁and ▁content ▁into ▁the ▁mix . ▁In ▁October ▁ 1 9 6 2 ▁the ▁Sid ney ▁Jan is ▁Gallery ▁mounted ▁The ▁New ▁Real ists ▁the ▁first ▁major ▁pop ▁art ▁group ▁exhibition ▁in ▁an ▁u pt own ▁art ▁gallery ▁in ▁New ▁York ▁City . ▁Sid ney ▁Jan is ▁mounted ▁the ▁exhibition ▁in ▁a ▁ 5 7 th ▁Street ▁store front ▁near ▁his ▁gallery ▁at ▁ 1 5 ▁E . ▁ 5 7 th ▁Street . ▁The ▁show ▁sent ▁shock w aves ▁through ▁the ▁New ▁York ▁School ▁and ▁rever ber ated ▁worldwide . ▁E arlier ▁in ▁the ▁fall ▁of ▁ 1 9 6 2 ▁an ▁histor ically ▁important ▁and ▁ground - breaking ▁New ▁Pain ting ▁of ▁Common ▁Object s ▁exhibition ▁of ▁pop ▁art , ▁cur ated ▁by ▁Walter ▁Hop ps ▁at ▁the ▁Pas ad ena ▁Art ▁Museum ▁sent ▁shock ▁waves ▁across ▁the ▁Western ▁United ▁States . ▁ ▁While ▁in ▁the ▁downtown ▁scene ▁in |
▁New ▁York ▁City ' s ▁East ▁Village ▁ 1 0 th ▁Street ▁g aller ies ▁artists ▁were ▁form ulating ▁an ▁American ▁version ▁of ▁Pop ▁Art . ▁Cl a es ▁Old enburg ▁had ▁his ▁store front ▁and ▁made ▁painted ▁objects , ▁and ▁the ▁Green ▁Gallery ▁on ▁ 5 7 th ▁Street ▁began ▁to ▁show ▁Tom ▁W ess el mann ▁and ▁James ▁Rosen qu ist . ▁Later ▁Leo ▁Cast elli ▁exhib ited ▁other ▁American ▁artists ▁including ▁the ▁bulk ▁of ▁the ▁careers ▁of ▁Andy ▁War hol ▁and ▁Roy ▁L ichten stein ▁and ▁his ▁use ▁of ▁B end ay ▁d ots , ▁a ▁technique ▁used ▁in ▁commercial ▁reprodu ction . ▁There ▁is ▁a ▁connection ▁between ▁the ▁radical ▁works ▁of ▁D uch amp , ▁and ▁Man ▁Ray , ▁the ▁rebell ious ▁D ada ists ▁– ▁with ▁a ▁sense ▁of ▁humor ; ▁and ▁pop ▁artists ▁like ▁Alex ▁K atz ▁( who ▁became ▁known ▁for ▁his ▁par od ies ▁of ▁portrait ▁photography ▁and ▁subur ban ▁life ), ▁Cl a es ▁Old enburg , ▁Andy ▁War hol , ▁Roy ▁L ichten stein ▁and ▁the ▁others . ▁ ▁While ▁throughout ▁the ▁ 2 0 th ▁century ▁many ▁pain ters ▁continued ▁to ▁practice ▁landscape ▁and ▁fig ur ative ▁painting ▁with ▁contemporary ▁subjects ▁and ▁solid ▁technique , ▁like ▁Mil ton ▁A very , ▁John ▁D . ▁Graham , ▁Fair field ▁P orter , ▁Edward ▁Hop per , ▁B alth us , ▁Francis ▁B acon , ▁Nicol as ▁de ▁Sta ël , ▁Andrew ▁Wy eth , ▁Luc ian ▁Freud , ▁Frank ▁A uer bach , |
▁Philip ▁Pearl stein , ▁David ▁Park , ▁Nathan ▁Ol ive ira , ▁David ▁H ock ney , ▁Mal colm ▁Mor ley , ▁Richard ▁Est es , ▁Ralph ▁Go ings , ▁Aud rey ▁Fl ack , ▁Chuck ▁Close , ▁Susan ▁Rot hen berg , ▁Eric ▁F isch l , ▁V ija ▁Cel m ins ▁and ▁Richard ▁Die ben k orn . ▁ ▁Fig ur ative , ▁landscape , ▁still - Life , ▁se asc ape , ▁and ▁Real ism ▁ ▁During ▁the ▁ 1 9 3 0 s ▁through ▁the ▁ 1 9 6 0 s ▁abstract ▁painting ▁in ▁America ▁and ▁Europe ▁evolved ▁into ▁movements ▁such ▁as ▁abstract ▁expression ism , ▁Color ▁Field ▁painting , ▁Post ▁painter ly ▁ab stra ction , ▁Op ▁art , ▁hard - edge ▁painting , ▁Min imal ▁art , ▁shaped ▁canvas ▁painting , ▁and ▁L yr ical ▁Ab stra ction . ▁Other ▁artists ▁react ed ▁as ▁a ▁response ▁to ▁the ▁tendency ▁toward ▁ab stra ction , ▁allowing ▁fig ur ative ▁imag ery ▁to ▁continue ▁through ▁various ▁new ▁context s ▁like ▁the ▁Bay ▁Area ▁Fig ur ative ▁Movement ▁in ▁the ▁ 1 9 5 0 s ▁and ▁new ▁forms ▁of ▁expression ism ▁from ▁the ▁ 1 9 4 0 s ▁through ▁the ▁ 1 9 6 0 s . ▁In ▁Italy ▁during ▁this ▁time , ▁G ior gio ▁Mor and i ▁was ▁the ▁fore most ▁still ▁life ▁painter , ▁exploring ▁a ▁wide ▁variety ▁of ▁approaches ▁to ▁dep ict ing ▁everyday ▁bottles ▁and ▁kitchen ▁implements . ▁Throughout ▁the ▁ 2 0 |
th ▁century ▁many ▁pain ters ▁pract iced ▁Real ism ▁and ▁used ▁express ive ▁imag ery ; ▁practicing ▁landscape ▁and ▁fig ur ative ▁painting ▁with ▁contemporary ▁subjects ▁and ▁solid ▁technique , ▁and ▁unique ▁express ivity ▁like ▁still - life ▁painter ▁G ior gio ▁Mor and i , ▁Mil ton ▁A very , ▁John ▁D . ▁Graham , ▁Fair field ▁P orter , ▁Edward ▁Hop per , ▁Andrew ▁Wy eth , ▁B alth us , ▁Francis ▁B acon , ▁Leon ▁Kos so ff , ▁Frank ▁A uer bach , ▁Luc ian ▁Freud , ▁Philip ▁Pearl stein , ▁W ille m ▁de ▁K oon ing , ▁Ar sh ile ▁G ork y , ▁Grace ▁Hart igan , ▁Robert ▁De ▁N iro , ▁Sr ., ▁El aine ▁de ▁K oon ing ▁and ▁others . ▁Along ▁with ▁Henri ▁Mat isse , ▁P ablo ▁Pic asso , ▁Pierre ▁Bon n ard , ▁Georges ▁Bra que , ▁and ▁other ▁ 2 0 th - century ▁masters . ▁In ▁particular ▁Mil ton ▁A very ▁through ▁his ▁use ▁of ▁color ▁and ▁his ▁interest ▁in ▁se asc ape ▁and ▁landscape ▁paintings ▁connected ▁with ▁the ▁Color ▁field ▁aspect ▁of ▁Abstract ▁expression ism ▁as ▁manifest ed ▁by ▁Ad olph ▁Gott lie b ▁and ▁Mark ▁Roth ko ▁as ▁well ▁as ▁the ▁lessons ▁American ▁pain ters ▁took ▁from ▁the ▁work ▁of ▁Henri ▁Mat isse . ▁ ▁Head ▁VI , ▁ 1 9 4 9 ▁is ▁a ▁painting ▁by ▁the ▁Irish ▁born ▁artist ▁Francis ▁B acon ▁and ▁is ▁an ▁example ▁of ▁Post ▁World ▁War ▁II ▁European ▁Expression ism |
. ▁The ▁work ▁shows ▁a ▁dist orted ▁version ▁of ▁the ▁Port rait ▁of ▁Inn oc ent ▁X ▁painted ▁by ▁the ▁Spanish ▁artist ▁Diego ▁Vel áz que z ▁in ▁ 1 6 5 0 . ▁The ▁work ▁is ▁one ▁of ▁a ▁series ▁of ▁vari ants ▁of ▁the ▁Vel áz que z ▁painting ▁which ▁B acon ▁executed ▁throughout ▁the ▁ 1 9 5 0 s ▁and ▁early ▁ 1 9 6 0 s , ▁over ▁a ▁total ▁of ▁forty - five ▁works . ▁When ▁asked ▁why ▁he ▁was ▁comp elled ▁to ▁re visit ▁the ▁subject ▁so ▁often , ▁B acon ▁replied ▁that ▁he ▁had ▁nothing ▁against ▁the ▁Pop es , ▁that ▁he ▁merely ▁" w anted ▁an ▁excuse ▁to ▁use ▁these ▁colours , ▁and ▁you ▁can ' t ▁give ▁ordinary ▁clothes ▁that ▁purple ▁colour ▁without ▁getting ▁into ▁a ▁sort ▁of ▁false ▁f au ve ▁manner ." ▁The ▁Pope ▁in ▁this ▁version ▁se et hes ▁with ▁anger ▁and ▁aggress ion , ▁and ▁the ▁dark ▁colors ▁give ▁the ▁image ▁a ▁gro tes que ▁and ▁night mar ish ▁appearance . ▁The ▁ple ated ▁curt ains ▁of ▁the ▁back drop ▁are ▁rendered ▁transparent , ▁and ▁seem ▁to ▁fall ▁through ▁the ▁Pope ' s ▁face . ▁Italian ▁painter ▁G ior gio ▁Mor and i ▁was ▁an ▁important ▁ 2 0 th - century ▁early ▁pione er ▁of ▁Min imal ism . ▁Born ▁in ▁B olog na , ▁Italy , ▁in ▁ 1 8 9 0 , ▁throughout ▁his ▁career , ▁Mor and i ▁concentrated ▁almost ▁exclusively ▁on ▁still ▁lif es |
▁and ▁landsc apes , ▁except ▁for ▁a ▁few ▁self - port ra its . ▁With ▁great ▁sensitivity ▁to ▁tone , ▁color , ▁and ▁compos itional ▁balance , ▁he ▁would ▁dep ict ▁the ▁same ▁familiar ▁bottles ▁and ▁v ases ▁again ▁and ▁again ▁in ▁paintings ▁notable ▁for ▁their ▁simplicity ▁of ▁execution . ▁Mor and i ▁executed ▁ 1 3 3 ▁et ch ings , ▁a ▁significant ▁body ▁of ▁work ▁in ▁its ▁own ▁right , ▁and ▁his ▁drawings ▁and ▁water colors ▁often ▁approach ▁ab stra ction ▁in ▁their ▁economy ▁of ▁means . ▁Through ▁his ▁simple ▁and ▁repet itive ▁mot ifs ▁and ▁econom ical ▁use ▁of ▁color , ▁value ▁and ▁surface , ▁Mor and i ▁became ▁a ▁presc ient ▁and ▁important ▁for er un ner ▁of ▁Min imal ism . ▁He ▁died ▁in ▁B olog na ▁in ▁ 1 9 6 4 . ▁ ▁After ▁World ▁War ▁II ▁the ▁term ▁School ▁of ▁Paris ▁often ▁referred ▁to ▁T ach isme , ▁the ▁European ▁equivalent ▁of ▁American ▁Abstract ▁expression ism ▁and ▁those ▁artists ▁are ▁also ▁related ▁to ▁Cob ra . ▁Import ant ▁pro ponents ▁being ▁Jean ▁Dub uff et , ▁Pierre ▁Soul ages , ▁Nicholas ▁de ▁Sta ël , ▁Hans ▁Hart ung , ▁Serge ▁Pol i ak off , ▁and ▁Georges ▁Math ieu , ▁among ▁several ▁others . ▁During ▁the ▁early ▁ 1 9 5 0 s ▁Dub uff et ▁( who ▁was ▁always ▁a ▁fig ur ative ▁artist ), ▁and ▁de ▁Sta ël , ▁abandoned ▁ab stra ction , ▁and ▁returned ▁to ▁imag ery ▁via ▁fig uration ▁and |
▁landscape . ▁De ▁Sta ël ▁' s ▁work ▁was ▁quickly ▁recognised ▁within ▁the ▁post - war ▁art ▁world , ▁and ▁he ▁became ▁one ▁of ▁the ▁most ▁influential ▁artists ▁of ▁the ▁ 1 9 5 0 s . ▁His ▁return ▁to ▁representation ▁( se asc apes , ▁football ers , ▁jazz ▁musicians , ▁se ag ull s ) ▁during ▁the ▁early ▁ 1 9 5 0 s ▁can ▁be ▁seen ▁as ▁an ▁influential ▁preced ent ▁for ▁the ▁American ▁Bay ▁Area ▁Fig ur ative ▁Movement , ▁as ▁many ▁of ▁those ▁abstract ▁pain ters ▁like ▁Richard ▁Die ben k orn , ▁David ▁Park , ▁El mer ▁B isch off , ▁Wayne ▁Th ie ba ud , ▁Nathan ▁Ol ive ira , ▁Joan ▁Brown ▁and ▁others ▁made ▁a ▁similar ▁move ; ▁returning ▁to ▁imag ery ▁during ▁the ▁mid - 1 9 5 0 s . ▁Much ▁of ▁de ▁Sta ël ▁' s ▁late ▁work ▁– ▁in ▁particular ▁his ▁th inned , ▁and ▁dil ut ed ▁oil ▁on ▁canvas ▁abstract ▁landsc apes ▁of ▁the ▁mid - 1 9 5 0 s ▁predict s ▁Color ▁Field ▁painting ▁and ▁L yr ical ▁Ab stra ction ▁of ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s . ▁Nicol as ▁de ▁Sta ël ' s ▁bold ▁and ▁intens ely ▁vivid ▁color ▁in ▁his ▁last ▁paintings ▁predict ▁the ▁direction ▁of ▁much ▁of ▁contemporary ▁painting ▁that ▁came ▁after ▁him ▁including ▁Pop ▁art ▁of ▁the ▁ 1 9 6 0 s . ▁ ▁Art ▁brut , ▁New ▁Real ism , |
▁Bay ▁Area ▁Fig ur ative ▁Movement , ▁ne o - D ada , ▁phot ore al ism ▁ ▁During ▁the ▁ 1 9 5 0 s ▁and ▁ 1 9 6 0 s ▁as ▁abstract ▁painting ▁in ▁America ▁and ▁Europe ▁evolved ▁into ▁movements ▁such ▁as ▁Color ▁Field ▁painting , ▁post - p ain ter ly ▁ab stra ction , ▁op ▁art , ▁hard - edge ▁painting , ▁minimal ▁art , ▁shaped ▁canvas ▁painting , ▁L yr ical ▁Ab stra ction , ▁and ▁the ▁continu ation ▁of ▁Abstract ▁expression ism . ▁Other ▁artists ▁react ed ▁as ▁a ▁response ▁to ▁the ▁tendency ▁toward ▁ab stra ction ▁with ▁art ▁brut , ▁as ▁seen ▁in ▁Court ▁les ▁r ues , ▁ 1 9 6 2 , ▁by ▁Jean ▁Dub uff et , ▁flux us , ▁ne o - D ada , ▁New ▁Real ism , ▁allowing ▁imag ery ▁to ▁re - em er ge ▁through ▁various ▁new ▁context s ▁like ▁pop ▁art , ▁the ▁Bay ▁Area ▁Fig ur ative ▁Movement ▁( a ▁prime ▁example ▁is ▁Die ben k orn ' s ▁City scape ▁I , ▁( Land scape ▁No . ▁ 1 ), ▁ 1 9 6 3 , ▁Oil ▁on ▁canvas , ▁ 6 0 ▁ 1 / 4 ▁x ▁ 5 0 ▁ 1 / 2 ▁inches , ▁collection : ▁San ▁Francisco ▁Museum ▁of ▁Modern ▁Art ) ▁and ▁later ▁in ▁the ▁ 1 9 7 0 s ▁Ne o - expression ism . ▁The ▁Bay ▁Area ▁Fig ur ative ▁Movement ▁of ▁whom ▁David ▁Park , |
▁El mer ▁B isch off , ▁Nathan ▁Ol ive ira ▁and ▁Richard ▁Die ben k orn ▁whose ▁painting ▁City scape ▁ 1 , ▁ 1 9 6 3 ▁is ▁a ▁typical ▁example ▁were ▁influential ▁members ▁flour ished ▁during ▁the ▁ 1 9 5 0 s ▁and ▁ 1 9 6 0 s ▁in ▁California . ▁Although ▁throughout ▁the ▁ 2 0 th ▁century ▁pain ters ▁continued ▁to ▁practice ▁Real ism ▁and ▁use ▁imag ery , ▁practicing ▁landscape ▁and ▁fig ur ative ▁painting ▁with ▁contemporary ▁subjects ▁and ▁solid ▁technique , ▁and ▁unique ▁express ivity ▁like ▁Mil ton ▁A very , ▁Edward ▁Hop per , ▁Jean ▁Dub uff et , ▁Francis ▁B acon , ▁Frank ▁A uer bach , ▁Luc ian ▁Freud , ▁Philip ▁Pearl stein , ▁and ▁others . ▁Young er ▁pain ters ▁pract iced ▁the ▁use ▁of ▁imag ery ▁in ▁new ▁and ▁radical ▁ways . ▁Y ves ▁Klein , ▁Mart ial ▁R ays se , ▁N iki ▁de ▁Saint ▁Ph alle , ▁Wolf ▁V ost ell , ▁David ▁H ock ney , ▁Alex ▁K atz , ▁Mal colm ▁Mor ley , ▁Ralph ▁Go ings , ▁Aud rey ▁Fl ack , ▁Richard ▁Est es , ▁Chuck ▁Close , ▁Susan ▁Rot hen berg , ▁Eric ▁F isch l , ▁John ▁Ba eder ▁and ▁V ija ▁Cel m ins ▁were ▁a ▁few ▁who ▁became ▁prominent ▁between ▁the ▁ 1 9 6 0 s ▁and ▁the ▁ 1 9 8 0 s . ▁Fair field ▁P orter ▁was ▁largely ▁self - t aught , ▁and ▁produced ▁represent |
ational ▁work ▁in ▁the ▁midst ▁of ▁the ▁Abstract ▁Expression ist ▁movement . ▁His ▁subjects ▁were ▁primarily ▁landsc apes , ▁domestic ▁inter iors ▁and ▁port ra its ▁of ▁family , ▁friends ▁and ▁fellow ▁artists , ▁many ▁of ▁them ▁affili ated ▁with ▁the ▁New ▁York ▁School ▁of ▁writers , ▁including ▁John ▁Ash bery , ▁Frank ▁O ' H ara , ▁and ▁James ▁Sch uy ler . ▁Many ▁of ▁his ▁paintings ▁were ▁set ▁in ▁or ▁around ▁the ▁family ▁summer ▁house ▁on ▁Great ▁Sp ru ce ▁Head ▁Island , ▁Maine . ▁ ▁Also ▁during ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s , ▁there ▁was ▁a ▁reaction ▁against ▁painting . ▁Crit ics ▁like ▁Douglas ▁Cr imp ▁viewed ▁the ▁work ▁of ▁artists ▁like ▁Ad ▁Rein hard t , ▁and ▁declared ▁the ▁" de ath ▁of ▁painting ". ▁Art ists ▁began ▁to ▁practice ▁new ▁ways ▁of ▁making ▁art . ▁New ▁movements ▁gained ▁prom in ence ▁some ▁of ▁which ▁are : ▁Fl ux us , ▁H app ening , ▁Video ▁art , ▁Install ation ▁art ▁Mail ▁art , ▁the ▁situation ists , ▁Con cept ual ▁art , ▁Post min imal ism , ▁Earth ▁art , ▁arte ▁p over a , ▁performance ▁art ▁and ▁body ▁art ▁among ▁others . ▁ ▁Ne o - D ada ▁is ▁also ▁a ▁movement ▁that ▁started ▁ 1 n ▁the ▁ 1 9 5 0 s ▁and ▁ 1 9 6 0 s ▁and ▁was ▁related ▁to ▁Abstract ▁expression ism ▁only ▁with ▁imag ery . ▁Fe at uring ▁the ▁emer |
gence ▁of ▁combined ▁manufactured ▁items , ▁with ▁artist ▁materials , ▁moving ▁away ▁from ▁previous ▁convent ions ▁of ▁painting . ▁This ▁trend ▁in ▁art ▁is ▁exempl ified ▁by ▁the ▁work ▁of ▁J asper ▁John s ▁and ▁Robert ▁R aus chen berg , ▁whose ▁" comb ines " ▁in ▁the ▁ 1 9 5 0 s ▁were ▁for er unn ers ▁of ▁Pop ▁Art ▁and ▁Install ation ▁art , ▁and ▁made ▁use ▁of ▁the ▁as sembl age ▁of ▁large ▁physical ▁objects , ▁including ▁stuffed ▁animals , ▁birds ▁and ▁commercial ▁photography . ▁Robert ▁R aus chen berg , ▁J asper ▁John s , ▁Larry ▁Rivers , ▁John ▁Chamber l ain , ▁Cl a es ▁Old enburg , ▁George ▁Seg al , ▁Jim ▁D ine , ▁and ▁Edward ▁K ien hol z ▁among ▁others ▁were ▁important ▁pione ers ▁of ▁both ▁ab stra ction ▁and ▁Pop ▁Art ; ▁creating ▁new ▁convent ions ▁of ▁art - making ; ▁they ▁made ▁acceptable ▁in ▁serious ▁contemporary ▁art ▁circles ▁the ▁radical ▁inclusion ▁of ▁unlikely ▁materials ▁as ▁parts ▁of ▁their ▁works ▁of ▁art . ▁ ▁New ▁ab stra ction ▁from ▁the ▁ 1 9 5 0 s ▁through ▁the ▁ 1 9 8 0 s ▁ ▁Color ▁Field ▁painting ▁clearly ▁pointed ▁toward ▁a ▁new ▁direction ▁in ▁American ▁painting , ▁away ▁from ▁abstract ▁expression ism . ▁Color ▁Field ▁painting ▁is ▁related ▁to ▁post - p ain ter ly ▁ab stra ction , ▁sup rem at ism , ▁abstract ▁expression ism , ▁hard - edge ▁painting ▁and ▁L yr ical ▁Ab stra ction . ▁ |
▁During ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s ▁abstract ▁painting ▁continued ▁to ▁develop ▁in ▁America ▁through ▁varied ▁styles . ▁Ge ometric ▁ab stra ction , ▁Op ▁art , ▁hard - edge ▁painting , ▁Color ▁Field ▁painting ▁and ▁minimal ▁painting , ▁were ▁some ▁inter related ▁directions ▁for ▁advanced ▁abstract ▁painting ▁as ▁well ▁as ▁some ▁other ▁new ▁movements . ▁Morris ▁Louis ▁was ▁an ▁important ▁pione er ▁in ▁advanced ▁Color ▁Field ▁painting , ▁his ▁work ▁can ▁serve ▁as ▁a ▁bridge ▁between ▁abstract ▁expression ism , ▁Color ▁Field ▁painting , ▁and ▁minimal ▁art . ▁Two ▁influential ▁teachers ▁Josef ▁Al bers ▁and ▁Hans ▁Hof mann ▁introduced ▁a ▁new ▁generation ▁of ▁American ▁artists ▁to ▁their ▁advanced ▁theories ▁of ▁color ▁and ▁space . ▁Josef ▁Al bers ▁is ▁best ▁remembered ▁for ▁his ▁work ▁as ▁a ▁Ge ometric ▁ab stra ction ist ▁painter ▁and ▁the or ist . ▁Most ▁famous ▁of ▁all ▁are ▁the ▁hundreds ▁of ▁paintings ▁and ▁prints ▁that ▁make ▁up ▁the ▁series ▁Hom age ▁to ▁the ▁Square . ▁In ▁this ▁rig orous ▁series , ▁begun ▁in ▁ 1 9 4 9 , ▁Al bers ▁explored ▁chrom atic ▁interactions ▁with ▁flat ▁colored ▁squ ares ▁arranged ▁concent ric ally ▁on ▁the ▁canvas . ▁Al bers ' ▁theories ▁on ▁art ▁and ▁education ▁were ▁form ative ▁for ▁the ▁next ▁generation ▁of ▁artists . ▁His ▁own ▁paintings ▁form ▁the ▁foundation ▁of ▁both ▁hard - edge ▁painting ▁and ▁Op ▁art . ▁ ▁Josef ▁Al bers , ▁Hans ▁Hof mann , ▁I ly a ▁Bol ot ow sky , ▁Burg |
oy ne ▁D iller , ▁Victor ▁Vas arely , ▁Br idget ▁R iley , ▁Richard ▁An us zk iew icz , ▁Frank ▁St ella , ▁Morris ▁Louis , ▁Kenn eth ▁N ol and , ▁Ell sw orth ▁Kelly , ▁Barn ett ▁New man , ▁Larry ▁Po ons , ▁Ronald ▁Davis , ▁Larry ▁Z ox , ▁Al ▁H eld ▁and ▁some ▁others ▁like ▁M ino ▁Argent o , ▁are ▁artists ▁closely ▁associated ▁with ▁Ge ometric ▁ab stra ction , ▁Op ▁art , ▁Color ▁Field ▁painting , ▁and ▁in ▁the ▁case ▁of ▁Hof mann ▁and ▁New man ▁Abstract ▁expression ism ▁as ▁well . ▁ ▁In ▁ 1 9 6 5 , ▁an ▁exhibition ▁called ▁The ▁Res pons ive ▁Eye , ▁cur ated ▁by ▁William ▁C . ▁Se itz , ▁was ▁held ▁at ▁the ▁Museum ▁of ▁Modern ▁Art , ▁in ▁New ▁York ▁City . ▁The ▁works ▁shown ▁were ▁wide ▁ranging , ▁en compass ing ▁the ▁Min imal ism ▁of ▁Frank ▁St ella , ▁the ▁Op ▁art ▁of ▁Larry ▁Po ons , ▁the ▁work ▁of ▁Alexander ▁Liber man , ▁alongside ▁the ▁masters ▁of ▁the ▁Op ▁Art ▁movement : ▁Victor ▁Vas arely , ▁Richard ▁An us zk iew icz , ▁Br idget ▁R iley ▁and ▁others . ▁The ▁exhibition ▁focused ▁on ▁the ▁per cept ual ▁aspects ▁of ▁art , ▁which ▁result ▁both ▁from ▁the ▁illusion ▁of ▁movement ▁and ▁the ▁interaction ▁of ▁color ▁relationships . ▁Op ▁art , ▁also ▁known ▁as ▁optical ▁art , ▁is ▁a ▁style ▁present ▁in ▁some ▁paintings ▁and ▁other ▁works ▁of ▁art ▁that ▁use ▁optical |
▁ill usions . ▁Op ▁art ▁is ▁also ▁closely ▁a kin ▁to ▁geometric ▁ab stra ction ▁and ▁hard - edge ▁painting . ▁Although ▁sometimes ▁the ▁term ▁used ▁for ▁it ▁is ▁per cept ual ▁ab stra ction . ▁ ▁Op ▁art ▁is ▁a ▁method ▁of ▁painting ▁concerning ▁the ▁interaction ▁between ▁illusion ▁and ▁picture ▁plane , ▁between ▁understanding ▁and ▁seeing . ▁Op ▁art ▁works ▁are ▁abstract , ▁with ▁many ▁of ▁the ▁better ▁known ▁pieces ▁made ▁in ▁only ▁black ▁and ▁white . ▁When ▁the ▁view er ▁looks ▁at ▁them , ▁the ▁impression ▁is ▁given ▁of ▁movement , ▁hidden ▁images , ▁fl ashing ▁and ▁vibr ation , ▁patterns , ▁or ▁altern atively , ▁of ▁sw elling ▁or ▁war ping . ▁ ▁Color ▁Field ▁painting ▁sought ▁to ▁rid ▁art ▁of ▁super fl uous ▁rhet oric . ▁Art ists ▁like ▁C ly ff ord ▁Still , ▁Mark ▁Roth ko , ▁Hans ▁Hof mann , ▁Morris ▁Louis , ▁J ules ▁Ol its ki , ▁Kenn eth ▁N ol and , ▁Helen ▁Frank ent hal er , ▁John ▁H oy land , ▁Larry ▁Z ox , ▁and ▁others ▁often ▁used ▁greatly ▁reduced ▁references ▁to ▁nature , ▁and ▁they ▁painted ▁with ▁a ▁highly ▁artic ulated ▁and ▁psychological ▁use ▁of ▁color . ▁In ▁general ▁these ▁artists ▁eliminated ▁recogn izable ▁imag ery . ▁Certain ▁artists ▁quoted ▁references ▁to ▁past ▁or ▁present ▁art , ▁but ▁in ▁general ▁color ▁field ▁painting ▁presents ▁ab stra ction ▁as ▁an ▁end ▁in ▁itself . ▁In ▁purs uing ▁this ▁direction ▁of ▁modern ▁art , ▁artists ▁wanted ▁to ▁present ▁each ▁painting ▁as |
▁one ▁un ified , ▁co hes ive , ▁mon ol ith ic ▁image . ▁ ▁Frank ▁St ella , ▁Kenn eth ▁N ol and , ▁Ell sw orth ▁Kelly , ▁Barn ett ▁New man , ▁Ronald ▁Davis , ▁Neil ▁Williams , ▁Robert ▁M ang old , ▁Charles ▁H in man , ▁Richard ▁T utt le , ▁David ▁Nov ros , ▁and ▁Al ▁L oving ▁are ▁examples ▁of ▁artists ▁associated ▁with ▁the ▁use ▁of ▁the ▁shaped ▁canvas ▁during ▁the ▁period ▁beginning ▁in ▁the ▁early ▁ 1 9 6 0 s . ▁Many ▁Ge ometric ▁abstract ▁artists , ▁minimal ists , ▁and ▁Hard - edge ▁pain ters ▁elected ▁to ▁use ▁the ▁edges ▁of ▁the ▁image ▁to ▁define ▁the ▁shape ▁of ▁the ▁painting ▁rather ▁than ▁accepting ▁the ▁rect angular ▁format . ▁In ▁fact , ▁the ▁use ▁of ▁the ▁shaped ▁canvas ▁is ▁primarily ▁associated ▁with ▁paintings ▁of ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s ▁that ▁are ▁cool ly ▁abstract , ▁formal istic , ▁ge omet rical , ▁objective , ▁rational istic , ▁clean - lined , ▁br ash ly ▁sharp - ed ged , ▁or ▁minimal ist ▁in ▁character . ▁The ▁Andre ▁Em mer ich ▁Gallery , ▁the ▁Leo ▁Cast elli ▁Gallery , ▁the ▁Richard ▁Fe igen ▁Gallery , ▁and ▁the ▁Park ▁Place ▁Gallery ▁were ▁important ▁show cases ▁for ▁Color ▁Field ▁painting , ▁shaped ▁canvas ▁painting ▁and ▁L yr ical ▁Ab stra ction ▁in ▁New ▁York ▁City ▁during ▁the ▁ 1 9 6 0 s . ▁There ▁is ▁a ▁connection |
▁with ▁post - p ain ter ly ▁ab stra ction , ▁which ▁react ed ▁against ▁abstract ▁expression isms ' ▁myst icism , ▁hyper - subject ivity , ▁and ▁emphasis ▁on ▁making ▁the ▁act ▁of ▁painting ▁itself ▁dramatically ▁visible ▁– ▁as ▁well ▁as ▁the ▁so lem n ▁acceptance ▁of ▁the ▁flat ▁rectangle ▁as ▁an ▁almost ▁ritual ▁pr ere quis ite ▁for ▁serious ▁painting . ▁During ▁the ▁ 1 9 6 0 s ▁Color ▁Field ▁painting ▁and ▁Min imal ▁art ▁were ▁often ▁closely ▁associated ▁with ▁each ▁other . ▁In ▁actual ity ▁by ▁the ▁early ▁ 1 9 7 0 s ▁both ▁movements ▁became ▁decided ly ▁diverse . ▁ ▁Washington ▁Color ▁School , ▁Sh aped ▁Can vas , ▁Abstract ▁Ill usion ism , ▁L yr ical ▁Ab stra ction ▁ ▁Another ▁related ▁movement ▁of ▁the ▁late ▁ 1 9 6 0 s , ▁L yr ical ▁Ab stra ction ▁( the ▁term ▁being ▁co ined ▁by ▁Larry ▁Ald rich , ▁the ▁founder ▁of ▁the ▁Ald rich ▁Cont emporary ▁Art ▁Museum , ▁Ridge field ▁Connecticut ), ▁en compass ed ▁what ▁Ald rich ▁said ▁he ▁saw ▁in ▁the ▁stud ios ▁of ▁many ▁artists ▁at ▁that ▁time . ▁It ▁is ▁also ▁the ▁name ▁of ▁an ▁exhibition ▁that ▁origin ated ▁in ▁the ▁Ald rich ▁Museum ▁and ▁traveled ▁to ▁the ▁Whit ney ▁Museum ▁of ▁American ▁Art ▁and ▁other ▁museum s ▁throughout ▁the ▁United ▁States ▁between ▁ 1 9 6 9 ▁and ▁ 1 9 7 1 . ▁ ▁L yr ical ▁Ab stra ction ▁in ▁the ▁late ▁ 1 9 6 |
0 s ▁is ▁characterized ▁by ▁the ▁paintings ▁of ▁Dan ▁Christ ensen , ▁Ron nie ▁Land field , ▁Peter ▁Young ▁and ▁others , ▁and ▁along ▁with ▁the ▁flux us ▁movement ▁and ▁post min imal ism ▁( a ▁term ▁first ▁co ined ▁by ▁Robert ▁P inc us - W itten ▁in ▁the ▁pages ▁of ▁Art for um ▁in ▁ 1 9 6 9 ) ▁sought ▁to ▁expand ▁the ▁boundaries ▁of ▁abstract ▁painting ▁and ▁minimal ism ▁by ▁focusing ▁on ▁process , ▁new ▁materials ▁and ▁new ▁ways ▁of ▁expression . ▁Post min imal ism ▁often ▁incorpor ating ▁industrial ▁materials , ▁raw ▁materials , ▁fabric ations , ▁found ▁objects , ▁installation , ▁serial ▁repet ition , ▁and ▁often ▁with ▁references ▁to ▁D ada ▁and ▁Sur real ism ▁is ▁best ▁exempl ified ▁in ▁the ▁sculpt ures ▁of ▁Eva ▁H esse . ▁L yr ical ▁Ab stra ction , ▁concept ual ▁art , ▁post min imal ism , ▁Earth ▁art , ▁video , ▁performance ▁art , ▁installation ▁art , ▁along ▁with ▁the ▁continu ation ▁of ▁flux us , ▁abstract ▁expression ism , ▁Color ▁Field ▁painting , ▁hard - edge ▁painting , ▁minimal ▁art , ▁op ▁art , ▁pop ▁art , ▁phot ore al ism ▁and ▁New ▁Real ism ▁extended ▁the ▁boundaries ▁of ▁contemporary ▁art ▁in ▁the ▁mid - 1 9 6 0 s ▁through ▁the ▁ 1 9 7 0 s . ▁L yr ical ▁Ab stra ction ▁is ▁a ▁type ▁of ▁free whe eling ▁abstract ▁painting ▁that ▁emerged ▁in ▁the ▁mid - 1 9 6 0 s ▁when ▁abstract |
▁pain ters ▁returned ▁to ▁various ▁forms ▁of ▁painter ly , ▁pict orial , ▁expression ism ▁with ▁a ▁pre dom inate ▁focus ▁on ▁process , ▁gest alt ▁and ▁repet itive ▁compos itional ▁strategies ▁in ▁general . ▁ ▁L yr ical ▁Ab stra ction ▁shares ▁similar ities ▁with ▁color ▁field ▁painting ▁and ▁abstract ▁expression ism , ▁L yr ical ▁Ab stra ction ▁as ▁exempl ified ▁by ▁the ▁ 1 9 6 8 ▁Ron nie ▁Land field ▁painting ▁For ▁William ▁Blake , ▁( ab ove ) ▁especially ▁in ▁the ▁free whe eling ▁usage ▁of ▁paint ▁– ▁texture ▁and ▁surface . ▁Direct ▁drawing , ▁call ig raph ic ▁use ▁of ▁line , ▁the ▁effects ▁of ▁brushed , ▁spl attered , ▁st ained , ▁sque e ge ed , ▁poured , ▁and ▁spl ashed ▁paint ▁super fic ially ▁re semble ▁the ▁effects ▁seen ▁in ▁abstract ▁expression ism ▁and ▁color ▁field ▁painting . ▁However , ▁the ▁styles ▁are ▁marked ly ▁different . ▁Setting ▁it ▁apart ▁from ▁abstract ▁expression ism ▁and ▁action ▁painting ▁of ▁the ▁ 1 9 4 0 s ▁and ▁ 1 9 5 0 s ▁is ▁the ▁approach ▁to ▁composition ▁and ▁drama . ▁As ▁seen ▁in ▁action ▁painting ▁there ▁is ▁an ▁emphasis ▁on ▁brush st ro kes , ▁high ▁compos itional ▁drama , ▁dynamic ▁compos itional ▁tension . ▁While ▁in ▁L yr ical ▁Ab stra ction ▁there ▁is ▁a ▁sense ▁of ▁compos itional ▁random ness , ▁all ▁over ▁composition , ▁low ▁key ▁and ▁relaxed ▁compos itional ▁drama ▁and ▁an ▁emphasis ▁on ▁process , ▁repet ition , ▁and |
▁an ▁all ▁over ▁sens ibility ., ▁ ▁Hard - edge ▁painting , ▁minimal ism , ▁post min imal ism , ▁mon och rome ▁painting ▁ ▁Ag nes ▁Martin , ▁Robert ▁M ang old , ▁Br ice ▁M arden , ▁Jo ▁Ba er , ▁Robert ▁R yman , ▁Richard ▁T utt le , ▁Neil ▁Williams , ▁David ▁Nov ros , ▁Paul ▁M og enson , ▁Charles ▁H in man ▁are ▁examples ▁of ▁artists ▁associated ▁with ▁Min imal ism ▁and ▁( ex ceptions ▁of ▁Martin , ▁Ba er ▁and ▁M arden ) ▁the ▁use ▁of ▁the ▁shaped ▁canvas ▁also ▁during ▁the ▁period ▁beginning ▁in ▁the ▁early ▁ 1 9 6 0 s . ▁Many ▁Ge ometric ▁abstract ▁artists , ▁minimal ists , ▁and ▁hard - edge ▁pain ters ▁elected ▁to ▁use ▁the ▁edges ▁of ▁the ▁image ▁to ▁define ▁the ▁shape ▁of ▁the ▁painting ▁rather ▁than ▁accepting ▁the ▁rect angular ▁format . ▁In ▁fact , ▁the ▁use ▁of ▁the ▁shaped ▁canvas ▁is ▁primarily ▁associated ▁with ▁paintings ▁of ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s ▁that ▁are ▁cool ly ▁abstract , ▁formal istic , ▁ge omet rical , ▁objective , ▁rational istic , ▁clean - lined , ▁br ash ly ▁sharp - ed ged , ▁or ▁minimal ist ▁in ▁character . ▁The ▁By k ert ▁Gallery , ▁and ▁the ▁Park ▁Place ▁Gallery ▁were ▁important ▁show cases ▁for ▁Min imal ism ▁and ▁shaped ▁canvas ▁painting ▁in ▁New ▁York ▁City ▁during ▁the ▁ 1 9 6 0 s . ▁ ▁During ▁the |
▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s ▁artists ▁such ▁as ▁Robert ▁Mother well , ▁Ad olph ▁Gott lie b , ▁Phill ip ▁Gust on , ▁Lee ▁K ras ner , ▁Cy ▁Tw omb ly , ▁Robert ▁R aus chen berg , ▁J asper ▁John s , ▁Richard ▁Die ben k orn , ▁Josef ▁Al bers , ▁El mer ▁B isch off , ▁Ag nes ▁Martin , ▁Al ▁H eld , ▁Sam ▁Francis , ▁Ell sw orth ▁Kelly , ▁Morris ▁Louis , ▁Helen ▁Frank ent hal er , ▁Gene ▁Davis , ▁Frank ▁St ella , ▁Kenn eth ▁N ol and , ▁Joan ▁Mitchell , ▁Fried el ▁D z ub as , ▁and ▁younger ▁artists ▁like ▁Br ice ▁M arden , ▁Robert ▁M ang old , ▁Sam ▁Gill iam , ▁John ▁H oy land , ▁Sean ▁S cul ly , ▁Pat ▁Ste ir , ▁Elizabeth ▁Murray , ▁Larry ▁Po ons , ▁Walter ▁Dar by ▁B ann ard , ▁Larry ▁Z ox , ▁Ron nie ▁Land field , ▁Ronald ▁Davis , ▁Dan ▁Christ ensen , ▁Joan ▁S ny der , ▁Ross ▁B le ck ner , ▁Ar chie ▁Rand , ▁Susan ▁C rile , ▁and ▁dozens ▁of ▁others ▁produced ▁a ▁wide ▁variety ▁of ▁paintings . ▁ ▁During ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s , ▁there ▁was ▁a ▁reaction ▁against ▁abstract ▁painting . ▁Some ▁critics ▁viewed ▁the ▁work ▁of ▁artists ▁like ▁Ad ▁Rein hard t , ▁and ▁declared ▁the ▁' de ath ▁of |
▁painting '. ▁Art ists ▁began ▁to ▁practice ▁new ▁ways ▁of ▁making ▁art . ▁New ▁movements ▁gained ▁prom in ence ▁some ▁of ▁which ▁are : ▁post min imal ism , ▁Earth ▁art , ▁video ▁art , ▁installation ▁art , ▁arte ▁p over a , ▁performance ▁art , ▁body ▁art , ▁flux us , ▁happening , ▁mail ▁art , ▁the ▁situation ists ▁and ▁concept ual ▁art ▁among ▁others . ▁ ▁However ▁still ▁other ▁important ▁innov ations ▁in ▁abstract ▁painting ▁took ▁place ▁during ▁the ▁ 1 9 6 0 s ▁and ▁the ▁ 1 9 7 0 s ▁characterized ▁by ▁mon och rome ▁painting ▁and ▁hard - edge ▁painting ▁inspired ▁by ▁Ad ▁Rein hard t , ▁Barn ett ▁New man , ▁Mil ton ▁Res nick , ▁and ▁Ell sw orth ▁Kelly . ▁Art ists ▁as ▁diverse ▁as ▁Ag nes ▁Martin , ▁Al ▁H eld , ▁Larry ▁Z ox , ▁Frank ▁St ella , ▁Larry ▁Po ons , ▁Br ice ▁M arden ▁and ▁others ▁explored ▁the ▁power ▁of ▁simpl ification . ▁The ▁convergence ▁of ▁Color ▁Field ▁painting , ▁minimal ▁art , ▁hard - edge ▁painting , ▁L yr ical ▁Ab stra ction , ▁and ▁post min imal ism ▁blur red ▁the ▁distinction ▁between ▁movements ▁that ▁became ▁more ▁apparent ▁in ▁the ▁ 1 9 8 0 s ▁and ▁ 1 9 9 0 s . ▁The ▁ne o - expression ism ▁movement ▁is ▁related ▁to ▁earlier ▁developments ▁in ▁abstract ▁expression ism , ▁ne o - D ada , ▁L yr ical ▁Ab stra ction ▁and ▁post min imal |
▁painting . ▁ ▁Ne o ▁Expression ism ▁ ▁In ▁the ▁late ▁ 1 9 6 0 s ▁the ▁abstract ▁expression ist ▁painter ▁Philip ▁Gust on ▁helped ▁to ▁lead ▁a ▁transition ▁from ▁abstract ▁expression ism ▁to ▁Ne o - expression ism ▁in ▁painting , ▁abandon ing ▁the ▁so - called ▁" p ure ▁ab stra ction " ▁of ▁abstract ▁expression ism ▁in ▁favor ▁of ▁more ▁cart oon ish ▁render ings ▁of ▁various ▁personal ▁symbols ▁and ▁objects . ▁These ▁works ▁were ▁inspir ational ▁to ▁a ▁new ▁generation ▁of ▁pain ters ▁interested ▁in ▁a ▁rev ival ▁of ▁express ive ▁imag ery . ▁His ▁painting ▁Pain ting , ▁Sm oking , ▁E ating ▁ 1 9 7 3 , ▁seen ▁above ▁in ▁the ▁gallery ▁is ▁an ▁example ▁of ▁Gust on ' s ▁final ▁and ▁concl usive ▁return ▁to ▁representation . ▁ ▁In ▁the ▁late ▁ 1 9 7 0 s ▁and ▁early ▁ 1 9 8 0 s , ▁there ▁was ▁also ▁a ▁return ▁to ▁painting ▁that ▁occurred ▁almost ▁simultaneously ▁in ▁Italy , ▁Germany , ▁France ▁and ▁Britain . ▁These ▁movements ▁were ▁called ▁Trans av ant guard ia , ▁Ne ue ▁Wil de , ▁Fig uration ▁Lib re , ▁Ne o - expression ism , ▁the ▁school ▁of ▁London , ▁and ▁in ▁the ▁late ▁ 1 9 8 0 s ▁the ▁St uck ists ▁respectively . ▁These ▁painting ▁were ▁characterized ▁by ▁large ▁formats , ▁free ▁express ive ▁mark ▁making , ▁fig uration , ▁myth ▁and ▁imagination . ▁All ▁work ▁in ▁this ▁genre ▁came ▁to ▁be ▁labeled ▁ne |
o - expression ism . ▁Crit ical ▁reaction ▁was ▁divided . ▁Some ▁critics ▁regarded ▁it ▁as ▁driven ▁by ▁profit ▁motiv ations ▁by ▁large ▁commercial ▁g aller ies . ▁This ▁type ▁of ▁art ▁continues ▁in ▁popularity ▁into ▁the ▁ 2 1 st ▁century , ▁even ▁after ▁the ▁art ▁crash ▁of ▁the ▁late ▁ 1 9 8 0 s . ▁An sel m ▁K ie fer ▁is ▁a ▁leading ▁figure ▁in ▁European ▁Ne o - expression ism ▁by ▁the ▁ 1 9 8 0 s , ▁K ie fer ' s ▁themes ▁wid ened ▁from ▁a ▁focus ▁on ▁Germany ' s ▁role ▁in ▁civilization ▁to ▁the ▁fate ▁of ▁art ▁and ▁culture ▁in ▁general . ▁His ▁work ▁became ▁more ▁sculpt ural ▁and ▁involves ▁not ▁only ▁national ▁identity ▁and ▁collective ▁memory , ▁but ▁also ▁occ ult ▁symbol ism , ▁the ology ▁and ▁myst icism . ▁The ▁theme ▁of ▁all ▁the ▁work ▁is ▁the ▁trauma ▁experienced ▁by ▁entire ▁societies , ▁and ▁the ▁contin ual ▁reb irth ▁and ▁renew al ▁in ▁life . ▁ ▁During ▁the ▁late ▁ 1 9 7 0 s ▁in ▁the ▁United ▁States ▁pain ters ▁who ▁began ▁working ▁with ▁inv ig or ated ▁surfaces ▁and ▁who ▁returned ▁to ▁imag ery ▁like ▁Susan ▁Rot hen berg ▁gained ▁in ▁popularity , ▁especially ▁as ▁seen ▁above ▁in ▁paintings ▁like ▁Horse ▁ 2 , ▁ 1 9 7 9 . ▁During ▁the ▁ 1 9 8 0 s ▁American ▁artists ▁like ▁Eric ▁F isch l , ▁David ▁S alle , ▁Jean - Mic hel ▁Bas qu iat ▁( who |
▁began ▁as ▁a ▁gra ff iti ▁artist ), ▁Julian ▁Sch n abel , ▁and ▁Keith ▁H aring , ▁and ▁Italian ▁pain ters ▁like ▁M im mo ▁Pal ad ino , ▁Sand ro ▁Ch ia , ▁and ▁En zo ▁C uc chi , ▁among ▁others ▁defined ▁the ▁idea ▁of ▁Ne o - expression ism ▁in ▁America . ▁ ▁Ne o - expression ism ▁was ▁a ▁style ▁of ▁modern ▁painting ▁that ▁became ▁popular ▁in ▁the ▁late ▁ 1 9 7 0 s ▁and ▁dominated ▁the ▁art ▁market ▁until ▁the ▁mid - 1 9 8 0 s . ▁It ▁developed ▁in ▁Europe ▁as ▁a ▁reaction ▁against ▁the ▁concept ual ▁and ▁minimal istic ▁art ▁of ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s . ▁Ne o - expression ists ▁returned ▁to ▁port ray ing ▁recogn izable ▁objects , ▁such ▁as ▁the ▁human ▁body ▁( although ▁sometimes ▁in ▁a ▁virtually ▁abstract ▁manner ), ▁in ▁a ▁rough ▁and ▁viol ently ▁emotional ▁way ▁using ▁vivid ▁colours ▁and ▁ban al ▁colour ▁harmon ies . ▁The ▁veteran ▁pain ters ▁Philip ▁Gust on , ▁Frank ▁A uer bach , ▁Leon ▁Kos so ff , ▁Ger hard ▁Rich ter , ▁A . ▁R . ▁Pen ck ▁and ▁Georg ▁Bas el itz , ▁along ▁with ▁slightly ▁younger ▁artists ▁like ▁An sel m ▁K ie fer , ▁Eric ▁F isch l , ▁Susan ▁Rot hen berg , ▁Francesco ▁C lement e , ▁Jean - Mic hel ▁Bas qu iat , ▁Julian ▁Sch n abel , ▁Keith ▁H aring , ▁and |
▁many ▁others ▁became ▁known ▁for ▁working ▁in ▁this ▁intense ▁expression ist ▁ve in ▁of ▁painting . ▁ ▁Pain ting ▁still ▁holds ▁a ▁respected ▁position ▁in ▁contemporary ▁art . ▁Art ▁is ▁an ▁open ▁field ▁no ▁longer ▁divided ▁by ▁the ▁objective ▁versus ▁non - object ive ▁dich ot omy . ▁Art ists ▁can ▁achieve ▁critical ▁success ▁whether ▁their ▁images ▁are ▁represent ational ▁or ▁abstract . ▁What ▁has ▁currency ▁is ▁content , ▁exploring ▁the ▁boundaries ▁of ▁the ▁medium , ▁and ▁a ▁ref usal ▁to ▁rec ap it ulate ▁the ▁works ▁of ▁the ▁past ▁as ▁an ▁end ▁goal . ▁ ▁Cont emporary ▁painting ▁into ▁the ▁ 2 1 st ▁century ▁ ▁At ▁the ▁beginning ▁of ▁the ▁ 2 1 st ▁century ▁Cont emporary ▁painting ▁and ▁Cont emporary ▁art ▁in ▁general ▁continues ▁in ▁several ▁cont igu ous ▁modes , ▁characterized ▁by ▁the ▁idea ▁of ▁plural ism . ▁The ▁" c ris is " ▁in ▁painting ▁and ▁current ▁art ▁and ▁current ▁art ▁criticism ▁today ▁is ▁brought ▁about ▁by ▁plural ism . ▁There ▁is ▁no ▁consensus , ▁nor ▁need ▁there ▁be , ▁as ▁to ▁a ▁representative ▁style ▁of ▁the ▁age . ▁There ▁is ▁an ▁anything ▁goes ▁attitude ▁that ▁prev ails ; ▁an ▁" every thing ▁going ▁on ", ▁and ▁consequ ently ▁" n othing ▁going ▁on " ▁syndrome ; ▁this ▁creates ▁an ▁aesthetic ▁traffic ▁jam ▁with ▁no ▁firm ▁and ▁clear ▁direction ▁and ▁with ▁every ▁lane ▁on ▁the ▁artistic ▁super high way ▁filled ▁to ▁capacity . ▁Con sequently ▁magnificent ▁and ▁important ▁works ▁of ▁art ▁continue ▁to ▁be ▁made ▁al beit ▁in |
▁a ▁wide ▁variety ▁of ▁styles ▁and ▁aesthetic ▁temper aments , ▁the ▁market place ▁being ▁left ▁to ▁judge ▁mer it . ▁ ▁Hard - edge ▁painting , ▁geometric ▁ab stra ction , ▁appropri ation , ▁hyper real ism , ▁phot ore al ism , ▁expression ism , ▁minimal ism , ▁L yr ical ▁Ab stra ction , ▁pop ▁art , ▁op ▁art , ▁abstract ▁expression ism , ▁Color ▁Field ▁painting , ▁mon och rome ▁painting , ▁ne o - expression ism , ▁coll age , ▁inter media ▁painting , ▁as sembl age ▁painting , ▁digital ▁painting , ▁post mod ern ▁painting , ▁ne o - D ada ▁painting , ▁shaped ▁canvas ▁painting , ▁environmental ▁m ural ▁painting , ▁traditional ▁figure ▁painting , ▁landscape ▁painting , ▁portrait ▁painting , ▁are ▁a ▁few ▁continuing ▁and ▁current ▁directions ▁in ▁painting ▁at ▁the ▁beginning ▁of ▁the ▁ 2 1 st ▁century . ▁ ▁Amer icas ▁ ▁During ▁the ▁period ▁before ▁and ▁after ▁European ▁exploration ▁and ▁settlement ▁of ▁the ▁Amer icas , ▁including ▁North ▁America , ▁Central ▁America , ▁South ▁America ▁and ▁the ▁Islands ▁of ▁the ▁Caribbean , ▁the ▁Ant illes , ▁the ▁Lesser ▁Ant illes ▁and ▁other ▁island ▁groups , ▁ind igenous ▁native ▁cultures ▁produced ▁creative ▁works ▁including ▁architecture , ▁pot tery , ▁cer am ics , ▁we aving , ▁car ving , ▁sculpt ure , ▁painting ▁and ▁mur als ▁as ▁well ▁as ▁other ▁religious ▁and ▁util itarian ▁objects . ▁Each ▁continent ▁of ▁the ▁Amer icas ▁hosted ▁societies ▁that ▁were ▁unique ▁and ▁individually ▁developed ▁cultures ; ▁that ▁produced |
▁tot ems , ▁works ▁of ▁religious ▁symbol ism , ▁and ▁decor ative ▁and ▁express ive ▁painted ▁works . ▁African ▁influence ▁was ▁especially ▁strong ▁in ▁the ▁art ▁of ▁the ▁Caribbean ▁and ▁South ▁America . ▁The ▁arts ▁of ▁the ▁ind igenous ▁people ▁of ▁the ▁Amer icas ▁had ▁an ▁enormous ▁impact ▁and ▁influence ▁on ▁European ▁art ▁and ▁vice ▁vers a ▁during ▁and ▁after ▁the ▁Age ▁of ▁Expl oration . ▁Spain , ▁Portugal , ▁France , ▁The ▁Netherlands , ▁and ▁England ▁were ▁all ▁powerful ▁and ▁influential ▁colonial ▁powers ▁in ▁the ▁Amer icas ▁during ▁and ▁after ▁the ▁ 1 5 th ▁century . ▁By ▁the ▁ 1 9 th ▁century ▁cultural ▁influence ▁began ▁to ▁flow ▁both ▁ways ▁across ▁the ▁Atlantic ▁ ▁Mexico ▁and ▁Central ▁America ▁ ▁South ▁America ▁ ▁North ▁America ▁ ▁United ▁States ▁ ▁Canada ▁ ▁Caribbean ▁ ▁Islamic ▁ ▁The ▁dep iction ▁of ▁humans , ▁animals ▁or ▁any ▁other ▁fig ur ative ▁subjects ▁is ▁for bidden ▁within ▁Islam ▁to ▁prevent ▁belie vers ▁from ▁id ol at ry ▁so ▁there ▁is ▁no ▁relig iously ▁motivated ▁painting ▁( or ▁sculpt ure ) ▁tradition ▁within ▁Muslim ▁culture . ▁Pict orial ▁activity ▁was ▁reduced ▁to ▁Arab es que , ▁mainly ▁abstract , ▁with ▁ge omet rical ▁configuration ▁or ▁fl oral ▁and ▁plant - like ▁patterns . ▁Strong ly ▁connected ▁to ▁architecture ▁and ▁call ig raph y , ▁it ▁can ▁be ▁widely ▁seen ▁as ▁used ▁for ▁the ▁painting ▁of ▁tiles ▁in ▁mos ques ▁or ▁in ▁ill um inations ▁around ▁the ▁text ▁of ▁the ▁Kor an ▁and ▁other ▁books . ▁In ▁fact |
, ▁abstract ▁art ▁is ▁not ▁an ▁invention ▁of ▁modern ▁art ▁but ▁it ▁is ▁present ▁in ▁pre - class ical , ▁bar bar ian ▁and ▁non - western ▁cultures ▁many ▁centuries ▁before ▁it ▁and ▁is ▁essentially ▁a ▁decor ative ▁or ▁applied ▁art . ▁Not able ▁illustr ator ▁M . ▁C . ▁E sch er ▁was ▁influenced ▁by ▁this ▁ge omet rical ▁and ▁pattern - based ▁art . ▁Art ▁Nou ve au ▁( A ub rey ▁Be ards ley ▁and ▁the ▁architect ▁Antonio ▁G aud í ) ▁re - int rodu ced ▁abstract ▁fl oral ▁patterns ▁into ▁western ▁art . ▁ ▁Note ▁that ▁despite ▁the ▁tab oo ▁of ▁fig ur ative ▁visual ization , ▁some ▁Muslim ▁countries ▁did ▁cultiv ate ▁a ▁rich ▁tradition ▁in ▁painting , ▁though ▁not ▁in ▁its ▁own ▁right , ▁but ▁as ▁a ▁companion ▁to ▁the ▁written ▁word . ▁Iran ian ▁or ▁Pers ian ▁art , ▁widely ▁known ▁as ▁Pers ian ▁mini ature , ▁concentr ates ▁on ▁the ▁illustr ation ▁of ▁epic ▁or ▁romantic ▁works ▁of ▁literature . ▁Pers ian ▁illustr ators ▁deliberately ▁avoided ▁the ▁use ▁of ▁sh ading ▁and ▁perspective , ▁though ▁familiar ▁with ▁it ▁in ▁their ▁pre - I sl amic ▁history , ▁in ▁order ▁to ▁ab ide ▁by ▁the ▁rule ▁of ▁not ▁creating ▁any ▁lif el ike ▁illusion ▁of ▁the ▁real ▁world . ▁Their ▁aim ▁was ▁not ▁to ▁dep ict ▁the ▁world ▁as ▁it ▁is , ▁but ▁to ▁create ▁images ▁of ▁an ▁ideal ▁world ▁of ▁tim eless ▁beauty ▁and ▁perfect ▁order . ▁ ▁In ▁present ▁days , ▁painting ▁by |
▁art ▁students ▁or ▁professional ▁artists ▁in ▁Arab ▁and ▁non - Ar ab ▁Muslim ▁countries ▁follows ▁the ▁same ▁tend encies ▁of ▁Western ▁culture ▁art . ▁ ▁Iran ▁ ▁Ori ental ▁historian ▁Bas il ▁Gray ▁believes ▁" I ran ▁has ▁offered ▁a ▁particularly ▁unique ▁ ▁art ▁to ▁the ▁world ▁which ▁is ▁excellent ▁in ▁its ▁kind ". ▁C aves ▁in ▁Iran ' s ▁L ore stan ▁province ▁exhibit ▁painted ▁imag ery ▁of ▁animals ▁and ▁hunting ▁scenes . ▁Some ▁such ▁as ▁those ▁in ▁F ars ▁Province ▁and ▁S ial k ▁are ▁at ▁least ▁ 5 , 0 0 0 ▁years ▁old . ▁Pain ting ▁in ▁Iran ▁is ▁thought ▁to ▁have ▁reached ▁a ▁clim ax ▁during ▁the ▁T amer lane ▁era , ▁when ▁outstanding ▁masters ▁such ▁as ▁Kam aled d in ▁Be h z ad ▁gave ▁birth ▁to ▁a ▁new ▁style ▁of ▁painting . ▁ ▁P aint ings ▁of ▁the ▁Q aj ar ▁period ▁are ▁a ▁combination ▁of ▁European ▁influences ▁and ▁Saf avid ▁mini ature ▁schools ▁of ▁painting ▁such ▁as ▁those ▁introduced ▁by ▁Re za ▁Abb asi ▁and ▁classical ▁works ▁by ▁Mi hr ▁' Ali . ▁Masters ▁such ▁as ▁Kam al - ol - m olk ▁further ▁pushed ▁forward ▁the ▁European ▁influence ▁in ▁Iran . ▁It ▁was ▁during ▁the ▁Q aj ar ▁era ▁when ▁" C off ee ▁House ▁painting " ▁emerged . ▁Subject s ▁of ▁this ▁style ▁were ▁often ▁religious ▁in ▁nature ▁dep ict ing ▁scenes ▁from ▁Sh ia ▁ep ics ▁and ▁the ▁like . ▁ ▁Pakistan ▁ ▁O ce ania ▁ ▁Australia ▁ ▁New ▁Zealand ▁ |
▁Africa ▁ ▁African ▁traditional ▁culture ▁and ▁tribes ▁do ▁not ▁seem ▁to ▁have ▁great ▁interest ▁in ▁two - dimensional ▁representations ▁in ▁favour ▁of ▁sculpt ure ▁and ▁relief . ▁However , ▁decor ative ▁painting ▁in ▁African ▁culture ▁is ▁often ▁abstract ▁and ▁ge omet rical . ▁Another ▁pict orial ▁manifest ation ▁is ▁body ▁painting , ▁and ▁face ▁painting ▁present ▁for ▁example ▁in ▁Ma as ai ▁and ▁K ĩ k ũ y ũ ▁culture ▁in ▁their ▁ceremony ▁rit uals . ▁Cer emon ial ▁cave ▁painting ▁in ▁certain ▁villages ▁can ▁be ▁found ▁to ▁be ▁still ▁in ▁use . ▁Note ▁that ▁P ablo ▁Pic asso ▁and ▁other ▁modern ▁artists ▁were ▁influenced ▁by ▁African ▁sculpt ure ▁and ▁masks ▁in ▁their ▁varied ▁styles . ▁Cont emporary ▁African ▁artists ▁follow ▁western ▁art ▁movements ▁and ▁their ▁paintings ▁have ▁little ▁difference ▁from ▁occ idental ▁art ▁works . ▁ ▁Sud an ese ▁ ▁The ▁Kingdom ▁of ▁K ush ▁in ▁ancient ▁N ub ia ▁( i . e . ▁modern ▁Sud an ), ▁bord ering ▁Anc ient ▁Egypt , ▁produced ▁a ▁wide ▁variety ▁of ▁arts , ▁including ▁wall ▁paintings ▁and ▁painted ▁objects . ▁At ▁the ▁Sud an ese ▁site ▁of ▁Ker ma , ▁center ▁of ▁the ▁Ker ma ▁culture ▁that ▁pre dated ▁the ▁Kingdom ▁of ▁K ush , ▁a ▁circa ▁ 1 7 0 0 ▁BC ▁fragment ary ▁painting ▁from ▁a ▁royal ▁tomb ▁dep icts ▁a ▁sail ing ▁ship ▁and ▁houses ▁with ▁l add ers ▁that ▁are ▁similar ▁to ▁scenes ▁in ▁relie fs ▁from ▁the ▁reign ▁of ▁Egyptian ▁queen ▁H ats he ps ut ▁( c |
. ▁ 1 4 7 9 – 1 4 5 8 ▁BC ). ▁The ▁ancient ▁tradition ▁of ▁wall ▁paintings , ▁first ▁described ▁by ▁Abu ▁Sal ih ▁during ▁the ▁ 1 2 th ▁century ▁AD , ▁continued ▁into ▁the ▁period ▁of ▁medieval ▁N ub ia . ▁ ▁Eth iop ian ▁ ▁The ▁Christian ▁tradition ▁of ▁painting ▁in ▁Eth iop ia ▁dates ▁back ▁to ▁the ▁ 4 th ▁century ▁AD , ▁during ▁the ▁ancient ▁Kingdom ▁of ▁Ak sum . ▁During ▁their ▁ex ile ▁to ▁Ax um , ▁the ▁ 7 th - century ▁followers ▁of ▁Muhammad ▁described ▁paintings ▁decor ating ▁the ▁Church ▁of ▁Our ▁Lady ▁Mary ▁of ▁Z ion . ▁However , ▁the ▁earliest ▁surviving ▁examples ▁of ▁church ▁paintings ▁in ▁Eth iop ia ▁come ▁from ▁the ▁church ▁of ▁Deb re ▁Sel am ▁Mik ael ▁in ▁the ▁Tig ray ▁Region , ▁dated ▁to ▁the ▁ 1 1 th ▁century ▁AD . ▁Eth iop ian ▁paintings ▁in ▁ill um inated ▁manuscript s ▁pre date ▁the ▁earliest ▁surviving ▁church ▁paintings . ▁For ▁instance , ▁the ▁Eth iop ian ▁Gar ima ▁G osp els ▁of ▁the ▁ 4 th - 6 th ▁centuries ▁AD ▁contain ▁ill um inated ▁scenes ▁im itating ▁the ▁contemporary ▁By z antine ▁ill um inated ▁style . ▁ ▁In flu ence ▁on ▁Western ▁art ▁ ▁At ▁the ▁start ▁of ▁the ▁ 2 0 th ▁century , ▁artists ▁like ▁Pic asso , ▁Mat isse , ▁Paul ▁G au gu in ▁and ▁Mod ig l iani ▁became ▁aware ▁of , ▁and ▁were ▁inspired ▁by , ▁African ▁art |
. ▁In ▁a ▁situation ▁where ▁the ▁established ▁avant ▁gar de ▁was ▁str aining ▁against ▁the ▁constraints ▁imposed ▁by ▁serving ▁the ▁world ▁of ▁appearances , ▁African ▁Art ▁demonstrated ▁the ▁power ▁of ▁sup rem ely ▁well ▁organ ised ▁forms ; ▁produced ▁not ▁only ▁by ▁responding ▁to ▁the ▁faculty ▁of ▁sight , ▁but ▁also ▁and ▁often ▁primarily , ▁the ▁faculty ▁of ▁imagination , ▁emotion ▁and ▁myst ical ▁and ▁religious ▁experience . ▁These ▁artists ▁saw ▁in ▁African ▁art ▁a ▁formal ▁perfection ▁and ▁sophistic ation ▁un ified ▁with ▁phenomen al ▁express ive ▁power . ▁ ▁See ▁also ▁▁ 2 0 th - century ▁Western ▁painting ▁ ▁Art ▁periods ▁ ▁Hier archy ▁of ▁gen res ▁ ▁List ▁of ▁pain ters ▁ ▁L ives ▁of ▁the ▁Most ▁Excell ent ▁Pain ters , ▁S cul pt ors , ▁and ▁Architect s ▁ ▁Tim eline ▁of ▁Italian ▁artists ▁to ▁ 1 8 0 0 ▁ ▁Re ferences ▁ ▁Further ▁reading ▁ ▁C lement ▁Green berg , ▁Art ▁and ▁Culture , ▁Be acon ▁Press , ▁ 1 9 6 1 ▁ ▁L yr ical ▁Ab stra ction , ▁Exhib ition ▁Catalogue , ▁Whit ney ▁Museum ▁of ▁American ▁Art , ▁NY C , ▁ 1 9 7 1 . ▁ ▁O ' Conn or , ▁Francis ▁V . ▁Jackson ▁Poll ock ▁Exhib ition ▁Catalogue , ▁( New ▁York , ▁Museum ▁of ▁Modern ▁Art , ▁[ 1 9 6 7 ]) ▁▁ ▁Pictures ▁of ▁Nothing : ▁Abstract ▁Art ▁since ▁Poll ock ▁( A . W . ▁M ell on ▁L ect ures ▁in ▁the ▁Fine |
▁Arts ), ▁Kirk ▁V arn ed oe , ▁ 2 0 0 3 ▁ ▁The ▁Tri umph ▁of ▁Modern ism : ▁The ▁Art ▁World , ▁ 1 9 8 5 – 2 0 0 5 , ▁H ilton ▁K ram er , ▁ 2 0 0 6 , ▁ ▁Ex ternal ▁links ▁▁ ▁History ▁of ▁Art : ▁From ▁P ale ol ith ic ▁Age ▁to ▁Cont emporary ▁Art ▁ ▁K and insky ▁▁ ▁Met ropolitan ▁Museum ▁of ▁Art ▁Tim eline ▁of ▁Art ▁History ▁ ▁Anc ient ▁Roman ▁Wall - P ain ting ▁ ▁Pain ting ▁Pain ting ▁Category : Pre hist oric ▁art ▁Pain ting ▁Category : Med ieval ▁art ▁Category : G oth ic ▁paintings ▁Category : By z antine ▁art ▁Category : Ill um inated ▁manuscript s ▁Category : R ena issance ▁art ▁Category : R ena issance ▁paintings ▁Category : M anner ism ▁Category : M anner ist ▁paintings ▁▁ ▁Category : R oc oco ▁art ▁Category : Im pression ism ▁Category : Post - Im pression ism ▁Category : L umin ism ▁( American ▁art ▁style ) ▁Category : Rom antic ▁art ▁Category : Mod ern ▁art ▁Category : C ub ism ▁Category : Sur real ism ▁Category : D ada ▁Category : Abstract ▁expression ism ▁Category : Pop ▁art <0x0A> </s> ▁Keith ▁Anthony ▁Ce as ar ▁Russell ▁( 2 4 ▁May ▁ 1 9 2 9 ▁– ▁ 2 0 ▁July ▁ 1 9 7 0 ), ▁known ▁as ▁Tony ▁Russell , ▁was ▁an ▁English ▁jazz ▁musician ▁and |
▁composer , ▁pian ist ▁and ▁t rom bon ist . ▁Not ably , ▁he ▁worked ▁extens ively ▁with ▁Johnny ▁D ank worth ▁and ▁created ▁the ▁score ▁for ▁The ▁Match girl s , ▁together ▁with ▁writing ▁theme ▁t unes ▁and ▁background ▁music ▁for ▁TV ▁series ▁such ▁as ▁On ▁the ▁Bus es ▁and ▁the ▁children ' s ▁programme ▁The ▁Her bs . ▁At ▁the ▁end ▁of ▁his ▁life ▁he ▁turned ▁from ▁the ▁jazz ▁id iom ▁to ▁write ▁a ▁setting ▁of ▁a ▁Mass . ▁ ▁Personal ▁life ▁ ▁Tony ▁Russell ▁was ▁born ▁ 2 4 ▁May ▁ 1 9 2 9 ▁in ▁W anst ead , ▁Es sex . ▁As ▁a ▁youth , ▁he ▁became ▁very ▁interested ▁in ▁jazz , ▁learning ▁the ▁t rom bone , ▁bar it one ▁horn ▁and ▁piano . ▁ ▁He ▁met ▁and ▁married ▁Angela ▁Esp os ito ▁in ▁ 1 9 5 0 ▁and ▁they ▁had ▁five ▁children ▁together . ▁He ▁also ▁had ▁a ▁child ▁from ▁an ▁earlier ▁relationship . ▁ ▁Career ▁ ▁Russell ' s ▁jazz ▁career ▁began ▁at ▁the ▁age ▁of ▁ 1 5 ▁when ▁he ▁played ▁as ▁a ▁New ▁Orleans ▁Style ▁t rom bon ist ▁with ▁the ▁London - based ▁Washington ▁and ▁Lee ▁Sw ing , ▁George ▁We bb ’ s ▁D ix il and ers ▁George ▁We bb . ▁In ▁ 1 9 4 6 ▁he ▁formed ▁the ▁pione ering ▁trad ▁band , ▁the ▁Russell - W ick ham ▁Hot ▁Six , ▁which ▁he ▁led ▁with ▁the ▁trump eter ▁Alan ▁W ick ham . ▁At ▁this ▁time |
▁he ▁was ▁known ▁as ▁R ag ’ s ▁Russell ▁because ▁he ▁played ▁a ▁little ▁rag time ▁on ▁the ▁piano . ▁In ▁the ▁fled gling ▁years ▁of ▁his ▁career , ▁he ▁also ▁performed ▁vocals . ▁▁ ▁He ▁played ▁with ▁Vic ▁Lewis , ▁Oscar ▁Rab in , ▁Ralph ▁Sh aron , ▁Jack ▁P arn ell ▁Tony ▁C rom bie . ▁In ▁ 1 9 5 7 ▁he ▁led ▁a ▁band ▁of ▁his ▁own , ▁after ▁which , ▁he ▁began ▁his ▁association ▁with ▁Johnny ▁D ank worth , ▁first ▁as ▁a ▁t rom bon ist ▁in ▁his ▁big ▁band . ▁Here ▁he ▁had ▁the ▁opportun uty ▁to ▁both ▁arrange ▁and ▁comp ose , ▁a ▁favourite ▁Jazz ▁piece ▁often ▁included ▁in ▁performances ▁was ▁Russell ' s ▁" J oe ▁And ▁Lol ' s ▁Blues ". ▁He ▁recorded ▁quite ▁extens ively ▁with ▁the ▁band ▁from ▁December ▁ 1 9 5 6 ▁and ▁can ▁be ▁heard ▁on ▁most ▁of ▁the ▁bands ▁Parl oph one , ▁Columbia , ▁Top ▁Rank ▁and ▁Font ana ▁albums . ▁ ▁He ▁was ▁the ▁bands ▁road ▁manager ▁for ▁many ▁years . ▁In ▁ 1 9 5 9 ▁he ▁went ▁with ▁the ▁band ▁to ▁play ▁at ▁the ▁New port ▁Jazz ▁Festival . ▁ ▁Russell ▁studied ▁composition ▁with ▁Richard ▁Rod ney ▁Bennett ▁and ▁Bill ▁Rus so . ▁He ▁was ▁in ▁Rus so ' s ▁London ▁Jazz ▁Orchestra ▁and ▁took ▁over ▁running ▁this ▁when ▁Rus so ▁returned ▁to ▁the ▁USA ▁in ▁ 1 9 6 5 . ▁In ▁his ▁later ▁years , ▁Russell ▁became ▁bus ier ▁as ▁a |
▁composer ▁and ▁won ▁ac claim ▁in ▁ 1 9 6 6 ▁for ▁writing ▁the ▁score ▁for ▁the ▁musical ▁Match girl s , ▁which ▁has ▁enjoyed ▁lon ge v ity ▁into ▁the ▁ 2 1 st ▁century . ▁ ▁In ▁this ▁same ▁year ▁with ▁Johnny ▁D ank worth ▁and ▁Johnny ▁Fl ann ag han , ▁he ▁formed ▁Music ▁Activity ▁Management ▁Ltd . ▁Russell ▁continued ▁to ▁play ▁in ▁the ▁band ▁and ▁do ▁sessions ▁for ▁other ▁leaders . ▁He ▁also ▁wrote ▁music ▁for ▁shows ▁and ▁TV ▁series ▁such ▁as ▁On ▁the ▁Bus es ▁and ▁the ▁children ' s ▁programme ▁The ▁Her bs . ▁▁ ▁Russell ▁suffered ▁for ▁many ▁years ▁with ▁H od g kin ' s ▁disease . ▁ ▁During ▁his ▁final ▁illness , ▁he ▁was ▁commissioned ▁to ▁comp ose ▁a ▁Mass , ▁a ▁Miss a ▁Bre vis , ▁which ▁was ▁completed ▁shortly ▁before ▁he ▁died ▁on ▁ 2 0 ▁July ▁ 1 9 7 0 . ▁In ▁his ▁final ▁composition ▁he ▁moves ▁from ▁an ▁over t ▁Jazz ▁id iom , ▁to ▁en compass ▁classical ▁features ▁of ▁vocal ▁scoring ▁and ▁inst ur ment ation . ▁' The ▁Russell ▁Mass ' ▁stands ▁somewhere ▁between ▁the ▁Jazz , ▁classical ▁and ▁popular ▁styles ▁of ▁the ▁twentieth ▁century . ▁▁ ▁Russell ▁appeared ▁in ▁Ter rence ▁Don ovan ' s ▁ 1 9 6 7 ▁photograph ▁taken ▁in ▁T raf al gar ▁Square ▁and ▁featuring ▁ 3 9 ▁musicians . ▁ ▁In ▁his ▁ob it uary ▁▁ ▁Bill ▁Rus so ▁said : ▁" T ony ▁Russell ▁was ▁an ▁el o qu |
ent ▁t rom bon ist , ▁a ▁composer ▁of ▁deep ▁conviction ▁and ▁great ▁talent ▁and ▁my ▁dear ▁friend , ▁I ▁shall ▁miss ▁him ." ▁ ▁John ▁D ank worth ▁said : ▁" T ony ▁had ▁rare ▁combination ▁of ▁three ▁gifts . ▁He ▁was ▁a ▁fine ▁musician , ▁an ▁efficient ▁business ▁man ▁and ▁warm ▁sensitive ▁person . ▁The ▁two ▁latter ▁qualities ▁are ▁rarely ▁found ▁in ▁the ▁same ▁man , ▁but ▁Tony ▁showed ▁them ▁in ▁the ▁many ▁years ▁he ▁was ▁road ▁m anger ▁for ▁my ▁big ▁band . ▁He ▁would ▁never ▁allow ▁me ▁to ▁arrange ▁a ▁tour ▁he ▁considered ▁und uly ▁hard ▁for ▁the ▁fell ows ▁and ▁always ▁put ▁forward ▁the ▁rank - and ▁file - view , ▁whatever ▁I ▁might ▁think ▁about ▁it ." ▁ ▁Johnny ▁Fl an agan ▁said : ▁" T ony ▁worked ▁on ▁in ▁the ▁br av est ▁fashion , ▁sometimes ▁it ▁was ▁very ▁hard ▁and ▁there ▁were ▁other ▁times ▁when ▁he ▁said ▁' I ' m ▁sorry ▁John , ▁I ' ve ▁had ▁it ▁today .' ▁Our ▁whole ▁business ▁was ▁built ▁on ▁a ▁very ▁personal ▁thing . ▁He ' ll ▁be ▁deeply ▁missed ." ▁ ▁Re ferences ▁▁ ▁Category : B rit ish ▁jazz ▁compos ers ▁Category : J azz - bl ues ▁trump eters ▁Category : B rit ish ▁jazz ▁t rom bon ists ▁Category : 1 9 2 9 ▁birth s ▁Category : 1 9 7 0 ▁deaths ▁Category : 2 0 th - century ▁British ▁compos ers ▁Category : B rit ish ▁male ▁compos ers <0x0A> </s> |
▁The ▁ 1 9 5 8 ▁Melbourne ▁Carn ival ▁was ▁the ▁ 1 4 th ▁edition ▁of ▁the ▁Australian ▁National ▁Football ▁Carn ival , ▁an ▁Australian ▁rules ▁football ▁inter state ▁competition . ▁It ▁was ▁the ▁last ▁car n ival ▁to ▁be ▁hosted ▁by ▁the ▁state ▁of ▁Victoria ▁and ▁was ▁also ▁known ▁as ▁the ▁Cent en ary ▁Carn ival ▁as ▁it ▁celebrated ▁ 1 0 0 ▁years ▁since ▁the ▁creation ▁of ▁the ▁sport . ▁ ▁For ▁the ▁first ▁time ▁since ▁the ▁ 1 9 5 0 ▁Br is b ane ▁Carn ival , ▁all ▁nine ▁eligible ▁teams ▁in ▁both ▁Section ▁ 1 ▁and ▁Section ▁ 2 ▁competed ▁at ▁the ▁car n ival . ▁Section ▁ 1 ▁consisted ▁of ▁two ▁Victorian ▁teams ▁from ▁the ▁( V FL ▁and ▁V FA ), ▁South ▁Australia , ▁Western ▁Australia ▁and ▁T as mania ; ▁Section ▁ 2 ▁consisted ▁of ▁New ▁South ▁Wales , ▁Can ber ra , ▁Queensland ▁and ▁the ▁Australian ▁Am ateurs . ▁In ▁ 1 9 5 3 ▁and ▁ 1 9 5 6 , ▁only ▁the ▁Section ▁ 1 ▁teams ▁had ▁trav elled ▁for ▁the ▁car n ival , ▁but ▁the ▁AN FC ▁decided ▁to ▁bring ▁all ▁nine ▁teams ▁to ▁mark ▁the ▁cent en ary ▁celebration . ▁ ▁Prior ▁to ▁the ▁car n ival , ▁the ▁AN FC ▁announced ▁that ▁Section ▁ 1 ▁was ▁to ▁be ▁reduced ▁from ▁five ▁teams ▁to ▁four ▁teams ▁for ▁the ▁following ▁car n ival ▁( held ▁Br is b ane ▁in ▁ 1 9 6 1 ); ▁the ▁team ▁which |
▁finished ▁last ▁in ▁Section ▁ 1 ▁was ▁to ▁be ▁re leg ated ▁to ▁Section ▁ 2 ▁for ▁ 1 9 6 1 . ▁ ▁The ▁Carn ival ▁was ▁held ▁between ▁ 2 ▁July ▁and ▁ 1 2 ▁July . ▁Day ▁matches ▁were ▁held ▁at ▁the ▁Melbourne ▁Cr icket ▁Ground , ▁and ▁night ▁matches ▁were ▁held ▁at ▁the ▁South ▁Melbourne ▁Cr icket ▁Ground . ▁Overall , ▁the ▁AN FC ▁made ▁a ▁loss ▁of ▁more ▁than ▁£ 1 1 , 0 0 0 ▁on ▁the ▁car n ival , ▁similar ▁in ▁magnitude ▁to ▁the ▁loss ▁made ▁on ▁the ▁previous ▁nine - team ▁car n ival ▁in ▁ 1 9 5 0 . ▁ ▁Results ▁In ▁Section ▁ 1 , ▁the ▁Victoria ▁( V FL ) ▁was ▁the ▁only ▁und efe ated ▁team ; ▁forward ▁John ▁D ug dale ▁was ▁the ▁car n ival ' s ▁leading ▁go alk icker ▁with ▁ 1 8 . ▁Western ▁Australia ▁and ▁T as mania ▁each ▁finished ▁with ▁records ▁of ▁ 2 – 2 ; ▁it ▁was ▁the ▁most ▁successful ▁car n ival ▁result ▁in ▁T as mania ' s ▁history , ▁with ▁wins ▁against ▁both ▁South ▁Australia ▁and ▁Western ▁Australia . ▁Last ▁place ▁was ▁decided ▁in ▁the ▁match ▁on ▁ 1 1 ▁July , ▁when ▁South ▁Australia ' s ▁large ▁win ▁over ▁the ▁V FA ▁saw ▁the ▁clubs ▁equal ▁on ▁ 1 – 3 , ▁and ▁saw ▁South ▁Australia ▁over take ▁the ▁V FA ▁on ▁percentage . ▁ ▁In ▁Section ▁ 2 , ▁the ▁Australian ▁Am ateurs ▁were ▁und |
efe ated . ▁Can ber ra , ▁which ▁had ▁cont ested ▁the ▁car n ivals ▁since ▁ 1 9 3 3 , ▁recorded ▁its ▁first ▁and ▁second ▁car n ival ▁wins ▁of ▁all - time . ▁New ▁South ▁Wales ▁was ▁the ▁only ▁win less ▁team ▁for ▁the ▁car n ival . ▁ ▁CR : ▁indicates ▁that ▁this ▁match ▁was ▁a ▁cur tain - ra iser ; ▁the ▁crowd ▁figure ▁given ▁is ▁for ▁the ▁main ▁match . ▁ ▁Squad s ▁ ▁Section ▁ 1 ▁ ▁Section ▁ 2 ▁ ▁All - Austral ian ▁team ▁ ▁In ▁ 1 9 5 8 ▁the ▁All - Austral ian ▁team ▁was ▁picked ▁based ▁on ▁the ▁Melbourne ▁Carn ival . ▁ ▁T ass ie ▁Medal ▁Both ▁Allen ▁A yle tt ▁and ▁Ted ▁Wh itten ▁poll ed ▁seven ▁votes ▁but ▁A yle tt ▁was ▁awarded ▁the ▁medal ▁after ▁a ▁count back . ▁Wh itten ▁was ▁declared ▁joint ▁winner ▁ret ros pect ively ▁in ▁ 1 9 9 5 . ▁ ▁Re ferences ▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁▁ ▁Category : Austral ian ▁rules ▁inter state ▁football ▁Melbourne ▁Carn ival , ▁ 1 9 5 8 <0x0A> </s> ▁Joy e ux ▁may ▁refer ▁to : ▁ ▁People ▁André ▁Joy e ux ▁( born ▁ 1 8 7 1 ), ▁French ▁artist ▁and ▁teacher ▁Mal ik ▁Joy e ux ▁( 1 9 8 0 – 2 0 0 5 ), ▁French ▁Pol yn esian ▁sur fer ▁Maurice ▁Joy e ux ▁( 1 9 1 0 – 1 9 9 1 ), ▁French ▁writer ▁and ▁an arch |
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