12.1: Overview
- Page ID
- 32057
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Art movements became fleeting moments in time…
The world was engaged in world war and localized civil wars in the early part of the 20th century, generating a turbulent time for art. Established territories were realigned, only to be redefined again after the second world war. The 20th-century modern art movement was a liberation of communication in art, depicting art as what 'you don't' see instead of the reality right in front of you. Modern art became a 'free for all,' artists were free to use any color to represent anything; the object of modern art was to paint an interpretation instead of authenticity. Distortion of people and objects became the artistic, political statement and emphasized the abnormal. Evolving on the heels of the Post-impressionism movement, which had liberated art from the traditional rules, the philosophy driving the modern art movement was the spirit of experimentation and innovation.
It was a time of experimentation, and artists used wild brush strokes, vibrant colors, overlapping lines, and unnatural positions, all abstracted into a painting. Artists tried to invoke emotions instead of realistic images. Materials moved beyond paint and canvas, introducing the concept of collage, adding fragmented pieces of paper or other material producing a layered look. Out of the industrial revolution came synthetic plastics bringing new chemicals to produce dyes, paper, textiles, and architectural constructions.
Chapter 12, The Modern Art Movement (1900 CE – 1930 CE), covers the paintings of the new ideas, discussing the work of the many artists who influenced modern art.
|
Movement |
Time Frame |
Starting Location |
|
American Modernism |
1900 – 1930s |
United States |
|
Fauvism |
1900 – 1935 |
France |
|
Expressionism |
1905 – 1930 |
Germany |
|
Cubism |
1907 – 1914 |
France |
|
Dada |
1916 – 1930 |
Switzerland |
|
The Bauhaus |
1919 – 1933 |
Germany |
|
Harlem Renaissance |
1920 – 1930s |
Canada |
|
Canadian Group of Seven |
1920 – 1933 |
United States |
Artists expanded the concepts of art experimenting with the ideas they were expressing, not the concepts of reality but their inner visualizations. Others were rebelling against racism, celebrating their ideas and lives, or building new architectural models.
|
Artist |
Approx. Birth |
Movement |
|
Georgia O’Keeffe |
1887 |
American Modernism |
|
Edward Hopper |
1882 |
American Modernism |
|
Thomas Hart Benton |
1889 |
American Modernism |
|
Henry Ossawa Tanner |
1859 |
American Modernism |
|
Marion Hasbrouck Beckett |
1886 |
American Modernism |
|
Henri Matisse |
1869 |
Fauvism |
|
Albert Marquet |
1875 |
Fauvism |
|
Amedeo Modigliani |
1884 |
Fauvism |
|
Alice Bailly |
1872 |
Fauvism |
|
Natalia Goncharova |
1881 |
Fauvism |
|
Franz Marc |
1880 |
Expressionism |
|
Paul Klee |
1879 |
Expressionism |
|
Gabriele Münter |
1877 |
Expressionism |
|
Emil Nolde |
1867 |
Expressionism |
|
Otto Muller |
1874 |
Expressionism |
|
Marianne von Werefkin |
1860 |
Expressionism |
|
Paula Modersohn-Becker |
1876 |
Expressionism |
|
Pablo Picasso |
1881 |
Cubism |
|
Georges Braque |
1882 |
Cubism |
|
Juan Gris |
1887 |
Cubism |
|
Fernand Léger |
1881 |
Cubism |
|
Maria Blanchard |
1881 |
Cubism |
|
Lyubov Popova |
1889 |
Cubism |
|
Jean Arp |
1886 |
Dada |
|
Hannah Hoch |
1889 |
Dada |
|
Sophie Taeuber-Arp |
1889 |
Dada |
|
Walter Gropius |
1883 |
The Bauhaus |
|
Ludwig Mies van der Rohe |
1886 |
The Bauhaus |
|
Peter Behrens |
1868 |
The Bauhaus |
|
William Johnson |
1901 |
Harlem Renaissance |
|
Jacob Lawrence |
1917 |
Harlem Renaissance |
|
Charles Henry Alston |
1907 |
Harlem Renaissance |
|
Aaron Douglas |
1899 |
Harlem Renaissance |
|
Sargent Claude Johnson |
1888 |
Harlem Renaissance |
|
Laura Wheeler Waring |
1887 |
Harlem Renaissance |
|
Archibald John Motley Jr. |
1891 |
Harlem Renaissance |
|
James Richmond Barthé |
1901 |
Harlem Renaissance |
|
A. Y. Jackson |
1882 |
Canadian Group of Seven |
|
James MacDonald |
1873 |
Canadian Group of Seven |
|
Thomas Thomson |
1877 |
Canadian Group of Seven |
|
Emily Carr |
1871 |
Canadian Group of Seven |