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Arte Moderno Lnea de TiempoArtistas, Movimientos y Estilos en el Arte Moderno (1870 1975)
Impresionismo (1870-1890)Impresionismo es el nombre otorgado a un estilo muy
colorido de pintura en Francia a finales del siglo XIX. Los
impresionistas buscaban un anlisis ms exacto de los efectos
del color y la luz en la naturaleza. Se esmeraban en capturar
la atmsfera de un momento particular del da o los efectos
de las diferentes condiciones del clima. Frecuentemente
trabajaban al exterior y aplicaban a su pintura pequeas
pinceladas de colores brillantes lo que significaba el sacrificio
de las lneas y los detalles de los objetos. El impresionismo
abandona la idea convencional de que la sombra de un objeto
se forma de su propio color con algo de tonos marrn onegros aadidos. En su lugar, los impresionistas enriquecen
sus colores con la idea de que una sombra se compone de
trazos de su color complementario. Entre los mas importantes
pintores impresionistas podemos mencionara a Claude
Monet, Pierre Auguste Renoir, Edgar Degas, Camille Pissarro,
Alfred Sisley y Henri de Toulouse Lautrec.
Claude Monet 1840-1926
Catedral de Rouen a plena luz del da 1893/4
Louvre, ParisPost Impresionismo (1885-1905)
Los post impresionistas eran unos pocos artistas
independientes que a finales del siglo XIX se rebelaron contra
las limitaciones del impresionismo para desarrollar un agama
de estilos personales que influenciaron posteriormente al
arte del siglo XX. Los artistas mas reconocidos de esta
corriente son Paul Czanne, Paul Gauguin, Vincent Van Gogh
y Georges Seurat.
Czanne fue una influencia muy importante para Picasso y
Braque en su concepcin del cubismo. Asimismo, la tcnica
vigorosa y vibrante de Van Gogh fue piedra angular para lafutura aparicin del fauvismo y el expresionismo, mientars
que el color simblico de Gauguin y la tcnica puntillista de
Seurat sirvieron de inspiracin a los fauvistas.
Vincent Van Gogh 1853-90
Caf Terrace de noche, 1888
Museo Krller-Mller
Presentacin de diapositivas del Impresionismo y Postimpresionismo:
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Fauvismo (1905-10)
El fauvismo fue un estilo festivo de pintura que se
deleitaba utilizando impactantes colores intensoos,
Fauvism was a joyful style of painting that delighted in
using outrageously bold colours. It was developed in
France at the beginning of the 20th century by Henri
Matisse and Andr Derain. The artists who painted in this
style were known as 'Les Fauves' (the wild beasts), a title
that came from a sarcastic remark in a review by the art
critic Louis Vauxcelles.
Les Fauves believed that colour should be used at its
highest pitch to express the artist's feelings about a
subject, rather than simply to describe what it looks like.
Fauvist paintings have two main characteristics:
extremely simplified drawing and intensely exaggerated
colour. They were a major influence on the
Expressionists.
Henri Matisse 1869-1954
The Open Window, Collioure, 1905
The National Gallery of Art, Washington
German Expressionism c.1905-25
German Expressionism is a style of art that is charged
with an emotional or spiritual vision of the world. The
expressive paintings of Vincent Van Gogh and Edvard
Munch influenced the German Expressionists. They alsodrew their inspiration from German Gothic and 'primitive
art'. The Expressionists were divided into two factions:
Die Brcke and Der Blaue Reiter. Die Brcke (The Bridge)
was an artistic community of young artists in Dresden
who aimed to overthrow the conservative traditions of
German art. Ernst Ludwig Kirchner and Karl Schmidt-
Rottluff were two of its founding members. Der Blaue
Reiter (the Blue Rider) was a group of artists whose
publications and exhibitions sought to find a common
creative ground between the various Expressionist art
forms. Kandinsky, Marc and Macke were among its
founding members.
Ernst Ludwig Kirchner 1880-1938
The Red Tower at Halle, 1915
Folkwang Museum, Essen
Fauvism and Expressionism Slideshow:
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Abstract Art c.1907 onwards
Abstract art is a generic term that describes two different
methods of abstraction: 'semi abstraction' and 'pure
abstraction'. The word 'abstract' means to withdraw part
of something in order to consider it separately. In
Abstract art that 'something' is one or more of the visual
elements of a subject: its line, shape, tone, pattern,
texture, or form.
Semi-Abstraction is where the image still has one foot in
representational art, (see Cubism and Futurism). It uses a
type of stylisation where the artist selects, develops and
refines specific visual elements (eg. line, color and shape)
in order to create a poetic reconstruction or simplified
essence of the original subject.
Pure Abstraction is where the artist uses visual elements
independently as the actual subject of the work itself.
(see Suprematism, De Styjl and Minimalism).Although elements of abstraction are present in earlier
artworks, the roots of modern abstract art are to be
found in Cubism. Among other important abstract styles
that developed in the 20th century are Orphism,
Rayonism, Constructivism, Tachisme, Abstract
Expressionism, and Op Art.
Georges Braque 1882-1963
Violin and Pitcher, 1910 (detail)
Kunstmuseum, Basel
Abstract Art Slideshow:http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/abstract_art_slideshow.html
Cubism c.1907-15
Cubism was invented around 1907 in Paris by Pablo
Picasso and Georges Braque. It was the first abstract
style of modern art. Cubist paintings ignore the traditions
of perspective drawing and show you many views of a
subject at one time. The Cubists believed that the
traditions of Western art had become exhausted and to
revitalize their work, they drew on the expressive energy
of art from other cultures, particularly African art. There
are two distinct phases of the Cubist style: Analytical
Cubism (pre 1912) and Synthetic Cubism (post 1912).
Cubism influenced many other styles of modern art
including Expressionism, Futurism, Orphism, Vorticism,
Suprematism, Constructivism and De Styjl. Other notable
artists associated with Cubism were Juan Gris, Fernand
Leger, Robert Delaunay, Albert Gleizes, Jean Metzinger,
Louis Marcoussis and Marie Laurencin.
Pablo Picasso 1881-1973
Ambroise Vollard, 1915
Pushkin Museum of Fine Art
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Futurism c.1909-1914
Futurism was a revolutionary Italian movement that
celebrated modernity. The Futurist vision was outlined in
a series of manifestos that attacked the long tradition of
Italian art in favour of a new avant-garde. They glorified
industrialisation, technology, and transport along with
the speed, noise and energy of urban life. The Futurists
adopted the visual vocabulary of Cubism to express their
ideas - but with a slight twist. In a Cubist painting the
artist records selected details of a subject as he moves
around it, whereas in a Futurist painting the subject itself
seems to move around the artist. The effect of this is that
Futurist paintings appear more dynamic than their Cubist
counterparts.
Futurism was founded in 1909 by the poet Filippo
Tommas Marinetti and embraced the arts in their widest
sense. The main figures associated with the movementwere the artists, Umberto Boccioni, Giacomo Balla, Gino
Severini, the musician Luigi Russolo and the architect
Antonio Sant'Elia.
Giacomo Balla 1871-1959
The Rhythm of the Violinist (detail), 1912
Estorick Collection, LondonCubism and Futurism Slideshow:
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Suprematism c.1915-1925
In 1915, the Russian artist Kazimir Malevich developed
Suprematism, a geometric style of abstract painting
derived from elements of Cubism and Futurism. He
rejected any use of representational images, believing
that the non-representational forms of pure abstraction
had a greater spiritual power and an ability to open the
mind to the supremacy of pure feeling.
Suprematism was a style of pure abstraction that
advocated a mystical approach to art, in contrast with
Constructivism, the major Russian art movement of the
20th Century, whose imagery served the social and
political ideology of the state.
Kazimir Malevich1879-1935
Suprematism, 1915
Stedelijk Museum, Amsterdam
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Constructivism c.1913-1930
Constructivism used the same geometric language as
Suprematism but abandoned its mystical vision in favour
of their 'Socialism of vision' - a Utopian glimpse of a
mechanized modernity according to the ideals of the
October Revolution. However, this was not an art that
was easily understood by the proletariat and it was
eventually repressed and replaced by Socialist Realism.
Tatlin, Rodchenko, El Lissitzky and Naum Gabo were
among the best artists associated with Constructivism.
El Lissitzky 1890-1941
The Red Wedge,1919
www.ibiblio.org
De Styjl c.1917-1931
De Styjl was a Dutch 'style' of pure abstraction developedby Piet Mondrian, Theo Van Doesburg and Bart van der
Leck.
Mondrian was the outstanding artist of the group. He
was a deeply spiritual man who was intent on developing
a universal visual language that was free from any hint of
the nationalism that led to the Great War.
Mondrian gradually refined the elements of his art to a
grid of lines and primary colors which he configured in a
series of compositions that explored his universal
principles of harmony. He saw the elements of line and
color as possessing counteracting cosmic forces. Verticallines embodied the direction and energy of the sun's rays
which were countered by horizontal lines relating to the
earth's movement around it. He saw primary colors
through the same cosmic tinted spectacles: yellow
radiated the sun's energy; blue receded as infinite space
and red materialized where blue and yellow met.
Mondrian's style which he also called 'Neo-Plasticism'
was inspired by the Theosophical beliefs of the
mathematician and philosopher, M.H.J. Schoenmaekers.
Piet Mondrian 1872-1944
Composition with White and Yellow, 1942
Christies, New YorkSuprematism, Constructivism and De Styjl Slideshow:
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Dada c.1916-1922
Dada was not a style of art like Fauvism or Cubism. It was
a form of artistic anarchy born out of disgust for the
social, political and cultural establishment of the time
which it held responsible for Europe's descent into World
War. Dadaism was an anti art stance as it was intent on
destroying the artistic values of the past. The aim of
Dada was to create a climate in which art was alive to the
moment and not paralysed by the corrupted traditions of
the established order. Dadas weapons in the war against
the art establishment were confrontation and
provocation. They confronted the artistic establishment
with the irrationality of their collages and assemblages
and provoked conservative complacency with
outrageous actions at their exhibitions and meetings.
The movement started in Zurich and spread as far as
New York. Marcel Duchamp, Raoul Hausmann, Jean Arpand Kurt Schwitters were among the best of the Dada
artists.
Raoul Hausmann 1886-1971
Tatlin at Home, 1920
Moderna Museet, Stockholm
Surrealism c.1924-1939
Surrealism was the positive response to Dada's
negativity. Its aim, as outlined in the First Surrealist
Manifesto of 1924, was to liberate the artist'simagination by tapping into the unconscious mind to
discover a 'superior' reality - a sur-reality. To achieve this
the Surrealists drew upon the images of dreams, the
effects of combining disassociated images, and the
technique of 'pure psychic automatism', a spontaneous
form of drawing without the conscious control of the
mind. The look of Surrealist art was inspired by the
irrational juxtaposition of images in Dada collages, the
metaphysical art of Giorgio de Chirico, and both
'primitive' and 'outsider' art. The most influential of the
Surrealist artists were Max Ernst, Joan Mir, SalvadorDali and Ren Magritte. The movement broke up at the
outbreak of war in 1939 when several of the Surrealists
left Europe for New York where they had a formative
influence on the development of Abstract Expressionism.
Ren Magritte1898-1967
Time Transfixed, 1938
Art Institute of Chicago
Dada and Surrealism Slideshow:
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Abstract Expressionism c.1946-1956
Abstract Expressionism was the first American art style
to exert an influence on a global scale. It drew upon the
spiritual approach of Kandinsky, the automatism of the
Surrealists, and a range of dramatic painting techniques.
Abstract Expressionism was also known as Action
Painting, an existentialist title which implied that the
physical act of painting was as important as the result
itself. The movement embraced paintings from a wide
range of artists whose work was not always purely
abstract or truly expressionistic. The all-over drip
paintings of Jackson Pollock, which entangle the viewer
in a skein of light, color and texture, were the biggest
challenge to the interpretation of pictorial space since
Cubism. The paintings of Mark Rothko bathe the
spectator in an mystical world of diffuse color while the
art of Robert Motherwell sets up an abstract dialoguebetween his 'automatic' calligraphy and the conscious
control of shapes and colors. Willem de Kooning, Franz
Kline, Barnet Newman and Clifford Still were other major
figures associated with the movement.
Jackson Pollock 1912-1956
Full Fathom Five, 1947
MoMA, New YorkAbstract Expressionism Slideshow:
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Pop Art c.1954-1970
Pop Art was the art movement that characterised a
sense of optimism during the post war consumer boom
of the 1950's and 60's. It coincided with the globalization
of pop music and youth culture, personified by Elvis and
The Beatles. Pop Art was brash, colorful, young, fun and
hostile to the artistic establishment. It included different
styles of painting and sculpture from various countries,
but what they all had in common was an interest in
popular culture. The stark look of Pop Art emerged from
a fusion of Dada collages and 'readymades' with the
imagery of the consumer culture. It was seen as anantidote to the introspection of Abstract Expressionism.
The expressive techniques of Jasper Johns and Robert
Rauschenberg provided the stylistic link between
Abstract Expressionism and Pop but the images of
celebrity and consumerism by Andy Warhol and the
comic book iconography of Roy Lichtenstein represent
the style as we know it today.
Andy Warhol 1928-1987
Campbell's Soup 1 (Tomato), 1968
MoMA, New YorkPop Art Slideshow:http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/pop_art_slideshow.html
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Op Art c.1964-1970
Op Art is short for 'optical art'. It was an abstract style
that emerged in the 1960's based on the illusionistic
effects of line, shape, pattern and color. Op Artists such
as Victor Vasarely, Bridget Riley and Richard
Anuszkiewicz play with the perception of the viewer by
subverting the picture plane with ambiguous shapes,
shifting tones and dynamic color relationships. Although
Op Art images are static they generate the illusion of
movement with perceptual tricks that create an unstable
picture surface. The effects of this can be so strong that
you have to look away for fear of losing your balance or
hurting your eyes. Needless to say that the fairground
fun aspect of Op Art was very popular with the public
and was quickly commercialised by the design and
fashion industries.
Victor Vasarely 1906-1997
Gestalt 4, 1970
www.vasarely.comOp Art Slideshow:http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/op_art_slideshow.html
Minimalism c.1960-1975
Minimalism was not only a reaction against the
emotionally charged techniques of Abstract
Expressionism but also a further refinement of pure
abstraction. It was an attempt to discover the essence of
art by reducing the elements of a work to the basic
considerations of shape, surface and materials.
Minimalist art used hard-edged forms and geometric grid
structures. Color was simply used to define space or
suface. Ad Reinhardt, whose late paintings anticipate
Minimalism, put it simply, The more stuff in it, the busier
the work of art, the worse it is. More is less. Less is more.
The eye is a menace to clear sight. The laying bare of
oneself is obscene. Art begins with the getting rid of
nature. Frank Stella, Don Judd, Robert Morris, John
McCracken and Sol LeWitt were important contributers
to Minimalism.
Frank Stella b. 1936
Jarmolince III, 1973
Collection of the artist
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