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| modernist painting | |
|---|---|
| Name | Modernist painting |
| Year | 1870–1960s |
| Medium | Oil, watercolor, mixed media, collage |
| Movement | Modernism |
| Notable | Impression, Sunrise, Les Demoiselles d'Avignon, Composition VII, The Persistence of Memory |
modernist painting is a broad designation for a range of innovative pictorial practices that emerged in the late 19th and early 20th centuries and sought to break with academic conventions exemplified by institutions such as the Royal Academy of Arts and the École des Beaux-Arts. It emphasizes formal experimentation in Impression, Sunrise, Les Demoiselles d'Avignon, Composition VII, and The Persistence of Memory and intersects with exhibitions at venues including the Salon des Indépendants and the Armory Show. Modernist painters engaged with currents represented by events like the Paris Universal Exposition (1900) and organizations such as the Bauhaus.
Modernist painting is characterized by formal innovation evident in works associated with Impression, Sunrise, A Sunday Afternoon on the Island of La Grande Jatte, Portrait of Dora Maar, Broadway Boogie Woogie, and Number 1 (Lavender Mist), prioritizing autonomy of the picture plane, abstraction, and subjective perception over narrative fidelity. Typical attributes trace through exhibitions like the Salon d'Automne and movements hosted by the Vienna Secession, emphasizing flattened space, fragmented forms, unconventional perspective in Les Demoiselles d'Avignon, and painterly gesture present in Action Painting and works displayed at the Tate Modern. The period's characteristics were debated in forums including the Salon des Refusés and texts published by journals such as Camera Work.
Roots of modernist painting map to precursors including Impression, Sunrise by Claude Monet, developments in Eugène Delacroix's practice, and the color theories associated with Johann Wolfgang von Goethe and Michel-Eugène Chevreul. Later antecedents appear in exhibitions like the Salon des Refusés and the activities of artists around Pont-Aven and the Académie Julian. Cross-currents from events such as the Franco-Prussian War and institutions like the Académie Colarossi shaped networks that produced figures who exhibited at the Armory Show and engaged with patrons from the Guggenheim Foundation and collectors associated with Peggy Guggenheim.
Modernist painting encompasses intertwined movements—Impressionism (e.g., Impression, Sunrise), Post-Impressionism (e.g., Starry Night), Fauvism (e.g., The Joy of Life), Cubism (e.g., Les Demoiselles d'Avignon), Expressionism (e.g., The Scream), Futurism (e.g., Unique Forms of Continuity in Space), Suprematism (e.g., Black Square), De Stijl (e.g., Composition with Red, Blue and Yellow), and Surrealism (e.g., The Persistence of Memory). These styles circulated through venues including the Salon d'Automne, the Der Sturm gallery, the Kunsthalle Basel, and manifestos published by groups like the Futurist Manifesto and the De Stijl journal.
Key practitioners include pioneers such as Claude Monet (Impression, Sunrise), Vincent van Gogh (Starry Night), Paul Cézanne (Mont Sainte-Victoire), Henri Matisse (The Joy of Life), Pablo Picasso (Les Demoiselles d'Avignon), Georges Braque (Violin and Palette), Wassily Kandinsky (Composition VII), Kazimir Malevich (Black Square), Piet Mondrian (Composition with Red, Blue and Yellow), Marcel Duchamp (Fountain), Salvador Dalí (The Persistence of Memory), Jackson Pollock (Number 1 (Lavender Mist)), and Mark Rothko (Orange, Red, Yellow). Lesser-known but significant figures include Berthe Morisot, Gustave Caillebotte, Paul Gauguin, Giorgio de Chirico, Franz Marc, August Macke, Robert Delaunay, Sonia Delaunay, László Moholy-Nagy, Theo van Doesburg, Alberto Giacometti, Yves Tanguy, Max Ernst, Man Ray, Chaim Soutine, Helen Frankenthaler, Arshile Gorky, Joan Miró, Arthur Dove, Marsden Hartley, John Marin, Willem de Kooning, Lee Krasner, Anselm Kiefer, Gerhard Richter, Käthe Kollwitz, Egon Schiele, Gustav Klimt, Édouard Vuillard, and Pierre Bonnard.
Practices include alla prima oils employed by Claude Monet and Édouard Manet, broken color techniques of Georges Seurat (A Sunday Afternoon on the Island of La Grande Jatte), collage and papier collé as used by Georges Braque and Pablo Picasso, automatism practiced by André Breton's circle including Max Ernst, drip painting associated with Jackson Pollock and studio techniques promoted by the Bauhaus. Conservators at institutions like the Museum of Modern Art and the National Gallery study pigments such as chrome yellow used by Vincent van Gogh and synthetic media developed after exhibitions at the Whitney Biennial.
Reception ranged from acclaim in salons such as the Salon d'Automne and acquisitions by the Solomon R. Guggenheim Museum to controversy epitomized by protests at the Armory Show and critical essays in periodicals like The Dial. Critics including Roger Fry and Clement Greenberg framed debates that intersected with events such as the Great Depression and institutions like the Museum of Modern Art. Political responses involved censorship episodes in regimes like Nazi Germany where works were shown in the Entartete Kunst exhibition, while patrons such as Peggy Guggenheim and collectors at the Barnes Foundation shaped reputations.
Modernist painting established formal vocabularies that underlie later practices visible in exhibitions at the Tate Modern, the Guggenheim Museum Bilbao, and the Venice Biennale. Its influence extends to postwar movements represented by the New York School, continued dialogues at institutions such as the Centre Pompidou, and pedagogies formed at schools including the Art Students League of New York and the Slade School of Fine Art. Contemporary artists exhibited at venues like the Sotheby's auctions and galleries such as Gagosian Gallery continue to reference modernist innovations while museums including the Metropolitan Museum of Art present restorations and reappraisals.
Category:Painting