The History of Modern Art

modern art

When you’re thinking of a new painting or sculpture, you may want to consider the history of modern art. There are several different movements that were popular in the past century, and each of these has its own unique style. Listed below are a few of these movements. They include Impressionism, Realism, Romanticism, and Futurism. Learn about them and what they had in common. You might even be surprised at what you find.

Impressionism

The Impressionist movement was an artistic movement that emerged in France in the late 19th century. Known for its loose brushwork, bright colors, and unique visual angles, impressionist works aimed to capture the artist’s perception of atmospheric lighting. Artists in this movement rejected the highly detailed, finished appearance of other art styles. The movement has been resurrected by contemporary artists. However, the underlying philosophy of Impressionism is rooted in its origins.

Realism

Realism in modern art is a major debate. It reflects a fundamental shift in the ways artists perceive reality and represent it. While the realism of the past remains a central focus in many works of art, contemporary figurative work is also important for examining changes in labor conditions in the twenty-first century. Artists often use other mediums to make their argument about history. But realism is most relevant during periods of social upheaval.

Romanticism

The enduring appeal of Romanticism lies in its deep-seated belief in the transcendence of nature and human experience. In literary and art forms, this belief has been expressed in poetry, novels, and music. However, while romanticism focuses on lovemaking and awkward moments, it is also a reaction to modern life, primarily due to its emphasis on economic inequality and social injustice. If you’re curious about the influences of Romanticism on modern art, here are three examples:

Futurism

After the First World War, many serious professional female artists began to adopt the Italian style of Futurism. In a series of letters, Marinetti complimented his female colleague’s genius and her artistic ambitions. In response, Benedetta began exhibiting her work, notably in the abstract style of aeropittura. In the 1920s, her work was exhibited at the Venice Biennale. Her work has since been translated into numerous publications, including the book The Art of Futurism.

Orphism

The term Orphism in modern art originated from the French poet and art critic Guillaume Apollinaire, who first used it to describe the works of Frantisek Kupka. Apollinaire compared Kupka’s three abstract works to music because of their sensuous, exuberant style. He argued that the term reflected the ideals of a woman and her desire for self-expression.

Symbolism

In 1904, a group of artists called the Nabis emerged, taking their inspiration from the Greek mythology. The name Nabis translates to prophet in Arabic and Hebrew. Based on Paul Serusier’s 1888 painting, The Talisman, they believed that artists should take on the role of high priests, revealing the hidden and unseen. Symbolists often used the themes of sexuality, nature, and the unconscious as their subjects.

American Modern Art

The Barr Museum of Art’s recent exhibition of American modern art focuses on a limited number of artists and proves that Modern art did not ignore American art at the outset. The show features works by 49 artists, all born between 1870 and 1917. The majority of the paintings were acquired before 1960; some have not been displayed for many years. Among the highlights: the pioneering visions of Imogen Cunningham, Walker Evans, Alfred Stieglitz, and Paul Strand. A Hopper painting greets the viewer at the opening. The over-exposed etchings and pedestrian watercolors cover the second wall of the exhibition.

Cezanne

The role of Cezanne in modern art is complex. Its ambiguous provenance has caused some critics to question his influence. A more accurate account would be to consider the artist’s works as a series of photographs, and compare them with the films of Andre Derain and Vincente Minnelli. Cezanne and Straubs both adopted a dialectical position based on distance and dependence, and they each seek to be the most simple through comparison and violent juxtaposition.