2. Modern Art
• Refers to works produced during the approximate
period 1860- 1970.
(19th cent. to the mid-20th cent. )
• Throwing out of the OLD, embracing of the NEW.
• There is more of EXPERIMENTATION in new ways
of seeing ideas about how art functions.
• Modern art was about the people, places and ideas
that the artist had DIRECT CONTACT WITH.
• Modern Art also witnessed the emergence of NEW
MEDIA, like photography.
3. When did Modern Art Begin?
Édouard Manet showed his painting
Le déjeuner sur l'herbe (Lunch
on the Grass) in the Salon des
Refusés in Paris.
4.
5. The World during 1860- 1970
1869 - Transcontinental Rail Service
Begun in the United States.
1871- Photographer W.H.
Jackson takes a number of
photographs on the Yellowstone
Expedition.
1872 – Yellowstone National Park
was established as the first
National Park in the United
States.
1876- Alexander Graham Bell made
the first successful telephone call,
saying, "Watson, come here, I
need you.“
1883- The Brooklyn Bridge was
opened with an enormous
celebration.
1896- The first modern Olympic
games, the idea of Pierre de
Coubertin, are held in Athens,
Greece.
6. The World during 20’th Century
1900- Sigmund Freud
Publishes The Interpretation of
Dreams.
1912- the titanic sinks.
1914- World War 1 starts
1918-World War 1 end
1928- First Mickey Mouse
Cartoon
1938 - Superman First Appears in
Comic Books
1939- world war II starts
1940- Cartoon Character Bugs
Bunny Debuts in “A Wild Hare”
1945 – Hitler commits suicide.
World War II ends
1955- James Dean dies in car
accident.
1963 - Martin Luther King Jr.
Makes His "I Have a Dream"
Speech
1964- Beatles Become Popular in
U.S.
1969- Neil Armstrong Becomes
the First Man on the Moon
7.
8. Nearly every phase of modern art
was initially greeted by the public
with ridicule, but as the shock
wore off, the various movements
settled into history, influencing and
inspiring new generations of
artists.
The Scream (1893)
by Edvard Munch
9. The first modern art movement
Impressionist artists moved from the studio to the
streets and countryside, painting en plein air.
Representational art that did not necessarily
rely on realistic depictions.
loosened their brushwork and lightened their
palettes to include pure, intense colors.
They abandoned traditional linear perspective
and avoided the clarity of form.
records the effects of the massive mid-
nineteenth-century renovation of Paris.
12. Symbolism was both an artistic and a literary
movement that suggested ideas through symbols and
emphasized the meaning behind the forms, lines,
shapes, and colors.
Symbolism was both an artistic and a literary movement
that suggested ideas through symbols and emphasized
the meaning behind the forms, lines, shapes, and colors.
to express psychological
truth and the idea that
behind the physical world
lay a spiritual reality.
Symbolists combined religious mysticism, the perverse,
the erotic, and the decadent. Symbolist subject matter is
typically characterized by an interest in the occult, the
morbid, the dream world, melancholy, evil, and death.
15. Rejecting interest in depicting the observed world,
they instead looked to their memories and
emotions in order to connect with the viewer on a
deeper level.
Rather than merely represent their surroundings,
they relied upon the interrelations of color and
shape to describe the world around them.
16.
17.
18. movement that
swept through
the decorative
arts and
architecture
Aimed at modernizing design, seeking to escape the
eclectic historical styles that had previously been popular.
Artists drew inspiration from both organic and geometric
forms, evolving elegant designs that united flowing,
natural forms with more angular contours.
The desire to abandon the historical styles of the 19th
century was an important impetus
19.
20.
21. The Fauves ("wild
beasts") were a loosely
allied group of French
painters with shared
interests.
radical goal of separating color from its descriptive,
representational purpose and allowing it to exist on the
canvas as an independent element.
The artist's direct experience of his subjects, his
emotional response to nature, and his intuition were all
more important than academic theory or elevated
subject matter.
Color could project a mood and establish a structure
within the work of art without having to be true to the
natural world.
23. Henri Matisse
The Red Room (1908-1909)
by Henri Matisse is an
example of the artist’s
Fauvist style, which was
expressive and emotional.
The process Matisse used to
create this painting involved
constantly checking his own
reactions to the piece
unfolding before him as he
worked and continuing in
this manner until the
painting “felt” finished.
24. Emerged in
Germany in
response to the
widespread
anxiety.
Art was now meant to come forth from within
the artist
employed swirling, swaying, and exaggeratedly
executed brushstrokes in the depiction of their
subjects.
meant to convey the turgid emotional state of
the artist reacting to the anxieties of the
modern world.
With the turn of the century in Europe, shifts in
artistic styles and vision erupted as a response
to the major changes in the atmosphere of
society.
25.
26. The Scream (1893)
by Edvard Munch
Most Important Expressionist Art
Throughout his artistic career, Munch
focused on scenes of death, agony, and
anxiety in distorted and emotionally charged
portraits, all themes and styles that would
be adopted by the Expressionists.
28. Cubism was one of
the first truly
modern movements
to emerge in art.
Analytic Cubism, in which forms seem to be
'analyzed' and fragmented
Synthetic Cubism, foreign materials are collaged
to the surface of the canvas as 'synthetic' signs
for depicted objects.
It abandoned perspective, which artists had used
to order space
turned away from the realistic modeling of
figures
31. Dada was born in 1915, more or less simultaneously in
Switzerland and the United States (specifically in Zurich and
New York)—two countries that were at this time neutral
during the war.
The movement reflected disgust at the horrors of the war and
disillusionment with the values of the society from which it
had emerged.
Dada artists tried to shock people from complacency, and
many of them abandoned conventional materials and
techniques
Dada’s aesthetics,
marked by its
mockery of
materialistic and
nationalistic
attitudes, proved a
powerful influence
on artists in many
cities
34. Constructivists proposed to replace art's traditional
concern with composition with a focus on construction.
Objects were to be created not in order to express
beauty, or the artist's outlook, or to represent the
world, but to carry out a fundamental analysis of the
materials and forms of art, one which might lead to the
design of functional objects.
Constructivist art often aimed
to demonstrate how materials
behaved
concerns with form and abstraction often seem tinged
with mysticism, Constructivism firmly embraced the
new social and cultural developments that grew out of
World War I
35. Column(1923) by Naum Gabo
Monument to the Third
International (1920), by Vladimir
Tatlin
36. artists who sought to channel the
unconscious as a means to
unlock the power of the
imagination.
powerfully influenced by Sigmund Freud, the
Surrealists believed the conscious mind
repressed the power of the imagination,
weighting it down with taboos.
Influenced also by Karl Marx, they hoped that
the psyche had the power to reveal the
contradictions in the everyday world and spur
on revolution.
Surrealists were interested in exposing the
complex and repressed inner worlds of
sexuality, desire, and violence, and interest in
these topics fostered transgressive behavior.
39. Vague umbrella term for any
painting or sculpture which
does not portray recognizable
objects or scenes.
a movement that they translated into a new style
fitted to the post-war mood of anxiety and trauma.
Their art was championed for being emphatically
American in spirit - monumental in scale, romantic in
mood, and expressive of a rugged individual freedom.
Abstract were profoundly influenced by the style and by
its focus on the unconscious.
It encouraged their interest in myth and archetypal
symbols.
42. Art that depends on movement for its effects
The Kinetic art movement represented a
revitalization of that tradition, by utilizing
mechanical or natural motion to bring about a new
relationship between art and technology.
The Kinetic art movement represented a
revitalization of that tradition, by utilizing
mechanical or natural motion to bring about a
new relationship between art and technology.
"Just as one can compose
colors, or forms, so one can
compose motions.“
- Alexander Calder
43.
44. Pop's reintroduction of identifiable imagery was a
major shift for the direction of modernism.
Pop artists celebrated commonplace objects and
people of everyday life, in this way seeking to elevate
popular culture to the level of fine art.
Pop art has become
one of the most
recognizable styles of
modern art.
the Pop art movement aimed to blur the boundaries
between "high" art and "low" culture.
Pop artists searched for traces of the same trauma in
the mediated world of advertising, cartoons, and
popular imagery at large.
Pop artists seemingly embraced the post-WWII
manufacturing and media boom.
45.
46.
47. Artists have been intrigued
by the nature of
perception and by optical
effects and illusions for
many centuries.
Optical, art typically employs abstract patterns
composed with a stark contrast of foreground
and background - often in black and white for
maximum contrast - to produce effects that
confuse and excite the eye.
Op art seemed to supply a style that was highly
appropriate to modern society.
The pinnacle of the movement's success was
1965, when the Museum of Modern Art
embraced the style with the exhibition The
Responsive Eye, which showcased 123 paintings
and sculptures
48.
49.
50. Artists whose work depended heavily on
photographs, which they often projected onto
canvas allowing images to be replicated with
precision and accuracy.
Photorealists acknowledge the modern world's
mass production and proliferation of
photographs, and they do not deny their
dependence on photographs.
51.
52.
53. Avant-garde
(art forms)
“ Ahead of its time”.
Is traditionally used
to describe any
artist, group or style,
which is considered
to be significantly
ahead of the
majority in its
technique, subject
matter, or
application.
