Arte Moderno Lnea de Tiempo

Artistas, 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 o negros 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, Paris Post 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 la futura 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: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/impressionism_slideshow.html

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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 also drew 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 SchmidtRottluff 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: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/fauvism_and_expressionism_slideshow.html

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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 movement were 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, London
Cubism and Futurism Slideshow: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/cubism_and_futurism_slideshow.html

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

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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 developed by 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. Vertical lines 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 York
Suprematism, Constructivism and De Styjl Slideshow: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/suprematism_constructivism_destyjl_slideshow.html

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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 Arp and 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's imagination 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, Salvador Dali 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: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/dada_and_surrealism_slideshow.html

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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 dialogue between 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 York
Abstract Expressionism Slideshow: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/abstract_expressionism_slideshow.html

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 an antidote 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 York
Pop Art Slideshow: http://www.artyfactory.com/art_appreciation/timelines/modern_art_slideshows/pop_art_slideshow.html

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum

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.com
Op 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 Fuente: http://www.artyfactory.com/art_appreciation/timelines/modern_art_timeline.htm

A.03 Arte Moderno FA UAS 2012

Arq. Celia R. Gastlum