David Marat at his Last Breathe (1793) byJaques Louis David
Ancient Civilization 3000Bc - 330BC
Classic Civilization 800BC - 340AD
Middle Age 370 - 1440AD
Renaissance 1400 - 1800AD
Pre Modernism 1800 - 1880 AD
Modernism 1880 - 1945 AD
Post Modernism 1945 - Present
ANCIENT CIVILIZATIONS 3000 BC - 331 BC
Egyptian Art 3200 - 1070
Amarna Art 1370 - 1340
Mesopotamian Art 3500 - 331
Sumerian/Akkadian 3500 - 1750
Assyrian/Neo-Babylonian 1000 - 539
Persian 539 - 331
Aegean Art 3000 - 1100
Minoan (Crete) 3000 - 1475
Mycenean (Greece) 1650 - 1100
Greek Art 800 - 323
CLASSIC CIVILIZATIONS 800 BC - 337 AD
Hellenistic Art 323-150 BC
Etruscan Art 6th - 5th century BC
Roman Art 509 BC - 337 AD
MIDDLE AGES 373 - 1453 AD
Celtic, Saxon, & Hiberno 200 - 732
Byzantine Art 400 - 1453
Justinian 527 - 565
Islamic Art 622 - 900
Carolingian Art 732 - 900
Ottonian Art 900 - 1050
Romanesque Style 1000 - 1140
Gothic Style 1140 - 1500
RENAISSANCE 1400 - 1800 AD
Renaissance: Italy 1400 - 1600 AD
Renaissance: Europe 1500 - 1600 AD
Baroque 1600 - 1700 AD
Rococo 1700 - 1750 AD
PRE-MODERN 1800 - 1880 AD
Neo-Classicism 1750 - 1880 AD
Romanticism 1800 - 1880 AD
Ho hum boring what has this got to do with me, I’m here?
MODERNISM 1880 - 1950 AD
Realism 1830's - 1850's AD
Impressionism 1870's - 1890's AD
Sybolism 1860 – 1910
Post Impressionism 1880 - 1900
Nabis 1889 -1899
Fauvism 1905 onward
Cubism 1907 - 1925
Expressionism 1908 onward
Orphism 1909 -1914
Futurism 1909 -1920
Suprematism or Russsian Constructivism1913 -1918
Dada 1916 -1922
De Stijl 1917 – 1944
Bauhaus 1920s onward
Surrealism 1924- 1939
Abstract Expressionism 1947 onward
POSTMODERNISM 1945 AD - Present
Postmodernism
Conceptualism -1960s onwards)
Performance - Early 1960s onwards
Installation - 1960s onwards
Video - 1960s onwards
Minimalism - 1960s onwards
Photo-Realism - 1960s, 1970s
Earthworks - mid-1960s
Supports-Surfaces - 1966-72
Post-Minimalism - 1971 onwards
New Subjectivity -1970s
Graffiti Art -1970s onwards
Neo-Expressionism - 1979 onwards
Young British Artists/ Britart -1980s
Neo-Pop Art -late 1980s onwards
Stuckism -1999 onwards
New Leipzig School - .2000 onwards
Suicide By Modernism, 2005 by Mark Kostabi
Oil on canvas
MODERNISM 1880 - 1950 AD
Realism 1850 – 1880
Impressionism 1870 – 1890
Sybolism 1860 – 1910
Post Impressionism 1880 - 1900
Nabis 1889 -1899
Fauvism 1905 onward
Cubism 1907 - 1925
Expressionism 1908 onward
Orphism 1909 -1914
Futurism 1909 -1920
Supermatism or Russsian
Constructivism1913 -1918
Dada 1916 -1922
De Stijl 1917 – 1944
Bauhaus 1920s onward
Surrealism 1924- 1939
Abstract Expressionism 1947 onward
Modernism
1850 - 1950
Modernism represents a radical break
with the past and a search for new forms
of expression. It fostered a period of
experimentation in the arts from the late
19th century to the mid-20th century,
particularly in the years following
World War 1 (1914-1918).
In an era characterised by industrialisation,
rapid social changes, advances in science
and the social sciences (eg , Marxism,
Darwinism, Freudian theory), Modernists
felt a growing alienation with Victorian
morality, optimism and convention.
Realism 1850 -1880
Realism represents a shift in the
subject matter of art,
from ancient and medieval history,
literature and religion
to subjects from everyday life
Barbizon School - Jean Baptiste Corot, The Woodgatherer, c. 1870,
oil on canvas, 33 x 42 cm
Barbizon School - Jean François Millet, The Gleaners, 1848,
oil on canvas, 54 x 66 cm
Impressionism 1870’s – 1890’s
Impressionist painting flourishing during the period between
1870 and 1886 and is distinguished by the following characteristics:
Claude Monet, Haystacks at
Sunset, Frosty Weather, 1891,
oil on canvas, 64.8 x 95.8 cm
Stress on the effects of natural light – landscapes were not painted in the
studio but in the open air (“plein air”)
Contemporary, natural subjects from everyday life and momentary
appearances were sought with immediacy and spontaneity
New colour theories: the real colour of an object is modified by reflections from
other objects and the nature of the atmosphere in which it is viewed and the
adjoining colours are intensified by juxtaposition with the opposite colour in the
spectrum (complementary)
Rapid brushwork – each stroke had to catch a momentary colour nuance or
reflection of light so that eventually rhe painting became a series of small dabs
of colour, which, when viewed from a distance, the eye blended.
Informal composition – as Impressionism depended on momentary effect,
painting directly from life, the tedious effort exerted in the studio to achieve
a balanced or formal composition was eliminated. The ‘snap-shot’ composition
was favoured, which gave a more dynamic effect to the painting.
Pierre-Auguste Renior, Le Moulin de la Galette, 1876,
Oil on canvas, 131 x 175cm
Claude Monet, Impression – Sunrise, 1872,
Oil on canvas, 48 x 63 cm
Symbolism 1860 -1910
•Rejected the purely visual realism of the Impressionists, and
the rationality of the Industrial Age, in order to depict the
symbols of ideas.
•An idealistic movement, created by artists
discontented with their culture.
•Dreams were a perfect vehicle for the Symbolists to present
their own idealistic visions.
Major French artist: Odilon Redon
Major English artist: Gabriel Dante Rossetti – Pre-Raphaelite
Odilon Redon, The Cyclops, c.1898 - 1900,
Oil on wood, 64 x 51 cm
Post-Impressionism
1880- onward
Post-Impressionism refers to the several styles that followed Impressionism
after 1885.
Post-Impressionism refers to various reactions to Impressionism rather than
a single style. Post-Impressionists were influenced by Impressionists’
colours, brush strokes and subject matter.
The Post-Impressionist group includes Paul Cézanne, Georges Seurat,
Vincent Van Gogh and Paul Gauguin
Georges Seurat, Sunday Afternoon on the Ile de la Grande Jatte,
1884-1886, Oil on canvas, 206.4 x 305.4 cm
Vincent van Gogh, Starry Night, 1889,
Oil on canvas, 73.7 x 92.1 cm
The Nabis 1889 - 1899
•Parisian group of around 12 diverse Post-Impressionist artists
and illustrators
•The core of Les Nabis were Frenchmen, Pierre Bonnard,
Maurice Denis and Édouard Vuillard
•Nabis is the Hebrew word for prophet
•The group held its first exhibition in 1892
•Influenced by Gauguin
•Developed a style characterized by flat areas of boldly juxtaposed
but muted colours and heavily outlined surface patterns
•Were unified by the decorative character of their work and
their dislike of Impressionism
•After a successful show in 1899, the group gradually disbanded
Pierre Bonnard, Siesta (La Sieste) 1900
oil on canvas, 109.0 x 132.0 cm
National Gallery of Victoria, Melbourne
Pierre Bonnard, Woman Undressing, c. 1907
oil on canvas
Pierre Bonnard, Woman with Cat, 1912
Oil on canvas, 78.0 x 77.0 cm
Fauvism 1905 onward
If you like squeezing toothpaste out of a tube, you could have been an artist who
painted in the style of Fauvism. These excitable artists would have been excellent
in toothpaste commercials. They used bright blobs of paint right out of the tube to
create explosions on their canvases and in the world of art.
Henri Matisse (1869-1954)
Raoul Dufy (1877-1953)
André Derain (1880-1954)
Maurice de Vlaminck (1876-1958)
Their paintings had wild colours. They used blobs of paint and unusual
brushstrokes. Critics called their paintings primitive, brutal, and violent. One art
critic compared the paintings to "fauves" which was French for wild beasts. The
paintings were displayed in Room 7 which became known as the "cage for the
wild beasts." This art style became known as Fauvism even though the Fauves
never used the term.
Maurice de Vlaminck, Bougival, c.1905,
Oil on canvas, 82.6 x 100.6 cm
Henri Matisse, Portrait of Andre Derain, Collioure, 1905
Oil on canvas, 39.4 x 28.9 cm
André Derain, London Bridge, 1906
Oil on canvas, 66 x 99 cm
Cubism 1907 - 1925
Cubism is unusual. The artist looks at an object carefully. He or she then
recreates the object using geometric shapes. The artist might use cubes,
cylinders, balls, and cones. He or she also tries to show the object from
different sides at the same time. This style of art began in the twentieth
century. But it didn't last long.
Cubism
Pablo Picasso started Cubism. He was born in Spain in
1881. His father trained him in classical art.
Cubist work emphasised the flat,
two-dimensional, fragmented surface
of the picture plane,
rejecting perspective,
foreshortening, modelling,
and chiaroscuro in favour of
geometric forms.
Pablo Picasso, Les Demoiselles d'Avignon, 1907
Oil on canvas, 245 x 235 cm
Georges Braques, The Portuguese, 1911,
Oil on canvas, 116.5 x 81.5 cm
Expressionism 1908 - onward
The term “Expressionism” can be used to
describe various art forms but,
in its broadest sense, is used to
describe any art that raises
subjective feelings
above objective observations.
The aim of painting is to reflect the artist’s
state of mind rather than the
reality of the external world.
Edvard Munch, The Scream, 1893,
Tempera and pastel on cardboard, 91 x 74 cm
James Ensor, The Entry of Christ into Brussels, 1889
Oil on canvas, 250 x 434 cm
James Ensor, The Singular Masks, 1891
Oil on canvas, 100 x 80 cm
Ernst Ludwig Kirchner, Self Portrait as a Soldier, 1915
Oil on canvas, 69 x 61 cm
Ernst Ludwig Kirchner, Five Women in the Street, 1913-15
Oil on canvas, 120 x 90 cm
Emil Nolde, Mask Still Life III, 1911
Oil on canvas, 74 x 78 cm
Franz Marc, Blue Horses, 1911
Oil on canvas, 103.5 x 179.7
Wassily Kandinsky, Autumn in Bavaria, 1908
Oil on cardboard, 33 x4 5cm
Max Beckmann, The Night, 1918-19
Oil on canvas, 133.9 x 153.6 cm
Käthe Kollwitz, Death Seizes a Woman,1934
Lithograph, 51 x 36.5 cm
Orphism 1909 -1914
Robert Delaunay (1885–1941)
Sonia Delaunay-Terk (1885–1979)
French art movement developed and derived from Cubism,
focusing more on the application of colour in painting and
influenced by music.
Robert Delaunay, Eiffel Tower , 1911
Oil on Canvas, 202 x 138.4
Robert Delaunay, Simultaneous Windows (2nd Motif, 1st Part), 1912
Oil on canvas, 55.2 x 46.3 cm
Robert Delaunay, Homage to Bleriot, 1914
Oil on canvas, 194.3 x 128.3 cm
Sonia Delaunay-Terk, Electric Prisms, 1914
Oil on canvas, 250 x 250 cm
Futurism 1909 - 1920
•An artistic movement in Italy around 1910 that tried to
express the energy and values of the machine age
•These artist believe that the meaning of life should be
sought in the future.
Umberto Boccioni, The Street Penetrates the Building, 1911,
Oil on canvas, 100 x 106.5 cm
Giacomo Balla, Dynamism of a Dog on a Leash, 1912,
Oil on canvas, 90.8 x 110 cm
Umberto Boccioni, Unique Form of Continuity in Space, 1913
Bronze, 126.4 x 89 x 40.6 cm
Suprematism or
Russian Constructivism 1913 - 1918
Constructivism was a movement that
was active from 1915 to the 1940’s. It
was a movement created by the
Russian avant-garde, but quickly
spread to the rest of the continent.
Constructivist art is committed to
complete abstraction with a devotion to
modernity, where themes are often
geometric, experimental and rarely
emotional.
Famous artists of the
Constructivist movement include
Vladimir Tatlin, Kasimir Malevich,
Alexandra Exter, Robert Adams,
and El Lissitzky.
Vladimir Tatlin, Monument to the Third
International, 1919
Model
Vladimir Tatlin, Counter Relief , 1914-15
Iron, copper, wood, rope 71x118cm
Dadaism 1916 -1922
Dada originated in Zürich, Switzerland in 1916 and flourished in New York
City, Paris, and the German cities of Berlin, Cologne, and Hannover in the
early 20th century.
The movement grew out of disgust with bourgeois values and despair over
World War I.
The name, French for “hobby-horse,” was selected by a chance procedure
and adopted by a group of artists, including Jean (Hans) Arp, Marcel
Duchamp, Hannah Höch and Francis Picabia to symbolise their emphasis
on the illogical and absurd.
The archetypal Dada forms of
expression were the nonsense poem
and the ready-made.
Dada had far-reaching effects on the art
of the 20th century; the creative
techniques of accident and chance were
sustained in Surrealism, Abstract
Expressionism, Conceptual Art and
Pop Art.
Jean (Hans) Arp, Fleur Marteau, 1916
Oil on wood, 62.2 x 50.1 cm
Marcel Duchamp, Nude Descending a Staircase No 2, 1912
oil on canvas, 146 x 89 cm
Marcel Duchamp, Bicycle Wheel, 1951 (third version, after lost original of 1913)
Assemblage: metal wheel mounted on painted wood stool, 128.2 x 64.7 x 40.6 cm
Marcel Duchamp, Fountain, 1917, (original lost)
readymade, porcelain urinal, height 60 cm
Hannah Höch, My Home Mottoes, 1922
Collage and India ink on paper, 32 x 41.3 cm
De Stijl 1917 -1944
De Stijl from the Dutch for "The Style" — also known as neoplasticism,
was a Dutch artistic movement started in 1917.
Founder members of the group included the painter Mondrian, the
sculptor Vantongerloo, the architect J.J.P. Oud and the designer and
architect Rietveld. They were eager to develop a new aesthetic
consciousness and an objective art based on clear principles. The
theory behind De Stijl was aimed at scaling down the formal
components of art - only primary colours and straight lines.
Piet Mondrian, Composition No. II Composition with Blue and Red, 1929,
Oil on canvas, 40.3 x 32.1 cm
Picture of a chair designed by Gerrit Rietveld
De Stijl in modern life
Bauhaus 1920 -onwards
Bauhaus ("House of Building" or "Building School") is the common term for a school in
Germany that combined crafts and the fine arts, and was famous for the approach to
design that it publicised and taught. It operated from 1919 to 1933.
The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name,
and the fact that its founder was an architect, the Bauhaus did not have an architecture
department during the first years of its existence. The Bauhaus style became one of the
most influential currents in Modernist architecture and modern design.
Barcelona Chair
Wassily Chair
Wassily Kandinsky: “Joyful Arising”
Color lithograph from Bauhaus Master’s portfolio, 1923.
Surrealism 1924 - 1939
According to André Breton (1896-1966)
who published "The Surrealist
Manifesto" in 1924, Surrealism was a
means of reuniting conscious and
unconscious realms of experience so
completely that the world of dream
and fantasy would be joined to the
everyday rational world in "an
absolute reality, a surreality."
The first of these, exemplified by the
painting of
the Italian Giorgio de Chirico (who
preceded André Breton by more than a
decade),
the Belgians, René Magritte and Paul
Delvaux,
American Man Ray and French artist Max
Ernst, French/American Yves Tanguy
and the Spaniard, Salvador Dali
the German-Swiss, Meret Oppenheim
and the American Dorothea Tanning.
The second type of Surrealist practice
has no clear representational
function but is, rather, the use of
materials by artists without a clear
representational plan.
In this way, the work of the artist is
automatic, the direct
communication of the unconscious
mind.
Giorgio de Chirico, Piazza, 1913
Oil on canvas, 51.5 x 75.5 cm
(‘This is not a pipe’)
René Magritte, The Treachery of Images, 1928/29
Oil on canvas, 62.2 x 81 cm.
René Magritte, Voice of Space (La Voix des airs), 1931
Oil on canvas, 72.7 x 54.2 cm.
René Magritte, The Human Condition, 1933
Oil on canvas, 100 x 81 cm
Max Ernst, The Tottering Woman, 1923,
Oil on canvas, 130.5 x 97.5 cm
Salvador Dali, The Persistence of Memory, 1931,
Oil on canvas, 24 x 33 cm
Meret Oppenheim, Luncheon in Fur, (Déjeuner en fourrure) 1936
Fur-covered cup saucer and spoon
Salvador Dali, Lobster Telephone 1936
painted plaster, telephone18.0 x 12.5 x 30.5 cm National Gallery Australia
Abstract Expressionism 1947- onwards
•Abstract Expressionism is a form of art
in which the artist expresses him or
herself purely through the use of
form (shape) and colour.
•It is non-representational or nonobjective art, which means that there are
no concrete objects represented.
Jackson Pollock (1912-1956)
Willem de Kooning (1904-1997)
Hans Hofmann (1880-1966)
Franz Kline (1910-1962)
Mark Tobey (1890-1976)
Philip Guston (1913-1980)
Adolph Gottlieb (1903-1974)
Hans Hofmann, To Miz-Pax Vobiscum, 1964
Oil on canvas, 196.5 x 212.4 cm
Mark Rothko, Untitled (Violet, Black, Orange, Yellow on White and Red), 1949
Oil on canvas, 207 x 167.6 cm
Barnett Newman, Dionysius, 1949
oil on canvas, 170.2 x 124.5 cm
Adolph Gottlieb, Apaquogue, 1961
oil on canvas, 183.5 x 229.2 cm
Franz Kline, Painting Number 2, 1954
Oil on canvas, 204.3 x 271.6 cm
Willem De Kooning, Woman 1, 1950,
Oil on canvas, 192.7 x 147.3 cm
Jackson Pollock, Number 1, 1948
Oil on canvas, 172.4 x 264 cm
Yves Klein used
naked ladies as
paintbrushes and
called it
Anthropometry:
Klein Blue - 1961
Major factors that fostered Modernism
1. The birth of the modern city: the French capital
city, Paris
2. The growth of the urban, capitalist society
3. The accessible image: development of the new
technology of photography and photomechanical
reproduction
4. The development of art museums
5. The development of temporary exhibitions
Post-Modern Art
Movements
So far, there have been no great
international art movements
during the postmodernist period.
Instead, the era has been
characterized by a number of
national movements along with
several brand new artforms. In
addition, there have been
dozens of artistic splinter groups,
as well as one or two antipostmodernist schools whose
members have endeavoured to
produce the sort of art that
Michelangelo or Picasso would
have been proud of. Here is a
brief list of the main post-modern
movements, with explanatory
comments.
• Conceptualism (1960s onwards). See also: Conceptual Art.
Original objects of art are boring: it's the idea that counts.
• Performance (Early 1960s onwards). See: Performance Art and Happenings.
A new way to make art accessible to the masses.
• Installation (1960s onwards). See also: Installation Art.
A new way to draw spectators INTO the artwork.
• Video (1960s onwards). See also: Video Art, and Animation.
Art becomes dynamic, more absorbing, more exciting.
• Minimalism (1960s onwards)
A refuge of intellectual painters and sculptors anxious about "purity" in art.
• Photo-Realism (1960s, 1970s)
Copying photographs is easier and more fun than learning how to pain portraits.
• Earthworks (mid-1960s)
No greedy commercial galleries involved. See also: Land Art.
• Supports-Surfaces (c.1966-72)
Experimental shock tactics to gain fame.
• Post-Minimalism (1971 onwards)
A fun way to create objective art that deteriorates.
• New Subjectivity (1970s)
A halfway-house between classical art and postmodern anarchy. Fabulous works!
• Graffiti Art (1970s onwards)
Ultimate postmodernist movement: instant painting, instant fame.
• Neo-Expressionism (1979 onwards)
Renaissance art strikes back! An anti-post-modernist movement.
• Young British Artists/ Britart (1980s)
Combination of breathtaking business-savvy opportunism and shocking ideas. An explosion of extreme bad taste dressed
up as art. The public loved it.
• Neo-Pop Art (late 1980s onwards)
Huge plastic sculptures of children's toys and lots more in the same vein.
• Stuckism (1999 onwards)
Stuckists hate YBAs. Another anti-postmodernist tendency.
• New Leipzig School (c.2000 onwards)
East German centre of traditional excellence in painting and sculpture. No real connection with postmodernism.