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The Fauvist Movement took place in France, specifically Paris.

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French Expressionism, otherwise known as Fauvism, was started by Henri Matisse in the

early 1900’s. He wished to ‘achieve expressiveness in art’ by painting with “abandoned passion, and violence” (Hunter, Chapter 7, p101). Fauves did so with bright and vibrant paint colors.

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“Woman With The Hat”, Henri Matisse, 1905. Seen on SFMoMA https://www.sfmoma.org/artwork/91.161/

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HENRI MATISSE, "WOMAN WITH THE HAT", 1905

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HENRI MATISSE, "WOMAN WITH THE HAT", 1905

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In his art, Matisse “resists optical penetration and….invites the eye to travel and traverse, taking in but never violating the integrity of the frontal plane” (Hunter, Chapter 7, p105). This is seen in his painting “Woman With The Hat”, which was purchased by the Stein family, a French family of art collectors. The work was not received well by the general public, as many believed it to destroy the integrity of the woman’s face. His work, as well as all Fauvist paintings, became much more appreciated in later years for their vibrance and exploration.

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The Expressionist Movement took place in Germany.

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While Expressionism in Germany is similar to that of France, there is a distinct, intellectual difference between the two. While German Expressionist artists utilize the same bright color palette as the Fauves, Expressionist art has little to no logical and/or realistic elements. Instead, Expressionists focused on “evoking emotional intensity through impact and distortion” (Hunter, Chapter 8, p116).
In short, expressionist art is far less sophisticated; this is due to the revival of Gothic art in twentieth century Germany.
Der Blaue Reiter (The Blue Rider) was a prominent, sophisticated Expressionist group in Munich that turned their attention towards emphasizing the spiritual/symbolic in both the natural and abstract (Hunter, Chapter 8, p116).

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VASILY KANDINSKY, "LANDSCAPE WITH TOWER", 1909

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VASILY KANDINSKY, "LANDSCAPE WITH TOWER", 1909

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Kandinsky, a member of Der Blaue Reiter, painted representational, yet highly distorted figures. He created abstract ‘improvisations’, such as “Landscape with Tower” (seen above). This work has similar traits to a French painting, however the work is much less objective than anything a Fauve would produce.

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The Cubist Revolution started in Paris, France.

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In the early twentieth century, Paul Cézanne stated that artists should “treat nature in terms of the cylinder, the sphere, and the cone” (Hunter, Chapter 9, p132). Former Fauve Georges Braque and Spanish artist Pablo Picasso did just this, founding the Cubist Movement; the defining revolution of the twentieth century. Cubism taught spectators how to view objective forms in a new way; paintings were composite (Hunter).

Although the Cubist Revolution began with the help of a Fauve, many people claim that Cubism is quite the opposite of Fauvism, comparing the “rational vs. intuitive” and the “classical vs. romantic” (Hunter, Chapter 9, p133).

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“Houses on the Hill”, Pablo Picasso, 1909. Seen on MoMA.org https://www.moma.org/collection/works/78718

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Analytic Cubism, the first subgenre of the Cubist Revolution, brings ‘reality’ back to Cubism. This style is known for monochromatic color palettes, sharp/clear edges, and symbolism. This is seen in Picasso’s “Houses on the Hill” (above), one of his first works of the period.

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“Still Life With Chair Caning”, Pablo Picasso, 1912. Seen on MoMA.org https://www.moma.org/collection/works/78718

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The second subgenre of the Cubism Movement is Synthetic Cubism, which is known for being non-objective. During these two years, Picasso chose to disregard his paints and brushes, and exchanged them for more hands-on materials. Picasso was one of the first artists to use the collage technique––this became widely popular throughout the world, especially to Dada artists in the future. This is seen in the above work, “Still Life With Chair Caning”. While Synthetic Cubism may seem disruptive, there is a strange harmonious effect to each piece.

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The Futurist Movement took place in Italy.

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In Italy, Futurist artists promoted speed and violence in their work. The Futurism Movement was inspired by, and used similar elements from, the Cubist Revolution in France. Prominent artists from the movement such as F.T. Marinetti, Umberto Boccioni and Giacomo Balla published the “Manifesto of the Futurist Painters” on February 11, 1910; however the official manifesto, “Technical Manifesto of Futurist Painting” was published on April 11, exactly two months later.

Significant points from the manifesto state that it is “essential to rebel against the tyranny of the terms ‘harmony’ and ‘good taste’...  to demolish the works of Rembrandt, of Goya and of Rodin” (Hunter, Chapter 10, p152). What Futurism means, is to rebel against Academic and sophisticated art.

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“Dynamism of a Soccer Player”, Umberto Boccioni, 1913. Seen on MoMA.org https://www.moma.org/collection/works/80009

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UMBERTO BOCCIONI, "DYNAMISM OF A SOCCER PLAYER", 1913

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UMBERTO BOCCIONI, "DYNAMISM OF A SOCCER PLAYER", 1913

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Boccioni, as one of the most powerful Futurists, created the above work as a study of movement. While the painting may seem non-objective, the title states exactly what the viewer is seeing. “Dynamism of a Soccer Player” also revived artists ‘interest in color’ (Hunter p154), as compared to the monochromatic works of the Cubism Movement.

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Modern/Abstract sculptors created works in France.

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Modern, or abstract, sculptors of the early twentieth century enjoyed depicting primitive objects and people in an abstract manner. Sculptors like Matisse and Brancusi used mediums such as limestone, marble, and bronze to portray everyday objects in a new way. For example, Brancusi’s sculpture, “The Kiss”, is “heavy, blocky and massive” (Hunter, Chapter 5, p76). He was influenced by the simplicity and “erotic candor of African sculpture” (Hunter, Chapter 5, p76).

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The Suprematist Movement took place in Russia.

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In simple terms, Suprematism was the Russian artists’ attempt to escape objectivity. Kasimir Malevich coined the terms ‘Cubo-Futurist’ and ‘Nonsense Realism’ to describe himself and his work, respectively. He later defined Suprematism as “the supremacy of feeling in art” (Hunter, Chapter 10, p157). This inspired artists from other countries, such as Mondrian and Kandinsky, to join the trend of creating Non-Objective art.

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The Dada Revolution started in Zurich, Switzerland, and quickly spread into Germany.

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“Cut With The Kitchen Knife”, Hanna Höch, 1919. Seen on MoMA.org https://www.moma.org/audio/playlist/198/2633

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Of all movements covered, the Dada revolution is arguably the most controversial, yet most interesting. The German movement was a rebellion against all previous art ‘norms’. During the first World War, artists created pieces to communicate their “sympathetic identification with the futility of those dying senselessly in the monstrous charade of World War I” (Hunter, Chapter 11, p167). Dada artists invented new art forms, such as the Photo-Collage (as seen above), and the Tone Poem. These nonsense works spread far and wide; Dadaists were found in Germany, New York, and more. Prominent artists of the period were Kurt Schwitters, Hanna Höch, Tristan Tzara and Max Ernst.

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The Neo-Plastic Movement took place in The Netherlands.

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1917-1931: DE STIJL/ NEOPLASTICISM, THE NETHERLANDS

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1917-1931: DE STIJL/ NEOPLASTICISM, THE NETHERLANDS

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Simply meaning “The Style”, the De Stijl movement revived the Cubist movement while adding elements to make the aesthetic machine-like and more refined. Piet Mondrian, the movement’s most significant artist, combined flat, colorful areas with geometric forms in order to create many significant pieces. Artists of the Neoplasticism movement created works of small squares, large grids and primary colors. De Stijl’s geometric and simple forms later influenced modern architecture throughout the world.

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“Composition in Red, Blue and Yellow”, Piet Mondrian, 1930. Seen on MoMA.org https://www.moma.org/calendar/exhibitions/470

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PIET MONDRIAN, "COMPOSITION IN RED, BLUE AND YELLOW", 1930

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PIET MONDRIAN, "COMPOSITION IN RED, BLUE AND YELLOW", 1930

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This Neo-Plastic composition ‘expresses the unity of the modern spirit’ (Hunter). Mondrian’s aesthetic is precise and clean; he translated this into modern architecture, typography and interior design. After the second World War, years after the fall of Neoplasticism, Mondrian’s influence was still just as prominent as many artists chose to depict the world using neo-plastic elements.

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The Purist Movement took place in France.

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“Le Corbusier, Still Life”, Charles Eduoard Jeanneret, 1920. Seen on MoMA.org, https://www.moma.org/collection/works/79312

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After the first World War, artists in France had begun to embrace the machine in their work, therefore bringing forth the Purism style. Purism was an attempt to return to normalcy post-war by using minimal detail, this causes pieces to seem as though a machine had produced them. Significant artists such as Amedee Ozenfant and Charles Eduoard Jeanneret created satisfying and aesthetically pleasing pieces that helped the public return to previous times.

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The Constructivist Movement took place in Russia.

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The Russian Constructivist movement, founded by Vladimir Tatlin and Alexander Rodchenko, was an abstract movement that used simple color palettes and geometric shapes to convey the ideas of modern society. The movement was inspired by the Cubist and Futurist movements, and used similar styles to ‘construct’ knowledge through informational posters and architecture.

The most influential piece from the Constructivist movement is Alexander Rodchenko’s poster titled “Books Please!”. The work (seen above) mixes photography and art to show the mix between the flat and three-dimensional worlds; this ‘suggested the new perspective from the Russian society in lieu of the Bolshevik Revolution’ (Hunter, Chapter 10, p159), a socialist revolution in hopes of abolishing Russia’s monarchy.

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The Surrealist Movement took place all throughout Europe.

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The time between the two World Wars gave European artists the opportunity to tap into their unconscious through Surreal art. The Surrealist movement complimented Freudian psychology, depicting images of hallucinations, dreams and irrational thoughts. In the Surrealist Manifesto of 1924, André Breton wrote “I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of reality, a surreality, if one may so speak” (Hunter, Chapter 12, p178).

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The first subgenre of Surrealism, Automatism, shows the “process of tapping the unconscious by writing in a trancelike state and registering the involuntary images that tumble out” (Orfila, ARTH 3303 Lecture, Surrealism). Three major artists from this period are André Masson, Joan Miró and Max Ernst, who all disregard their consciousness as a way of producing art.

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“Battle of the Fishes”, André Masson, 1927. Seen on MoMA.org https://www.moma.org/collection/works/79309

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ANDRE MASSON, "BATTLE OF THE FISHES", 1927

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ANDRE MASSON, "BATTLE OF THE FISHES", 1927

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This work from the Automatism period of the Surrealist movement had a very unique creative process. Masson used his fine calligraphy skills to transform typography into violence, as seen through the battling fishes. Masson also used glue on the paper to create large forms, then tossed sand onto the wet glue, creating a new texture for the work. To Masson, this work represented both human passion/aggression, as well as the unity of everything.

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The second time period of the Surrealist movement is the Illusionistic Dream. Significant artists such as Salvador Dalí, Rene Magritte, and Yves Tanguy had a particular “style that fixed hallucinatory and fantastic subject matter, meticulously painted images with academic precision and clarity…in other words, hand painted dreams” (Orfila, ARTH 3303 Lecture, Surrealism). Contrasting from Automatism, this movement created realistic depictions of unrealistic things.

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“The Persistence of Memory”, Salvador Dalí, 1931. Seen on MoMA.org https://www.moma.org/collection/works/79018

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SALVADOR DALI, "THE PERSISTENCE OF MEMORY", 1931

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SALVADOR DALI, "THE PERSISTENCE OF MEMORY", 1931

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“The Persistence of Memory” is one of Dalí’s most famous works, as well as one of the most significant paintings from the Illusionistic Dream. In this painting (seen above) the artist creates a lifelike scene of irrational things; the way the liquid clock flows gives the viewer the idea of how flexible and fluid time truly is. This work went on to influence many artists in the future, as many ‘spin-offs’ or copies are still being made today.

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“Woman With The Hat”, Henri Matisse, 1905.

“Landscape With Tower”, Vasily Kandinsky, 1909.

“Houses On The Hill”, Pablo Picasso, 1909.

“Still Life With Chair Caning”, Pablo Picasso, 1912.

“Dynamism Of A Soccer Player”, Umberto Boccioni, 1913.

“The Kiss”, Constantin Brancusi, 1913.

“Eight Red Rectangles”, Kasimir Malevich, 1914.

“Cut With The Kitchen Knife”, Hanna Höch, 1919

“Composition in Red, Blue and Yellow”, Piet Mondrian, 1930.

“Le Corbusier”, Charles Eduard Jeannette, 1920.

“Books, Please!”, Alexander Rodchenko, 1925.

“Battle Of The Fishes”, André Masson, 1927.

“The Persistence Of Memory”, Salvador Dalí, 1931.

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FryeMuseum.org

Guggenheim.org

Hunter, Sam, et al. Modern Art: Painting, Sculpture, Architecture, Photography. Prentice Hall, 2005.

MoMA.org

PhilaMuseum.org

SFMoMA.org

Useum.org