# data[].attributes.headline
"Abstract Expressionism" was never an ideal label for the movement, which developed in New York in the 1940s and 1950s. It was somehow meant to encompass not only the work of painters who filled their canvases with fields of color and abstract forms, but also those who attacked their canvases with a vigorous gestural expressionism. Still Abstract Expressionism has become the most accepted term for a group of artists who held much in common. All were committed to art as expressions of the self, born out of profound emotion and universal themes, and most were shaped by the legacy of Surrealism, a movement that they translated into a new style fitted to the post-war mood of anxiety and trauma. In their success, these New York painters robbed Paris of its mantle as leader of modern art, and set the stage for America's dominance of the international art world.

# data[].attributes.subject
"Abstract Expressionism" was never an ideal label for the movement, which developed in New York in the 1940s and 1950s. It was somehow meant to encompass not only the work of painters who filled their canvases with fields of color and abstract forms, but also those who attacked their canvases with a vigorous gestural expressionism. Still Abstract Expressionism has become the most accepted term for a group of artists who held much in common. All were committed to art as expressions of the self, born out of profound emotion and universal themes, and most were shaped by the legacy of Surrealism, a movement that they translated into a new style fitted to the post-war mood of anxiety and trauma. In their success, these New York painters robbed Paris of its mantle as leader of modern art, and set the stage for America's dominance of the international art world.

# data[].attributes.body
pablo picasso

# data[].attributes.body
Childe Hassam

Édouard Manet

Edgar Degas

Camille Pissarro

Mary Cassatt

Berthe Morisot

# data[].attributes.body
Exhibitions in Paris and The Salon des Refusés

In 1863, at the official yearly art salon, the all-important event of the French art world, a large number of artists were not allowed to participate, leading to public outcry. The same year, the Salon des Refusés ("Salon of the Refused") was formed in response, to allow the exhibition of works by artists who had previously been refused entrance to the official salon. The exhibited artists included Paul Cézanne, Camille Pissarro, James Whistler, and Édouard Manet. Although it was sanctioned by Emperor Napoleon III to placate the artists involved, the 1863 exhibition was highly controversial with the public, due largely to the unconventional themes and styles of works such as Manet's Le déjeuner sur l'herbe (1863), which featured clothed men and naked women enjoying an afternoon picnic (these women were not classical nudes, but modern women - possibly prostitutes - in a state of undress whose connotations were far more explicitly sexual).

# data[].attributes.body
Fauvism, the first 20th-century movement in modern art, was initially inspired by the examples of Vincent van Gogh, Paul Gauguin, Georges Seurat, and Paul Cézanne. The Fauves ("wild beasts") were a loosely allied group of French painters with shared interests. Several of them, including Henri Matisse, Albert Marquet, and Georges Rouault, had been pupils of the Symbolist artist Gustave Moreau and admired the older artist's emphasis on personal expression. Matisse emerged as the leader of the group, whose members shared the use of intense color as a vehicle for describing light and space, and who redefined pure color and form as means of communicating the artist's emotional state. In these regards, Fauvism proved to be an important precursor to Cubism and Expressionism as well as a touchstone for future modes of abstraction

# data[].attributes.body
One of Fauvism's major contributions to modern art was its radical goal of separating color from its descriptive, representational purpose and allowing it to exist on the canvas as an independent element. Color could project a mood and establish a structure within the work of art without having to be true to the natural world.

Another of Fauvism's central artistic concerns was the overall balance of the composition. The Fauves' simplified forms and saturated colors drew attention to the inherent flatness of the canvas or paper; within that pictorial space, each element played a specific role. The immediate visual impression of the work is to be strong and unified.

Above all, Fauvism valued individual expression. 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. All elements of painting were employed in service of this goal.

# data[].attributes.body
Henri Matisse,
Albert Marquet
Georges Rouault

# data[].attributes.body
Cubism developed in the aftermath of Pablo Picasso's shocking 1907 Les Demoiselles d'Avignon in a period of rapid experimentation between Pablo Picasso and Georges Braque. Drawing upon Paul Cezanne’s emphasis on the underlying architecture of form, these artists used multiple vantage points to fracture images into geometric forms. Rather than modelled forms in an illusionistic space, figures were depicted as dynamic arrangements of volumes and planes where background and foreground merged. The movement was one of the most groundbreaking of the early-20th century as it challenged Renaissance depictions of space, leading almost directly to experiments with non-representation by many different artists. Artists working in the Cubist style went on to incorporate elements of collage and popular culture into their paintings and to experiment with sculpture.

A number of artists adopted Picasso and Braque's geometric faceting of objects and space including Fernand Léger and Juan Gris, along with others that formed a group known as the Salon Cubists.

# data[].attributes.body
The artists abandoned perspective, which had been used to depict space since the Renaissance, and they also turned away from the realistic modeling of figures.

Cubists explored open form, piercing figures and objects by letting the space flow through them, blending background into foreground, and showing objects from various angles. Some historians have argued that these innovations represent a response to the changing experience of space, movement, and time in the modern world. This first phase of the movement was called Analytic Cubism.

In the second phase of Cubism, Synthetic Cubism practicioners explored the use of non-art materials as abstract signs. Their use of newspaper would lead later historians to argue that, instead of being concerned above all with form, the artists were also acutely aware of current events, particularly World War I.

Cubism paved the way for non-representational art by putting new emphasis on the unity between a depicted scene and the surface of the canvas. These experiments would be taken up by the likes of Piet Mondrian, who continued to explore their use of the grid, abstract system of signs, and shallow space.

# data[].attributes.headline
The futurism art is principal base on a technical progress of the modern machine age, dynamism, speed, energy, vitally and change. This movement origins in Italy and start as artistic and social movement. Futurism represent the dynamic vision of the future and often portrayed urban landscapes and new technologies. This movement was an artistic and social that starts in Italy early 20th century. 

# data[].attributes.subject
The futurism art is principal base on a technical progress of the modern machine age, dynamism, speed, energy, vitally and change. This movement origins in Italy and start as artistic and social movement. Futurism represent the dynamic vision of the future and often portrayed urban landscapes and new technologies. This movement was an artistic and social that starts in Italy early 20th century. 

# data[].attributes.body
A key focus of the Futurists was the depiction of movement, or dynamism. The group developed a number of novel techniques to express speed and motion, including blurring, repetition, and the use of lines of force. This last method was adapted from the work of the Cubists and the inclusion of such lines became a feature of Futurist images.

The Futurists published a huge number of different manifestos, using them to communicate their aesthetic, political, and social ideals. Although both the Realists and Symbolists had previously produced similar documents, the sheer scale with which the Futurists created and disseminated their manifestos was unprecedented, allowing them to transmit their ideas to a wider audience. To assist them logistically with their distribution, the group made use of some of the new technologies they depicted in their art including advancements in mass media, printing, and transportation.

Many Italian Futurists supported Fascism and parallels can be drawn between the two movements. Like the Fascists, the Futurists were strongly patriotic, excited by violence and opposed to parliamentary democracy. When Mussolini took power in 1922 it brought Futurism official acceptance, but, later, this adversely affected many of the artists as they became tainted by association.

# data[].attributes.headline
The shared goal of the founders of Constructivism was to produce artworks and buildings using modern materials and designs that would awaken the proletariat to imperialist class divisions and other bourgeois inequalities. The Constructionists sought, in Aleksei Gan’s words, “to find the Communist expression of material construction [and] to establish a scientific base for the approach to constructing buildings and services that would fulfil the demands of Communist culture”.Constructivism became closely aligned with the idea of agitprop (agitational propaganda) which applied to an artwork that aimed to educate and indoctrinate its audience to the prevailing Bolshevik cause. By employing arrangements of basic industrial geometric forms and colors the new Soviet Union would be represented by the new languages of industry and modernity. However, most of the country were semi/illiterate land workers, and these remote communities were reached through Agit Trains. These featured (amongst other things) purpose-built cinemas which delivered the Bolshevik message through unambiguous propaganda films, known as agitki.Once evolved into Productivism, Constructivist art promoted the idea of an industrial production must directly address the needs of the proletariat. Without abandoning their commitment to basic geometric shapes and colors, Productivists moved away from abstraction and engaged with design activities including furniture design, ceramics, textile design, graphic design and advertising, and theater set design.Constructivist art often aimed to demonstrate how materials behaved and to test, for instance, the properties of materials such as wood, glass, and metal. The form an artwork would take would be dictated by its materials rather than in traditional art practice whereby the artist transforms his or her base materials into something different (and possibly beautiful). These inquiries were often in and of themselves. For many Constructivists, this entailed a commitment to the "truth to materials", that being, the belief that materials should be employed only in accordance with their capacities, and in such a way that demonstrated the uses to which they should be put.

# data[].attributes.subject
The shared goal of the founders of Constructivism was to produce artworks and buildings using modern materials and designs that would awaken the proletariat to imperialist class divisions and other bourgeois inequalities. The Constructionists sought, in Aleksei Gan’s words, “to find the Communist expression of material construction [and] to establish a scientific base for the approach to constructing buildings and services that would fulfil the demands of Communist culture”.Constructivism became closely aligned with the idea of agitprop (agitational propaganda) which applied to an artwork that aimed to educate and indoctrinate its audience to the prevailing Bolshevik cause. By employing arrangements of basic industrial geometric forms and colors the new Soviet Union would be represented by the new languages of industry and modernity. However, most of the country were semi/illiterate land workers, and these remote communities were reached through Agit Trains. These featured (amongst other things) purpose-built cinemas which delivered the Bolshevik message through unambiguous propaganda films, known as agitki.Once evolved into Productivism, Constructivist art promoted the idea of an industrial production must directly address the needs of the proletariat. Without abandoning their commitment to basic geometric shapes and colors, Productivists moved away from abstraction and engaged with design activities including furniture design, ceramics, textile design, graphic design and advertising, and theater set design.Constructivist art often aimed to demonstrate how materials behaved and to test, for instance, the properties of materials such as wood, glass, and metal. The form an artwork would take would be dictated by its materials rather than in traditional art practice whereby the artist transforms his or her base materials into something different (and possibly beautiful). These inquiries were often in and of themselves. For many Constructivists, this entailed a commitment to the "truth to materials", that being, the belief that materials should be employed only in accordance with their capacities, and in such a way that demonstrated the uses to which they should be put.

# data[].attributes.body
The arrival of Expressionism announced new standards in the creation and judgment of art. Art was now meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition.

Expressionist artists often employed swirling, swaying, and exaggeratedly executed brushstrokes in the depiction of their subjects. These techniques were meant to convey the turgid emotional state of the artist reacting to the anxieties of the modern world.

Through their confrontation with the urban world of the early-20th century, Expressionist artists developed a powerful mode of social criticism in their serpentine figural renderings and bold colors. Their representations of the modern city included alienated individuals - a psychological by-product of recent urbanization - as well as prostitutes, who were used to comment on capitalism's role in the emotional distancing of individuals within cities.

# data[].attributes.headline
USO de figuras geométricas, letras (mucho texto), lógica arquitectónica

# data[].attributes.subject
USO de figuras geométricas, letras (mucho texto), lógica arquitectónica

# data[].attributes.body
Dada was the direct antecedent to the Conceptual Art movement, where the focus of the artists was not on crafting aesthetically pleasing objects but on making works that often upended bourgeois sensibilities and that generated difficult questions about society, the role of the artist, and the purpose of art.

So intent were members of Dada on opposing all norms of bourgeois culture that the group was barely in favor of itself: "Dada is anti-Dada," they often cried. The group's founding in the Cabaret Voltaire in Zürich was appropriate: the Cabaret was named after the 18th century French satirist, Voltaire, whose novella Candide mocked the idiocies of his society. As Hugo Ball, one of the founders of both the Cabaret and Dada wrote, "This is our Candide against the times."

Artists like Hans Arp were intent on incorporating chance into the creation of works of art. This went against all norms of traditional art production whereby a work was meticulously planned and completed. The introduction of chance was a way for Dadaists to challenge artistic norms and to question the role of the artist in the artistic process.

Dada artists are known for their use of readymades - everyday objects that could be bought and presented as art with little manipulation by the artist. The use of the readymade forced questions about artistic creativity and the very definition of art and its purpose in society.

# data[].attributes.headline
André Breton defined Surrealism as "psychic automatism in its pure state, by which one proposes to express - verbally, by means of the written word, or in any other manner - the actual functioning of thought." What Breton is proposing is that artists bypass reason and rationality by accessing their unconscious mind. In practice, these techniques became known as automatism or automatic writing, which allowed artists to forgo conscious thought and embrace chance when creating art.The work of Sigmund Freud was profoundly influential for Surrealists, particularly his book, The Interpretation of Dreams (1899). Freud legitimized the importance of dreams and the unconscious as valid revelations of human emotion and desires; his exposure of the complex and repressed inner worlds of sexuality, desire, and violence provided a theoretical basis for much of Surrealism.Surrealist imagery is probably the most recognizable element of the movement, yet it is also the most elusive to categorize and define. Each artist relied on their own recurring motifs arisen through their dreams or/and unconscious mind. At its basic, the imagery is outlandish, perplexing, and even uncanny, as it is meant to jolt the viewer out of their comforting assumptions. Nature, however, is the most frequent imagery: Max Ernst was obsessed with birds and had a bird alter ego, Salvador Dalí's works often include ants or eggs, and Joan Miró relied strongly on vague biomorphic imagery.

# data[].attributes.subject
André Breton defined Surrealism as "psychic automatism in its pure state, by which one proposes to express - verbally, by means of the written word, or in any other manner - the actual functioning of thought." What Breton is proposing is that artists bypass reason and rationality by accessing their unconscious mind. In practice, these techniques became known as automatism or automatic writing, which allowed artists to forgo conscious thought and embrace chance when creating art.The work of Sigmund Freud was profoundly influential for Surrealists, particularly his book, The Interpretation of Dreams (1899). Freud legitimized the importance of dreams and the unconscious as valid revelations of human emotion and desires; his exposure of the complex and repressed inner worlds of sexuality, desire, and violence provided a theoretical basis for much of Surrealism.Surrealist imagery is probably the most recognizable element of the movement, yet it is also the most elusive to categorize and define. Each artist relied on their own recurring motifs arisen through their dreams or/and unconscious mind. At its basic, the imagery is outlandish, perplexing, and even uncanny, as it is meant to jolt the viewer out of their comforting assumptions. Nature, however, is the most frequent imagery: Max Ernst was obsessed with birds and had a bird alter ego, Salvador Dalí's works often include ants or eggs, and Joan Miró relied strongly on vague biomorphic imagery.

# data[].attributes.headline
The Impressionists used looser brushwork and lighter colors than previous artists. They abandoned traditional three-dimensional perspective and rejected the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted Impressionist paintings for their unfinished appearance and seemingly amateurish quality.Picking up on the ideas of Gustave Courbet, the Impressionists aimed to be painters of the real: they aimed to extend the possible subjects for paintings. Getting away from depictions of idealized forms and perfect symmetry, they concentrated on the world as they saw it, which was imperfect in a myriad of ways.Scientific thought in the Impressionist era was beginning to recognize that what the eye perceived and what the brain understood were two different things. The Impressionists sought to capture the former - the optical effects of light - to convey the fleeting nature of the present moment, including ambient features such as changes in weather, on their canvases. Their art did not necessarily rely on realistic depictions.Impressionism records the effects of the massive mid-19th-century renovation of Paris, led by civic planner Georges-Eugène Haussmann, which included the city's newly constructed railway stations; wide, tree-lined boulevards that replaced the formerly narrow, crowded streets; and large, deluxe apartment buildings. The works that focused on scenes of public leisure - especially scenes of cafés and cabarets - often conveyed the new sense of alienation experienced by the inhabitants of the first modern metropolis.

# data[].attributes.subject
The Impressionists used looser brushwork and lighter colors than previous artists. They abandoned traditional three-dimensional perspective and rejected the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted Impressionist paintings for their unfinished appearance and seemingly amateurish quality.Picking up on the ideas of Gustave Courbet, the Impressionists aimed to be painters of the real: they aimed to extend the possible subjects for paintings. Getting away from depictions of idealized forms and perfect symmetry, they concentrated on the world as they saw it, which was imperfect in a myriad of ways.Scientific thought in the Impressionist era was beginning to recognize that what the eye perceived and what the brain understood were two different things. The Impressionists sought to capture the former - the optical effects of light - to convey the fleeting nature of the present moment, including ambient features such as changes in weather, on their canvases. Their art did not necessarily rely on realistic depictions.Impressionism records the effects of the massive mid-19th-century renovation of Paris, led by civic planner Georges-Eugène Haussmann, which included the city's newly constructed railway stations; wide, tree-lined boulevards that replaced the formerly narrow, crowded streets; and large, deluxe apartment buildings. The works that focused on scenes of public leisure - especially scenes of cafés and cabarets - often conveyed the new sense of alienation experienced by the inhabitants of the first modern metropolis.

# data[].attributes.headline
Political instability in Europe in the 1930s brought several leading Surrealists to New York, and many of the Abstract Expressionists were profoundly influenced by Surrealism's focus on mining the unconscious. It encouraged their interest in myth and archetypal symbols and it shaped their understanding of painting itself as a struggle between self-expression and the chaos of the subconscious.Most of the artists associated with Abstract Expressionism matured in the 1930s. They were influenced by the era's leftist politics, and came to value an art grounded in personal experience. Few would maintain their earlier radical political views, but many continued to adopt the posture of outspoken avant-gardists.Having matured as artists at a time when America suffered economically and felt culturally isolated and provincial, the Abstract Expressionists were later welcomed as the first authentically American avant-garde. Their art was championed for being emphatically American in spirit - monumental in scale, romantic in mood, and expressive of a rugged individual freedom.Although the movement has been largely depicted throughout historical documentation as one belonging to the paint-splattered, heroic male artist, there were several important female Abstract Expressionists that arose out of New York and San Francisco during the 1940s and '50s who now receive credit as elemental members of the canon.

# data[].attributes.subject
Political instability in Europe in the 1930s brought several leading Surrealists to New York, and many of the Abstract Expressionists were profoundly influenced by Surrealism's focus on mining the unconscious. It encouraged their interest in myth and archetypal symbols and it shaped their understanding of painting itself as a struggle between self-expression and the chaos of the subconscious.Most of the artists associated with Abstract Expressionism matured in the 1930s. They were influenced by the era's leftist politics, and came to value an art grounded in personal experience. Few would maintain their earlier radical political views, but many continued to adopt the posture of outspoken avant-gardists.Having matured as artists at a time when America suffered economically and felt culturally isolated and provincial, the Abstract Expressionists were later welcomed as the first authentically American avant-garde. Their art was championed for being emphatically American in spirit - monumental in scale, romantic in mood, and expressive of a rugged individual freedom.Although the movement has been largely depicted throughout historical documentation as one belonging to the paint-splattered, heroic male artist, there were several important female Abstract Expressionists that arose out of New York and San Francisco during the 1940s and '50s who now receive credit as elemental members of the canon.

# data[].attributes.headline
Dalí represented in this image the fluidity of time and represented as a melting cheese at the sun and take the reality to another point where the surrealism change the things to others that are not

# data[].attributes.subject
Dalí represented in this image the fluidity of time and represented as a melting cheese at the sun and take the reality to another point where the surrealism change the things to others that are not

# data[].attributes.headline
Remedios used fúmage the technique that use sooty and also it uses the faces that are like artist one, and use the mountains as representations of chimeneas and use mist to give anxiety or adventure sensation to the work

# data[].attributes.subject
Remedios used fúmage the technique that use sooty and also it uses the faces that are like artist one, and use the mountains as representations of chimeneas and use mist to give anxiety or adventure sensation to the work

# data[].attributes.headline
Aragon draw this representing 27 artworks that came in company with a poem and in this poems he show respect to at her artist of surrealism

# data[].attributes.subject
Aragon draw this representing 27 artworks that came in company with a poem and in this poems he show respect to at her artist of surrealism

# data[].attributes.body
This paint shows how does the fénix the bird who resurrects of his ashes is in a tree which represents that everything have a place to live and a place that will accept us,