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Fauvism was an artistic movement in France that is often described as Expressionistic. It's style emphasized emotions and valued inward revelations and spiritual values over the observation of nature. It is characterized through the use of vibrant colors, spontaneity, it's optical sensations, and it's structure of lines. Fauvism became relevant because it was one of the first movements that introduced a clear idea about what Expressionism looks like.

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FAUVISM-Henri Matisse: Joy of Life. 1905-1906, France.

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FAUVISM-Henri Matisse: Joy of Life. 1905-1906, France.

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Henri Matisse was the leading artist in the Fauvist movement. He sought to go beyond human facial expression and aimed to create whole compositions filled with expressive elements. Matisse consciously used color to establish solid forms so much so that his pure colors became plastic forces.

In his piece, Joy of Life, nude celebrants of life are pictured on a beach in Saint Trapez. Matisse was able to embrace a more classical theme yet combined arabesque lines, radiant colors, and overall expression to the innocence of enjoying life freely. His use of bright colors on flat planes created open space that guides the viewer's eye around the entire piece as a whole. The expressionistic use of effervescent colors contradict beautifully. Joy of Life speaks optimistically to any viewer creating a sensation of contentment and happiness which was Matisse's main desire.

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Much like Fauvism, German Expressionism was a movement that emphasized emotion and valued inward revelations; however, German artists were more abstract and individualistic than the French. Germans had a massive interest in psychology which led to subject matters that were emotional and had depths of tormented and pathological personality.

Four German artists banded together at this time to form a group named Die Brucke (The Bridge) which carried the ideals of German Expressionism. Their names were Ernst Ludwig Kirchner, Karl Schmidt, Erich Heckel, and Fritz Bleyl. Die Brucke's manifesto aimed to publicly protest those in power as well as rebel against the old tyranny of the Academy and the new tyranny of Impressionism. They strove to escalate humanity's realization of itself and nature through striking contrasts of color, jagged lines, and forced distortion of natural forms.

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Cubism was an art movement that originated in Paris. It initially was recognized after the death of Paul Cezanne who laid the foundation for this movement. Both Georges Braque and Pablo Picasso developed the movement forward to create something that was completely opposite of Fauvism. Cubism is characterized through its use of multiple and mixed perspective, flat and shallow space, and its angular imagery. Subject matters pushed the idea that perception does not come from a single glance but from an all-encompassing glance that requires an intellect's capacity to conceptualize form. Cubism, although may seem like it, is not a form of abstraction due to its representational subject matters.

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CUBISM- Pablo Picasso: Les Demoiselles d'Avignon. 1907, Paris.

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CUBISM- Pablo Picasso: Les Demoiselles d'Avignon. 1907, Paris.

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Created in Paris, France, this work of art is highly recognized to be the first Cubist painting. It depicts a group of nudes in crude forms with expressive intensity. Picasso was overall inspired by the use of Cezanne's structure combined with African art. Its violent and tribal forms come together to create this new form of expression for Picasso and the start of Analytic Cubism whos goal was to break down a figure viewpoint by viewpoint.

Although color was not meant to be expressive in this movement, it still provided further context to what the artist wanted to portray. The angular pink bodies combined with dark, mask-like facial expressions create a sensation of anxiety and psychological terror. The violent colors also gives the distortions of the body a barbaric spirit. Being that it embodies the idea of femmes fatales in which woman are troublesome and dangerous, it's colors of the painting become more and more fitting.

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Feeling as though they lived in the shadow of Italy's artistic tradition of  the Renaissance and Baroque Periods, Italian Futurists were compelled to rid themselves of the past. Art made during this movement wanted to celebrate the modern technological urban existence that evoked speed, violence, dynamic movement, and the passage of time. It was considered to be the first militant movement that included a program of action. These artists wanted to be revolutionary and glorify originality in order to progress politically, socially, and culturally.

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ITALIAN FUTURISM Giacomo Balla: Street Light. 1911, Italy.

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ITALIAN FUTURISM Giacomo Balla: Street Light. 1911, Italy.

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Giacomo Balla's art embodies the philosophy of Italian Futurism. Wanting to emphasize technological advancements, Street Light achieves just that. With its strenuous details, bright lines of color create the excitement of a street lamp. The purpose of it's bright colors are to create a sensation of intense heat and power that collide beautifully to form an appreciation of everyday technology.

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GERMAN EXPRESSIONISM-Der Blaue Reiter (The Blue Rider) 1911-1913 -Germany

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GERMAN EXPRESSIONISM-Der Blaue Reiter (The Blue Rider) 1911-1913 -Germany

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The Blue Rider was the second major German Expressionist group. Compared to members of Die Brucke, The Blue Rider were more sophisticated, intellectual, and less primitivistic. They stressed the spiritual and symbolic properties of natural and abstract forms. This movement is important because it led to the first free-form, nonobjective art of the new century.

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GERMAN EXPRESSIONISM- Der Blaue Reiter Member Vasily Kandinsky: Composition IV. 1911, Germany. 

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GERMAN EXPRESSIONISM- Der Blaue Reiter Member Vasily Kandinsky: Composition IV. 1911, Germany. 

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Composition IV by Kandinsky is the first work of art that introduced abstraction. Kandinsky believed in theosophy which was a philosophy that the energy of nature could help one understand the mind of god. Because of this belief, theosophy plays a role in this piece.

Composition IV depicts a horseman that is completely abstracted in a pictorial way. His arrangement of color, form , and symbols create the expression of emotions. Both line and color exist independently to create rhythmic movement that reflect the inner spiritual self rather than observed events which was Kandinsky's goal.

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GERMAN EXPRESSIONISM Erich Heckel: Two Men at a Table. 1912, Germany.

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GERMAN EXPRESSIONISM Erich Heckel: Two Men at a Table. 1912, Germany.

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Erich Heckel, being one of the four Die Brucke members, carried the ideals of German Expressionism with more penetrating psychological subjects. In Two Men at a Table, two men are pictured sitting together with unhappy expressions that hint of doubt, distrust, and alienation. This is reflected through his use of muted colors that give off a melancholic tone. With a painting of a distorted, suffering crucified image of Christ in the back, the emotions of anxiety and despair are heightened. A knife placed in between the two men as well as the desaturated use of color, taunt the characters and adds that emotional value of uneasiness.

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Suprematism was a movement that was primarily in Russia that embraced total nonobjectivity. Its radical and visionary values is what pushed the movement further due to it being a powerful and effective means toward realization. This movement is what led to the second abstractionist movement.

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SYNTHETIC CUBISM Georges Braque: Fruit Dish and Glass. 1912, France.

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SYNTHETIC CUBISM Georges Braque: Fruit Dish and Glass. 1912, France.

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George Braque invented papier colle, or pasted papers, which was a composition made entirely of fragments of paper that were assembled together. This painting overall represented the essence of Synthetic Cubism whos goal was to affirm the physical flatness of a painted surface. In Fruit Dish and Glass, faux bois wallpaper that replicated fake wood grain was torn and added to the piece along with charcoal drawings that resembled a front drawer and the walls and floor of a bar.

This piece is significant not because it included bright expressive colors but because the colors of the material, although more dull, created a challenge to the viewer. Does the truth lie in the wood of the wallpaper or in the deception of the still life drawing. Either way, Braque used these materials that overall paved the rode for Synthetic Cubism.

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CUBIST SCULPTURE Alexander Archipenko: Médrano II. 1913, France.

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CUBIST SCULPTURE Alexander Archipenko: Médrano II. 1913, France.

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Cubist innovation did not stop at painting, it also impacted the world of sculpture.  In Medrano II, a circus performer is depicted in a variety of materials such as tin, wood, and glass. Archipenko's fascination for polychromy  is apparent in the variety of colors in this sculpture. Inspired by the Medrano Circus, this figure is shown with one leg bended and includes a ball which suggests the lighthearted attitude of an acrobat or juggler.

The colors that comprise the piece give an overall playful spirit which encompasses the circus nicely. With the delicate painted pattern on the figure's skirt as well as the brightly colored geometric shapes, the piece seems to have movement that creates an energy of a lively circus.

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The Armory Show was a extraordinary exhibition that displayed both American and European art. It showed works from artists such as Gauguin, Van Gogh, Cezanne, Henri Rousseau, Matisse, Picasso, and many more. The Americans contributed many pieces as well but were shocked by the European's art due to it's progression and how avant-garde it was. The Armory Show exposed the representational , derivative, and hesitant ways of American art which made a huge impact for the nation. For the United States, the show initiated a new spirit in art.

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GERMAN EXPRESSIONISM- Der Blaue Reiter Member Franz Marc: Animals' Fate. 1913, Germany

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GERMAN EXPRESSIONISM- Der Blaue Reiter Member Franz Marc: Animals' Fate. 1913, Germany

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Franz Marc, being a member of The Blue Rider, pursued spiritual values through art, but his symbolism identified feeling with animal existence in nature. In his piece titled Animals' Fate, an apocalyptical holocaust is occurring in which a blue deer is lifting its head to a fallen tree. The color of blue is used to symbolize hope however is contracting in the fact that animals, the forest, and earth, is experiencing this disastrous natural event. With it's use in color and line, red, green, blue, and orange colors surround the piece in a hectic and frantic manner that establishes feeling of overwhelmingly anxious emotions.

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SUPREMATISM- Kasimir Malevich: Airplane Flying. 1915, Russia.

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SUPREMATISM- Kasimir Malevich: Airplane Flying. 1915, Russia.

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Kasimir Malevich was known for setting the second abstractionist movement known as Suprematism which believed that free-form, non-representational subjects are the supremacy of feeling in art. Malevich's paintings had to be free from political or social content and focused on the issues of line, form, and color

In Airplane Flying, red, black, blue, and yellow rectangles are arranged in a diagonal orientation to create a sort of movement to the piece. The individual colors are important because it suggests distinct objects in different scales. Having the darker colors towards the bottom half of the canvas provide a heaviness to the piece. Malevich believed that his compositions were superior modes of personal expression as well as set limitless bounds for non-representational art.

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The Dada movement took place in both New York and Zurich. It's well known for being a spontaneous revolt against reasoning in art. The work in this period announced the uselessness of social action during World War I and proclaimed how destruction is also creation. Through its anarchy and disorder, Dadaist achieved such work by using scandalous objects and exploring new sources of spontaneity.

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DADA- Marcel Duchamp: Fountain. 1917, New York.

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DADA- Marcel Duchamp: Fountain. 1917, New York.

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Marcel Duchamp took on the challenge of anti-art ideas and soon took on the spirit of Dada itself. Duchamp was able to provide an artistic experience to a society dominated by mass produced and manufactured items. In Fountain, Duchamp obtained a urinal that was turned upside down and labeled as a fountain. The porcelain white colored object is often associated as a place to urinate. Being labeled as a fountain, the white color provoked feelings of disgust as it suggests both female and male reproductive organs. This nonsensical object created a pun that not many people were fond of however carried on the principles of Dada which praised nonsense and the use of ready-made objects.

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De Stijl, or The Style,  was known to be the third abstract movement and began in Holland. With the leading artists being Piet Mondrian,  his goal was to fully express pure reality by abandoning references to representational subject matter. Mondrian was one of the first radical rebels who went against traditional easel painting and felt the need to create a systematic ideology known as Neo-Plasticism. This ideology was envisioned  to maintain utopian social order for an ideal society that was not born yet.

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DADA-Otto Dix: Pragerstrasse. 1920, Zurich.

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DADA-Otto Dix: Pragerstrasse. 1920, Zurich.

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Otto Dix was a Dadaist known for his ruthless depictions of German Society during the rule of the Weimar Republic. In Pragerstrasse, Dix depicted crippled war veterans in a distorted manner to shock the viewer and force us to confront the consequences of war both physically and mentally. War veterans at the time suffered horribly due to the hyperinflation that caused many of them to lose their savings and pensions. The deep red colors and the dark crevices in the characters face depict the suffering and pain as well as  the mental toll taken upon the veterans.

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Constructivism is a movement in Russia that began as a shift in radical ideas at the start of the Russian Revolution. Constructivists believed that art should serve a purpose and function for society. It was characterized as being practical, easily comprehensible, and socially useful. It was this movement that replaced the adventurous abstract movement with total unchallenging Socialist Realism.

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CONSTRUCTIVISM- Vladimir Tatlin: Model for Monument of the Third International. 1920, Russia.

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CONSTRUCTIVISM- Vladimir Tatlin: Model for Monument of the Third International. 1920, Russia.

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Model for the Third International was part of a campaign in Russia to remove monuments of the past and replace them with new ones that informed the public of the the new ideas of the upcoming regime. Tatlin took over the program and created this towering open structure of iron and glass. Although this model was never built, it was intended to serve as the headquarters of the International Organization of Communist Parties which wanted to promote world revolution.

The total lack of color suggests the seriousness of this political revolution that was occurring in Russia. Color wasn't an important factor in this movement. What was important was that the model functions for society to spread propaganda which in all, embodies the ideals of Constructivism.

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The Surrealist movement was comprised of an organized group of artists and writers. It followed the principles of psychoanalysis and focused on expressing the unconscious mind. Surrealist believed that by tapping into the subconscious mind, one could recognize their repressed desires as well as their dreams. Their was no stylistic consistencies due to the fact that this movement devoted itself to individualism as well as gave way to a new process to developing exciting subject matters. Surrealism however was able to divide into two directions being automatism and illusionistic dream imagery.

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SURREALISM- Joan Miro: The Tilled Field. 1924, Paris.

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SURREALISM- Joan Miro: The Tilled Field. 1924, Paris.

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Joan Miro's art falls into the Surrealist category of Automatism which allowed a pouring out of the subconscious. In The Tilled Field, Miro paints a depiction of his family farm in Catalonia where human, animal, and nature all live. The bright and joyful colors accurately represents Joan Miro's work which is almost always playful, infantile, and plays an homage to his childhood. Each stylized figure comes to life not just because of the colors but because of it's organic forms that seem to flow in the wind.

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DE STIJL- Piet Mondrian: Composition with Red, Blue, and Yellow. 1930, Holland.

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DE STIJL- Piet Mondrian: Composition with Red, Blue, and Yellow. 1930, Holland.

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At the height of De Stijl, In Composition with Red, Blue, and Yellow, Mondrian creates horizontal and vertical lines that form to make geometric shaped squares. These squares take on primary colors including black and white. Although appearing simple, Mondrian believed that maintaining order within his compositions would suit best for  a new ideal society. With vertical lines representing a more masculine element and horizontal lines representing the feminine, the two intersect to create what Mondrian saw as a better world. Using only primary colors was Mondrian's way of saying that these three colors are all that are essential. Being that this piece embodies the ideals of De Stijl and the third abstract movement, making art that was purely abstracted broke down the whole composition into only essential forms.

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Social Realism was an era in America that began during the Great Depression. It's goal was to depict everyday life of the working class. Art during this time favored realism because artists wanted their work to be legible and available to the public. The portrayal of everyday workers as heroes gave a sense of strength in the face of adversity.

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SURREALISM- Rene Magritte. The Human Condition I. 1934, France. 

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SURREALISM- Rene Magritte. The Human Condition I. 1934, France. 

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Rene Magritte's art falls into the Surrealist category of Illusionistic Dream which is fixed on hallucinatory and fantastic subject matter and involves elements of shock. In The Human Condition I, an easel and canvas are depicting the landscape. Both the painted illusion and the actual scene puts into question if nature or our vision is anything more than a hallucination. The colors of the curtain and blue sky provoke emotions of familiarity and comfort yet at a closer look to the composition, the piece creates a threatening sensation to the nature of reality. It sums together the mystery of the present and makes the viewer mistrust their self-assurance in their existence.

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SURREALIST SCULPTURE Alberto Giacometti: The Invisible Object. 1935, France. 

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SURREALIST SCULPTURE Alberto Giacometti: The Invisible Object. 1935, France. 

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Giacometti began creating his own aggressive objects that follow the sense of dream depicted in Surrealism. In The Invisible Object, a female figure leans forward with nervous fingers into the empty space ahead. Often the figure is described as having "a desire to love and be loved" all while being in agony and fear. Being that the figure is made of Bronze, its shiny color allow the facial expressions to come through and express the figures disappointment as well as it's loss in hope.

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SOCIAL REALISM- REGIONALIST AMERICAN SCENE PAINTING- Thomas Hart Benton: The Hailstorm. 1940. United States.

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SOCIAL REALISM- REGIONALIST AMERICAN SCENE PAINTING- Thomas Hart Benton: The Hailstorm. 1940. United States.

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Being the movements leading figure for Regionalism, Thomas Hart Benton treasured the ordinary American life. His work captures the spirit and essence of the nation. In The Hailstorm, Benton displays the power of nature and the relationship it has with human beings. With a tilted perspective, the viewer can see Benton's understanding for farm life by the slender figures, the curve of the land, and through his use of colors. The deeper tones of color portray the strength and overpowering force of nature and the impact it has made in farm life.

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SOCIAL REALISM- ROMANTIC AMERICAN SCENE PAINTING Edward Hopper: Nighthawks. 1942, United States. 

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SOCIAL REALISM- ROMANTIC AMERICAN SCENE PAINTING Edward Hopper: Nighthawks. 1942, United States. 

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With the revival of Naturalism, Edward Hopper was known for romanticizing the loneliness in American cities. He was able to show solitude within urban existence. In Nighthawks, three customers sit in a lonely café with empty stools, an empty street, and lonely figures whose lives collided on this one night.

Hopper was able to create a balance of light and dark colors that express those feelings of solitude and alienation. The deep tones of the night collide nicely with the brightly lit café to draw your eyes to the emptiness that fills the scene in many ways.

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Abstract Expressionism (1946) UNITED STATES

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Abstract Expressionism (1946) UNITED STATES

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Abstract Expressionism was a movement that further developed abstract art in New York. Because of ideas like existentialism, institutionalization, and bohemia radicalism, artists felt the need to break into total abstraction that was high in emotive content. To make art that was considered to be abstract expressionism was to have liberty, freedom, and democracy. With the creation of the Federal Art Project organized under the Works Progress Administration, artists earned a living and were free to create in whatever way they wanted to. This continued to spark a progress in abstract art unlike it had ever been in the United States which divided the movement into two significant categories being action painting and color field painting.

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ABSTRACT EXPRESSIONISM- ACTION PAINTING- Jackson Pollock: Blue Poles. 1952, United States. 

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ABSTRACT EXPRESSIONISM- ACTION PAINTING- Jackson Pollock: Blue Poles. 1952, United States. 

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Jackson Pollock was well known for his "drip" technique in which he allowed his inner compulsions to take over. His paintings are identified as action painting because the work no longer suggested anything in terms of subject.

In Blue Poles and in may of his other works, his art portrays the flow of his own energy. You can see through the use of color and spontaneous lines, his own emotional and intellectual energy. The colors allow automatism to be displayed in which Pollock is no longer consciously and strategically placing lines and pools of color. Instead, random movement and action is portrayed which sparked the movement for performance art later to come.

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ABSTRACT EXPRESSIONISM- COLOR FIELD PAINTING- Mark Rothko: Green and Tangerine on Red. 1956, United States. 

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ABSTRACT EXPRESSIONISM- COLOR FIELD PAINTING- Mark Rothko: Green and Tangerine on Red. 1956, United States. 

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Color Field Painting disengaged itself from the exciting gesturalism in Action Painting. It aimed to decelerate the motion of shapes and merge them into zones with intense homogenous color. Color Field was able to provide a purely optical experience to the viewer that forces them to add meaning based on their own life experiences.

In Green and Tangerine on Red, the viewer is drawn into the bold color of tangerine but gets pulled upward by this cloud of darkness above it. Because the composition is made from only squares, the viewer may add emotional value to it depending on their interpretation of the colors itself. Rothko intended the tangerine and dark green to both stimulate and relieve the senses in a unique way.

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Pop art was primarily based around mass media and popular consumer culture. Its style was far from traditional fine art in the past because it focused on the popularity of mass-produced objects as well as included imagery from advertisements and comic books in order to comment on society's actions.

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ASSEMBLAGE - John Chamberlain: Toy. 1961. United States. 

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ASSEMBLAGE - John Chamberlain: Toy. 1961. United States. 

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Assemblage artworks stems from pop art and is made by assembling various elements, often everyday objects, to create a three dimensional piece. In Toy, John Chamberlain combines painted, compressed automotive parts to create this energy out of fragmented pieces. This "junk art" opened a new relationship with urban experience. The colors not only distinct each automotive part but it also allows the viewer to see the last stage in a product's cycle. From manufacture to functional use and lastly as waste.

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POP ART - Andy Warhol: Campbell's Soup Cans. 1962. United States. 

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POP ART - Andy Warhol: Campbell's Soup Cans. 1962. United States. 

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In Campbell's Soup Cans, Andy Warhol hand paints each individual soup cans in order to display them as if they were in a grocery store aisle. Warhol mimics the repetition of advertising purely as a way to comment on consumerism. As a viewer we're forced to look at the multitude of this mechanical presentation. He paints using the same exact colors for each can to display this repetition. A contradiction is made between the object and it's stimulation which differs from each viewer.

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ENVIRONMENTS - George Segal: The Diner. 1964, United States. 

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ENVIRONMENTS - George Segal: The Diner. 1964, United States. 

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Environment art stems from pop art as well because of its ideas that revolve around popular culture. In the Diner, George Segal creates this familiar setting of a counter in which a costumer sits at and invites us, the viewer, to inhabit the space as well. When stepping into this environment, we are confronted with the white, almost ghostly figures that remain motionless. Segal was able to capture such an ordinary event that any human can picture being in. The inclusion of the bright florescent light above as well as the red frame on the wall, suspends us into this artificial landscape that can be interpreted solely on the viewers life experiences and perspective.

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HAPPENING - Allan Kaprow: Car Wash. 1964, United States

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HAPPENING - Allan Kaprow: Car Wash. 1964, United States

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Inspired by Jackson Pullock's action painting and the ideals of pop art that emphasized the use of mass-produced items in everyday life, Allan Kaprow invented Happening art as a way to blur the distinction between life and art. In Car Wash, women are pictured as licking jam off a car. In all its peculiarity, it created an event that depicted people and materials in a theatrical situation. The idea of this photograph was to be taken symbolically and seen as if this event could very well occur in everyday life. Color was not integral to the work because it was photographed and meant to emphasize the actions taking place.

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In the mid 1960's in the United States, a simplifying spirit arose which created the movement known as Minimalism. It stood for stripped-down form, a mechanical impersonality, and an apparent lack of feeling or content. It avoided the virtual qualities of illusionism, held holistic non-representational form, was custom made to avoid any personal touch, and was created as a interest to the spectator's reaction. In minimalism, the viewer was the performer and the art came from our reaction to it.

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MINIMALISM - Chryssa: Ampersand III. 1965 United States. 

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MINIMALISM - Chryssa: Ampersand III. 1965 United States. 

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Chryssa was the first American to use electric light and neon. In Ampersand III, a reappearance of pop subject matter occurs in which she used lettered commercial signs of urban environments. In this work Chryssa uses delicate neon variation of the letter W, A, and an ampersand. The colors have an obvious role to play in where the resonating light impulses seem to oscillate depending on the movement of the beholders eye. Her minimalistic piece suggests that "in all climatic moments in human achievement, had within it the seeds of its own destruction."

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Chamberlain, John Angus. “Toy.” The Art Institute of Chicago, Contemporary Art, 1 Jan. 1961, www.artic.edu/artworks/32587/toy.

Giacometti, Alberto. “Alberto Giacometti. Woman with Her Throat Cut. 1932 (Cast 1949): MoMA.” The Museum of Modern Art, www.moma.org/collection/works/81796.

“Green and Tangerine on Red.” The Phillips Collection, www.phillipscollection.org/collection/green-and-tangerine-red.

“Hands Holding the Void (Invisible Object).” Saint Louis Art Museum, 13 Mar. 2021, www.slam.org/collection/objects/5722/.

Hopper, Edward. “Nighthawks.” The Art Institute of Chicago, Arts of the Americas, 1 Jan. 1970, www.artic.edu/artworks/111628/nighthawks.

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

“Inventing Abstraction.” MoMA, www.moma.org/interactives/exhibitions/2012/inventingabstraction/?work=226.

“Joslyn Art Museum Omaha Nebraska: Art Museum, Art Classes Omaha Nebraska: Entertainment Omaha.” Joslyn, www.joslyn.org/collections-and-exhibitions/permanent-collections/american/thomas-hart-benton-the-hailstorm/.

“La Condition Humaine.” Art Object Page, www.nga.gov/collection/art-object-page.70170.html.

Metmuseum.org, www.metmuseum.org/art/collection/search/490612.

“Médrano II.” The Guggenheim Museums and Foundation, www.guggenheim.org/artwork/246.

Picasso, Pablo. “Pablo Picasso. Les Demoiselles D'Avignon. Paris, June-July 1907: MoMA.” The Museum of Modern Art, www.moma.org/collection/works/79766.

“The Tilled Field.” The Guggenheim Museums and Foundation, www.guggenheim.org/artwork/2934.