# data[].attributes.body
1947 - onwards
Key Artist: Bridget Riley 'Fission' (1963)
Conceptual Framework: activate the relationship between the viewer and the work. Don’t depict something or tell a story, as in a traditional painting. Sense of space
Material Framework: distortion of the black dots, creates the optical illusion, surface seems to be folding or opening

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1953 - onwards
Key Artist: Roy Lichtenstein 'M-Maybe' (1965)
Conceptual Framework: creating paintings or sculptures of mass culture objects and media stars. Aimed to blur the boundaries between "high" art and "low" culture - no art hierarchy.  Embraced the post-WWII manufacturing and media boom. Commercial art
Material Framework: subject matter derived from comic books, appropriated the techniques used to create the images in comic books to create his painting

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c. 1955 - present
Key Artist: Frank Stella
'Harran II' (1967)
Conceptual Framework:
- emphasis on control and rationalism, expressing an affinity with architecture
- deceitfully simple painting
Material Framework:
- geometric forms, characterised by large unbroken areas of colours

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c.1947 onwards
Key Artist: Jackson Pollock 'Blue Poles' (1952)
Conceptual Framework: art as an expression of the self exploring, universal themes and emotion, shaped by legacy of surrealism. Shaped by war - fled to New York, making it the new centre of the art world. American avant-guade
Material Framework: The earliest visible layer of paint is black, thinning at the edges to a green which appears to have been formed by the mixing of yellow and black. Method of pouring fluid paint from above in a continuous stream

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c. 1948 onwards
Key Artist: Mark Rothko 'Untitled' (1949)
Concept Framework:
- a modern, mythic art, seeking to connect with the primordial emotions locked in ancient myths, rather than the symbols themselves
Material Framework:
- avoid the suggestion of a form or mass standing out against a background
- Instead, figure and ground are one, and the space of the picture, conceived as a field

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c. 1917 - 1931
Key Artist: Piet Mondrian
'Composition A'
(1923)
Conceptual Framework:
- rejection of visually perceived reality as subject matter, an overall abstract view of harmony of the universe
Material Practice:
- use of most basic elements with a combination of straight lines, right angles, primary and neutral colours of black, grey and white.

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c. 1915 - 1925
Key Artist: Kasimir Malevich
'Dynamic Suprematism'
(1915 / 1916)
Conceptual Framework:
- exploration of colour and form in painting through basic geometric shapes
Material Practice:
- abstract oil painting, square in proportion with a sequence in geometric forms in a range of colours positioned in varied angles.

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c. 1913-1930
Key Artist:
Vladimir Tatlin
The Sailor: Self-Portrait (1911)
Conceptual Framework:
- shows a desire to abolish the traditionally representational function of art and put it to new, more practical uses
Material Framework:
- shift from a preoccupation with the texture and character of materials, to a focus on technology and the machine

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c.1909 - 1914
Key Artist: Giacomo Bella
'Abstract Speed + Sound' (1913-14)
Conceptual Framework: splintering of light, exploration of movement,  speed of racing automobiles. Inspired by the markers of modernity—the industrial city, machines, speed, and flight
Material Framework:
demonstrated movement rather then still objects - movement of the modern world

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c. 1934 - 1939
Key Artist: Salvador Dali
'Ship with butterfly sails'
(1937)
Conceptual Framework:
- unconscious world of thoughts, dreams and perception in fanciful and nightmarish images influences by metaphysical art
Material Practice:
- highlighted colours of blue, green + orange, contrasting with the background of the ocean

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c.1915-1922
Key Artist:Marcel Duchamp
'Fountain' (1917)
Conceptual Framework
- focus not on crafting aesthetically pleasing objects but on making works that generated difficult questions about society, the role of the artist, and the purpose of art
Material Framework
-use of readymade objects -everyday objects that could be bought and presented as art with little manipulation by the artist

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c. 1907 - 1915
Key artist: Georges Braque
'Violin and Candlestick' (1910)
Conceptual Framework:
- desire to create an illusion to viewer's mind to move around freely with the painting
Material Practice:
- grid like armature, covering boundaries of objects using earth-toned colours

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c. 1905-1925
Key Artist: Ernst Ludwig Kirchner
'Mädchen unter Japanschirm (Girl under a Japanese Umbrella)' (1909)
Conceptual Framework:

- announced new standards in the creation and judgment of art

Material Practice:
-  swirling, swaying, and exaggeratedly executed brushstrokes in the depiction of their subjects

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c.1905 - 1910
Key Artist: Henri Matisse
'The Dessert: Harmony in Red' (1908)
Conceptual Framework: “If a picture gives you a psychological shock, buy it.” - Sergey Shchukin.
Decorative panel, intended for a dining room
Material Framework: large canvas, arabesques and floral pattern, no conventional focal point, flattened perspective, bold, colorful, energetic

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c. 1885-1905
Key Artist: Paul Gauguin
'Nave nave moe' (1894)
Conceptual Framework:
- Expressed feeling through work
Material Practice:
- Bright colours, simple shapes

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c.1870 - 1890
Key Artist: Claude Monet
'The Waterlily Pond' (1889)
Conceptual Framework: tried to capture what they saw
Material Practice: applied small, quick, brush marks in bright colors. Often worked outdoors rather than in studios