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"The Key to Dreams", René Magritte, 1930

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Magritte is known for creating "haunting visual conundrums", as he often experimented with word association and rational versus irrational thought. He believed that meaning and truth were subjective and wanted to urge his viewers to think when they observed his pieces. He also toyed with visual illusions in other paintings, once again playing off the viewer's perception.

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"Soft Construction with Boiled Beans: Premonition of Civil War"

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Dalí is debatably the most well-known Surrealist artist. His works are exemplified by sexual imagery as he was largely influenced by Freud's psychoanalytic theories. He started the "Paranoid-critical" method which is essentially "irrational knowledge based on delirious phenomena". His paintings are often said to include eroticism, anxieties, and dream imagery.

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"Europe After the Rain", Max Ernst, 1940-1942

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Ernst, who was also well known as a Dadaist artist, began to work in Surrealism, but still largely dealt with this idea of automatism. He transitioned from a focus on machinery to metaphorical imagery as he moved into the Surrealist mindset. His piece "Europe After the Rain" uses the technique of decalcomania, the transfer of paint between surfaces while wet, to create the structures in the painting. This is a perfect example of how he utilized automatism and chance in his compositions.

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"The Harlequin's Carnival", Joan Miró, 1924-25

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Miró is known for his dream-like paintings with whimsical characters and objects. It is obvious that he let his mind run wild when creating his art, and there is no rhyme or order to his compositions. His pieces are seen as a mix of a dream state with automatism.

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The Surrealists focused on Illusionistic Dream were much more intentional with their art pieces than the prior Surrealist group. They included fantastic and hallucinatory subject matter as well as sexual content referencing the internal desires that Sigmund Freud had written about. The Illusionistic dream group can often be recognized by an academic painting style with eerie and dreamlike content.

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The Surrealists focused on automatism were often referred to as Somnambulists, or sleepwalkers, because they wanted to tap into the unconscious and create dreamlike compositions. They started their pieces with no prior thought, but just let what their mind created spill out onto the canvas.

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"Remember Uncle August, the Unhappy Inventor", George Grosz, 1919

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Dada took place in Germany between the World Wars, when the country was in extreme political and economic upheaval. Because of this, the Dada movement in Germany was focused less on creating "nonsense" works and more on making political statements about the bureaucracy and bourgeoise. The use of collage and satire were central to the Dada movement in Germany. Found objects and photos of real life people were often used to emphasize political messages.

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Duchamp was working on his own accord in New York City when he garnered the attention of the dadaists in Switzerland. While he was working before the Dada movement started, it was said he had the "essence" of Dada. He is known for his use of "readymades", or taking normal objects from the real world and presenting them as art. His most famous piece, "Fountain", is a perfect example of this technique. He wanted to shock his audiences and foster conversations about what defines something as being "art".

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"Untitled (Collage with Squares Arranged According to the Laws of Chance)", Jean Arp, 1917

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Dada, a movement of nonsense that was anti-war and anti-everything, began in Switzerland in 1916. The movement was influenced by many other modern movements, but strove to do away with the biases of what was considered "art". They wanted to provoke their audience and created senseless artwork because they saw war as senseless. Dada started in writing, and German poet Hugo Ball stated that dada is "disorder, anarchy, fantasy, and ridiculousness". Tzara, a Romanian poet, wrote the first Dadaist manifesto in 1918, with a few of his main points being that dada is nothing, it hates common sense, and it is neither for nor against anything. A key idea of dada is automatism, meaning movements without thought but through instinct. Chance compositions, art made through the law of chance and the unconscious, were born from this idea.

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"Composition with Red, Blue, and Yellow", Piet Mondrian, 1930

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De Stijl, or The Style, started in The Netherlands as artists like Mondrian and van Doesburg wanted to unite Cubism with the machine age. Mondrian, the most well-known artist, began painting more objective subject matter but progressed to creating abstract compositions with primary colors, of which there are many versions. Mondrian created the idea of "Neo-Plasticism" which essentially means new art with straight lines, forms, and pure color.

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"Supremist Painting (Eight Red Rectangles)", Kazimir Malevich, 1915

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Suprematism was a movement started in Russia leading up to the Russian Revolution. Notable artists such as Malevich, Rodchenko, and Tatlin were interested in the new art forms of Synthetic Cubism and wanted to further the style towards total abstraction. While the movement started with collages and pieces that more closely resembled Cubism, it moved towards simplified compositions that marked the beginning of purely abstract art. As the movement progressed and Russia was drawing closer to the revolution, the government began to influence artists to create propagandist art that served a larger purpose for the country rather than simply making "pretty" expressive pieces that were nice to look at.

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"Dynamism of a Soccer Player", Umberto Boccioni, 1913

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Futurism was a movement started in Italy that was highly influenced by Cubism. While the movements share many characteristics, futurism was centered around dynamism. Much artwork from this movement featured moving forms like a multiple exposure photograph would depict, while geometric shapes were an evident ode to cubism. A lot of futurist artwork was also very pro-war and pro-violence as the movement took place right before the First World War and artists wanted to incite anger in their viewer.

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"Adam and Eve", Constantin Brancusi, 1921

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Modern Sculpture has three notable artists: Rodin, Mattise, and Brancusi. Rodin was the first to break away from classical sculpture, still sculpting identifiable human forms but incorporating new attributes such as movement and crude forms. His works were seen as incomplete and unconventional at the time, but he started a new wave of sculpture. Mattise was known for his interest in primitivism and simplistic forms which were blatantly influenced by the Cubists. Brancusi was intrigued by streamlined simplicity, and many of his sculptures were said to be influenced by the "essence" of things. His pieces were often a compilation of shapes which could be analyzed to represent a bigger motif.

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"Still Life with Chair Caning", Pablo Picasso, 1912

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Synthetic Cubism marked the beginning of a new era of art, where new methods such as collage came to the art scene. Picasso and Braque began to step away from using only oils and began to incorporate real world items such as newspaper clippings and objects such as wicker chair pieces into their art. Sculptural cubism also began, with artists creating new forms with interesting perspectives and subject matter.

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"Violin and Palette", Georges Braque, 1909

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Braque drew inspiration from Picasso but there are many differences between their work. While Picasso was fascinated by human form, Braque tended to focus on landscapes or objects in his pieces. He incorporated geometric shapes into his works as he shifted towards the cubist style, and used very muted tones. His artwork was very analytical and he put a lot of thought into his compositions. As he continued to paint, he began incorporating text and real world objects into his pieces, signaling a shift in Cubism.

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"Les Demoiselles d’Avignon", Pablo Picasso, 1906-07

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Picasso's painting "Les Demoiselles d’Avignon" is what kickstarted the Cubist movement. He took influence from the geometric patterns and shifting perspectives/multiple planes` in Cézanne's paintings. It features simplified human forms as well as obvious influences from tribal masks brought over from foreign countries. The painting was immediately disliked by the art community but sparked an interest in Braque, which would lead to their exchange and creation of the Cubist art style.

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Cubism was debatably one of the most important movements of modern art, as it influenced a myriad of other movements in the twentieth century. It was primarily influenced by Cézanne and his "constructive" paintings. It is recognizable through its geometric forms, primitivistic subject matter, and muted colors. It was born from an exchange between two revolutionary artists: Picasso and Braque.

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The Austrian expressionists were widely influenced by the German expressionists, and opted to paint human forms in ways they hadn't been depicted before. Schiele, a notable Austrian expressionist, was known for painting overtly sexual subject matter as a way of expressing human emotions. Painters in this movement were interested in psychoanalysis and expressing what they were feeling as well as the subject. After the First World War, artists began to focus their work on critiquing the government and bourgeoise.

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Marc was known for painting nature expressively, his subject matter often being animals. He saw a spirituality in nature, and was interested in theosophy as he believed humans and nature were inseparable. He often used bold colors to emphasize this spirituality.

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Kandinsky was the leader of the Blue Rider movement, and produced the first free form and non-objective art of the new century. He was known for having synesthesia, a condition that allows a person to mix their senses, and in his case, he could hear colors. His works are very abstract in color and form, and a rhythm of spirituality can be seen in his art.

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"Two Men at a Table", Erich Heckel, 1913

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Heckel is regarded as the most poetic of the Bridge group. He tended to utilize bright colors but also opted for much more muted tones with harsh lines and distorted figures. He chose to focus more on emotion than on realistic portrayal in his paintings.

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"Self-Portrait with Model", Ernst Ludwig Kirchner, 1907

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Kircher was the leader of the Bridge movement, known for using garish colors and simplistic imagery to convey his ideas about war and nationality. He was seen as a savage naturalist, and was interested in raw sexuality and distortion of reality.

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Der Blaue Reiter, or The Blue Rider, was the second movement of German Expressionism, starting a bit after the Bridge disbanded. They were more sophisticated than the previous group and were less focused on primitivism. They emphasized their intelligence through almanacs and writings.

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Die Brücke, or The Bridge, was the first movement of German Expressionism. They were interested in revolution and focused on bridging the past with the present while fostering a new generation that is driven to create. Some characteristics include honesty, emotion, intensity, slashing lines, conflicting colors, and distortion. The movement was very much influenced by primitivism and leading artists included Kirchner, Heckel, and Nolde.

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"Le Bonheur de Vivre (The Joy of Life)", Henri Matisse, 1905-1906

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The Fauvists, or French Expressionists, were critiqued as being "wild beasts", with their bold colors, expressive imagery, and simplified forms. They were known for using broad color planes and rhythmic movement. Their use of arabesques, or flowing lines, was another notable characteristic of their art. Adjectives such as harmony, rationality, and sensuousness describe the Fauvist movement. Leading artists included Henri Matisse and André Derain.

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"Champenois (Zodiac)", Alphonse Mucha, 1897

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The Art Nouveau movement was a counterpart of the symbolist movement, but Art Nouveau artists were more interested in modernity and industry. They were intrigued by organic lines and forms as well as elements of nature. They enjoyed showcasing new inventions such as steel and were incredibly taken by female figures who they often included in their art.

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The Symbolists were born from the Postimpressionists focused on intuition. They focused on expressive color and lines as well as psychological meanings. They used bold imagery with oversimplification to get their messages across. Leading artists included Munch.

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Section of "Where do we go from? What are we? Where are we going?", Paul Gauguin, 1897

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Gauguin was incredibly taken by the concept of primitivism, and many of his paintings center around Tahitian women he met while abroad. He wanted to "paint like children" and used very simplified methods of painting with bright, unrealistic colors.

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"Café Terrace at Night", Vincent van Gogh, 1888

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Van Gogh exaggerated real life through bold colors and radiant lights. He used oversimplification to enhance his emotions in his paintings, and was interested in painting lifelike images with his own personal experiences melted into them.

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Postimpressionists like Van Gogh and Gauguin critiqued through intuition, as they wanted to move towards subjectivity and expressing their own emotions through painting.

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"Mont-Sainte Victoire", Paul Cézanne, 1902-1904

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Known as the father of Modern art, Cézanne created ways of "constructing" his paintings. He utilized flat depth and geometry to build up his paintings and served as inspiration for many later artists.

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Hunter, Sam, John M. Jacobus, and Daniel Wheeler. Modern Art. 3rd ed. Upper Saddle River, NJ: Prentice Hall, 2004.

Claude Monet. Impression, Sunrise. 1872. Oil on canvas, 48 x 63 cm. Musée Marmottan, Paris. https://jstor.org/stable/community.18113591.

Seurat, Georges, 1859-1891. Sunday Afternoon on Ile de La Grande Jatte. 1884-6. 207x308cm. Art Institute of Chicago. https://jstor.org/stable/community.13600190.

Paul Cézanne, Mont Sainte-Victoire. 1902-4. Oil on canvas, 28 3/4 x 36 3/16 inches (73 x 91.9 cm). Philadelphia Museum of Art; Philadelphia, Pennsylvania, USA; The George W. Elkins Collection, 1936; E1936-1-1; http://www.philamuseum.org/main.asp. https://jstor.org/stable/community.15658166.

Gogh, Vincent van, 1853-1890. Outdoor Cafe at Night. 1888. Oil on canvas, 81x65.5cm. https://jstor.org/stable/community.13599737.

Paul Gauguin. Where Do We Come From? What Are We? Where Are We Going? 1897. Oil on canvas, 139.1 x 374.6 cm (54 3/4 x 147 1/2 in.). Museum of Fine Arts, Boston; Boston, Massachusetts, USA; Tompkins Collection; 36.270; http://www.mfa.org/. https://jstor.org/stable/community.15633863.

Munch, Edvard (Norwegian painter, printmaker, and draftsman, 1863-1944). The Scream. 1910. Tempera on cardboard, approximatley 85 x 65 cm. Munch Museum, Oslo. https://jstor.org/stable/community.9196165.

Alphonse Mucha (Czech graphic designer, 1860-1939). Champenois (Zodiac). 1897. Color lithograph, height: 63 cm. https://jstor.org/stable/community.14376457.

Henri Matisse, 1869-1954. Le Bonheur de Vivre. between October 1905 and March 1906. Oil on canvas, 69 1/2 x 94 3/4 in. (176.5 x 240.7 cm). Barnes Foundation. https://jstor.org/stable/community.14676607.

Kirchner, Ernst Ludwig, German, 1880-1938. Self-Portrait with Model. 1907. O/c, 150.5x100cm. https://jstor.org/stable/community.18114603.

Breuel, René. “The Upper Hand of Evil.” Wondering Fair, September 25, 2015. https://wonderingfair.com/2015/10/05/the-upper-hand-of-evil/.

Vasily Kandinsky. Black Lines. December 1913. Oil on canvas, 51 x 51 5/8 inches (129.4 x 131.1 cm). Solomon R. Guggenheim Museum, New York; Solomon R. Guggenheim Founding Collection, By gift. https://jstor.org/stable/community.14575470.

Marc, Franz, 1880-1916. Blue Horses. 1911. Oil on canvas, 40 3/4 x 70 7/8 in. https://jstor.org/stable/community.13605000.

Schiele, Egon, 1890-1918. Embrace. 20th C. 39 2/8 x 67 in. https://jstor.org/stable/community.13706645.

Picasso, Pablo (Spanish painter, sculptor, and printmaker, 1881-1973). Les Demoiselles d’ Avignon. 1906-7. Oil on canvas, 96" x 92". New York: Mus. of Modern Art. https://jstor.org/stable/community.25642513.

“Still-Life with Chair Caning, 1912 by Pablo Picasso.” Still-life with chair caning, 1912 by Pablo Picasso. Accessed September 29, 2022. https://www.pablopicasso.org/still-life-with-chair-caning.jsp.

Constantin Brancusi. Adam and Eve. 1921 (Adam and Eve executed separately ca. 1916). Chestnut (Adam) and oak (Eve), on limestone base, 94 x 18 3/4 x 18 1/4 inches (238.8 x 47.6 x 46.4 cm) overall. Solomon R. Guggenheim Museum, New York. https://jstor.org/stable/community.14581481.

“Dynamism of a Soccer Player - Umberto Boccioni.” Dynamism of a Soccer Player - oil painting of Umberto Boccioni as art print or hand painted oil. Accessed September 29, 2022. https://www.art-prints-on-demand.com/a/umberto-boccioni/dynamism-soccer-player.html.

Malevich, Kazimir, Russian, 1878-1935. Suprematist Painting (Eight Red Rectangles). 1915. O/c, 57x48cm. https://jstor.org/stable/community.18126523.

Piet Mondrian. Composition with Red, Blue, and Yellow. 1930. Oil on canvas, 46 x 46 cm. Kunsthaus Zürich. https://jstor.org/stable/community.18109425.

arth207-spring. “Art History 207: Jean Arp, Collage Arranged According to the Laws of Chance, 1916.” Tumblr, April 24, 2013. https://arth207-spring.tumblr.com/post/48772385654.

Marcel Duchamp, French, Blainville-Crevon, France, 1887-1968, Neuilly-sur-Seine, France. Fountain. 1917/1964. Glazed ceramic with black paint, 15 in. x 19 1/4 in. x 24 5/8 in. (38.1 cm x 48.9 cm x 62.55 cm). San Francisco Museum of Modern Art; Purchase through a gift of Phyllis Wattis. https://jstor.org/stable/community.14704405.

Grosz, George, 1893-1959. Remember Uncle August the Unhappy Inventor. 1919. Oil, collage, 47x38cm. https://jstor.org/stable/community.13602434.

Joan Miró. Carnival of Harlequin. 1924-25. Canvas, 26" x 36 5/8". Buffalo: Gall., Albright-Knox Art Gallery. https://jstor.org/stable/community.11675806.

Ernst, Max, 1891-1976. Europe After the Rain. 1940-2. Oil on canvas, 54.5x147.5cm. https://jstor.org/stable/community.13596865.

Salvador Dali. Soft Construction with Boiled Beans: Premonition of Civil War. 1936. 39 3/8 x 39. Philadelphia Museum of Art L & W Aremberg Collection. https://jstor.org/stable/community.11675707.

René Magritte. The Key to Dreams. 1930. https://alexanderstorey.wordpress.com/2013/11/18/artwork-analysis-the-key-to-dreams-by-magritte/

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"Sunday Afternoon on Ile de la Grande Jatte", Georges Seurat, 1884-1886

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Seurat was fascinated by color theory and created a new painting technique called pointillism. He would place dots of pure color on a canvas and allow the viewer's eye to mix the colors together. The only thing creating the image was color, as there were no lines or forms in the image.

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As artists began to question if impressionism was experimental enough, postimpressionism was born. Impressionism was critiqued through two avenues, the first being intellect. Seurat and Cézanne lead this movement as they focused on ways to refine impressionism and creating new ways to paint.

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"Impression Sunrise", Claude Monet, 1872

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Impressionism began in Paris in the 1860s, as artists began to move away from the academic art that characterized the last few centuries. It aimed to depict the world in a realistic way but with looser brushstrokes, bold colors, and dynamic compositions that allowed the painter's emotions to shine through. New techniques such as plain-air painting allowed for impressionist artists to paint primarily landscapes. Key artists included Claude Monet and Edgar Degas.