Georges Seurat (1859-1891)

The Forest at Pontaubert. c. 1881-82.

Le Tacheron. c. 1882

The Island of La Grande Jatte. 1884

Study for A Sunday on La Grande Jatte. 1884.

Models. 1886-88

Vienna Secession

(1897-1939)
Starting with the first exhibition in November 1898, the Vienna Secession Building presented works of the most important artists of the time as: Gustav Klimt, Koloman Moser, Josef Maria Olbrich, Max Klinger, Walter Crane, Eugene Grasset, Signac, Charles Robert Ashbee, Charles Rennie Mackintosh, Degas, Arnold Bocklin, Giovanni Segantini, Auguste Rodin, Edvard Munch, van Gogh, Toulouse-Lautrec, Vuillard, Bonnard, Redon, Gauguin, Otto Wagner

J.M. Olbrich: Secession Building, Vienna, 1898

In 1897 a group of Artists, such as Otto Wagner and his gifted students, Josef Hoffmann and Josef Olbrich, with Gustav Klimt, Koloman Moser and others aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art and to do so they tried to bring together Symbolists, Naturalists, Modernists, and Stylists. They gave birth to another form of modernism in the visual arts and they named their own new movement: Secession (Wiener Secession). As the name indicates, this movement represented a protest, of the younger generation against the traditional art of their forebears, a "separation" from the past towards the future. The first chairman was Gustav Klimt.

Gustav Klimt Idylle (Idylls). 1884.

The Old Burgtheater. 1888-89. Gouache on paper.

Allegory of Sculpture. 1889. Pencil and watercolor heightened with gold on cardboard

Portrait of a Lady. 1894

Music. 1895

Pallas Athena. 1898.

Sonja Knips. 1898

Nuda Veritas. 1899

Portrait of Serena Lederer. 1899

Portrait of Joseph Pembauer. 1890

Hygeia. Detail of Medicine. 1900-1907 Portrait of Emilie Flge. 1902

The Beethoven Frieze: The Hostile Powers. Far Wall. 1902

The Beethoven Frieze: The Longing for Happiness Finds Repose in Poetry

Pear Tree. 1903 Hope I. 1903 Watersnakes. 1904-1907

Cartoons for the frieze of the Villa Stoclet in Brussels

Tree of Life

Separate decorated panel.: left part of the Tree of Life

Fulfillment. Expectation.

Danae. 1907-1908

The Kiss. 1907-1908.

Hope II. 1907-1908

Judith, II. (Salome). 1909

Apple Tree II. 1916

The Virgin. 1913.

Egon Schiele

The first branch of cubism, known as Analytic Cubism, was both radical and influential as a short but highly significant art movement between 1908 and 1911 in France

Cubism

Georges Braque, Woman with a guitar, 1913

Second phase, Synthetic Cubism, (using synthetic materials in the art) the movement spread and remained vital until around 1919

Glass of Beer and Playing Cards, 1913

Juan Gris

Still Life with Fruit Dish and Mandolin, 1919

At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier coll. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. The Guitar, 1918.

The Sunblind, 1914

Portrait of Picasso, 1912, The Art Institute of Chicago.

Fernand Lger

The Railway Crossing, 1919, Still Life with a Beer Mug, 1921 A personal form of Cubismhis critics called it "Tubism" for its emphasis on cylindrical formsthat made no use of the collage technique pioneered by Braque and Picasso.

Kazimir Malevich

Black Square, 1913, Oil on Canvas Bureau and Room, 1913

Suprematist Composition- White on White 1917

In his self-portrait of 1933 he represented himself in a traditional way the only way permitted by Stalinist cultural policy but signed the picture with a tiny blackover-white square.

1916 Suprematism (Supremus No. 58) Museum of Art This development in artistic expression came about when Russia was in a revolutionary state, when ideas were in ferment and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists.

From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression.

Constructivism was first created in Russia in 1913 when the Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptured out of assemblages, but he abandoned any reference to precise subjects or themes. Those works marked the appearance of Constructivism. The name Constructivism did not describe a specific movement but rather a trend within the fields of painting, sculpture and especially closely conjoined artists and their art with machine production, architecture and the applied arts. Constructivism art refers to the optimistic, nonrepresentational relief construction, sculpture, kinetics and painting. The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around "fine art", but rather emphasized that the most priceless artwork can often be discovered in the nuances of "practical art" and through portraying man and mechanization into one aesthetic program. Constructivism was an invention of the Russian avant-garde that found adherents across the continent. The artists mainly consisted of young Russians trying to engage the full ideas of modern art on their own terms. They depicted art that was mostly three dimensional, and they also often portrayed art that could be connected to their Proletarian beliefs.

Suprematism considered the first systematic school of purely abstract pictorial composition in the modern movement, based on geometric figures and was the expression "of the supremacy of pure sensation in creative art". It is Russian art movement founded (1913) by Kazimir Malevich in Moscow, parallel to constructivism.

The Suprematist project was above all the brainchild of the painter and theoretician Malevich. According to him, Suprematism sought "to liberate art from the ballast of the representational world." The work of the painter no longer involved representing and creating chromatic harmonies or formal compositions, but rather attaining the limits of painting. It consisted of geometrical shapes flatly painted on the pure canvas surface. The pictorial space had to be emptied of all symbolic content and all content signifying form. It had to be decongested and cleared, so as to show a new reality where thought was of prime importance.
In 1915 Malevich exhibited Black Square on a White Ground. For this show he also published From Cubism and Futurism to Suprematism, a tract in which he described a sequence of avant-garde movements within a historical perspective. Three years later, Malevich painted White Square on a White Ground, part of his famous White on White series. Here, the abstraction of painting attained and fully revealed the abstraction of thought and embodied the movement's principles. Malevich was given a cold shoulder by the Stalinist regime, but he carried on his exploratory work by returning to figurative forms and subjects drawn from the everyday life.

http://www.huntfor.com/arthistory/C20th/Suprematism.htm

Alexander Rodchenko

Photograph of the first Constructivist Exhibition, 1921

Alexander Rodchenko. 'Books'. The Board for the Leningrad branch of the State publishing house Gosizdat. 1924.

Girl with a Leica by Alexander Rodchenko, 1934. Artist print

Constructivism is a movement which was an artistic and architectural movement in Russia from 1919 onward which rejected the idea of "art for art's sake" in favour of art as a practice directed towards social purposes. Constructivism as an active force lasted until around 1934

Pablo Picasso (1881-1973)

Portrait of the Artist's Mother. 1896. Pastel on Paper

First Communion. 1895/96. Oil on canvas

Science and Charity. 1897.

Leaning Harlequin. 1901

Matador Luis Miguel Dominguin. 1897

Le Gourmet. 1901 Breakfast of a Blind Man. 1903 Portrait of the Art Dealer Pedro Manach. 1901

The Old Guitarist. 1903

L'ascete. 1903 La Vie (Life). 1903 Harlequin Sitting on a Red Couch.

Acrobat and Young Harlequin. 1905

Self-Portrait with a Palette. 1906.

Self-Portrait. 1907

Les Demoiselles d'Avignon. 1907

The Dance of the Veils. 1907

Woman Seated. 1908

Portrait of Ambroise Vollard. 1910 Nude Woman. 1910. Oil on canvas.

Still-Life with Chair Caning. 1911/12

Tavern (The Ham). 1912.

Violin. 1912. Color paper.

The Card-Player. 1913-1914

Guitar. 1913. Charcoal, pencil, ink and pastel paper.

Harlequin. 1915.

Still-Life. 1918. Oil on canvas

Guitar, Bottle, Bowl with Fruit, and Glass on Table. 1919

The Seated Harlequin. 1923.

Three Dancers. 1925.

Nude in an Armchair. 1929 Nude and Still-life. 1931

Nude in an Armchair. 1932

Girl Before a Mirror. 1932. Oil on canvas.

Girl on a Pillow. 1936

Marie-Therese Walter. 1937

Three Musicians. 1921. Oil on canvas Three Musicians, or Musicians in Masks. 1921

Guernica. 1937

Portrait of a Young Girl. 1938

Portrait of a Young Girl. 1938

Weeping Woman. 1937 Portrait of a Young Girl. 1938

The Bull. State I. 1945. Lithography

The Bull. State IX

The Bull. State XI.

Wassily Kandinsky (1866-1944)

The Blue Rider. 1903. Oil on canvas

Gabriele Mnter Painting in Kallmnz. 1903. Oil on canvas.

Gabriele Mnter. 1905. Oil on canvas.

The Blue Mountain. 1908/09. Oil on canvas. 106 x 96.6 cm. The Solomon R. Guggebheim Museum, New York, NY, USA

Untitled (First Abstract Watercolor). 1910 (1913). Pencil, watercolor and ink on paper

Improvisation 12 (Rider). 1910. Oil on canvas. Improvisation 7. 1910. Oil on canvas.

Improvisation 19. 1911. Oil on canvas. Flood Improvisation. 1913. Oil on canvas.

Composition VI. 1913. Oil on canvas

Composition VIII. 1923. Oil on canvas

Several Circles. 1926. Oil on canvas.

In 1911 together with a friend, a German painter Franz Marc, Kandinsky founded the society "Der Blaue Reiter" (Blue Rider), which also published an illustrated almanac. The aim of this society, according to its founders, was "to destroy barriers between the different forms of art", collect and promote new ideas in painting, theater and music. The same year his first theoretical work "Concerning the Spiritual in Art" was published. In the book, he postulated an inner relationship between music and painting. Kandinsky came to Berlin in 1921 and never returned to Russia. From 1922 till 1933 he taught at the Bauhaus (the college of building and art construction in Germany). The years in Bauhaus were full of theoretical search, experiments both in painting and in the sphere of creating synthetic art. In Bauhaus Kandinsky befriended his colleague, German painter and professor, Paul Klee. They both valued each other as people and painters, and demonstrated respect for each other's artistic principles. In the 1920-30s Kandinsky's name became world famous. He was proclaimed the theoretician and leading figure of abstract painting. In addition to teaching courses, Kandinsky became actively involved in delivering lectures; his exhibitions took place almost yearly in Europe and America.

Piet Mondrian (1872 - 1944)

Girl Writing. / Schrijvend meisje. c.1892-95. Black chalk on paper.

Windmill in Sunlight / Molen bij zonlicht. 1908.

The Red Tree. c.1909.

The Red Mill. / De rode molen. Oil on canvas.

Evolution / Evolutie. 1910/11. Oil on canvas.

Composition / Compositie. 1916.

Composition in Color A / Compositie in kleur A. 1917

Lozenge with Grey Lines / Losangique met grijze lijnen. 1918. Oil on canvas Composition Chequerboard, Dark Colors. / Compositie Dambord, donkere Kleuren. 1919.

Composition with Red, Blue and YellowishGreen / Compositie met rood, blauw en Tableau I. 1921. Oil on canvas. geel-groen. 1920.

Composition II with Black Lines. / Compositie nr.2 met swarte lijnen. 1930.

Composition with Black, White, Yellow and Red / Compositie met zwart,wit,geel en rood. 1939-42.

New York City I. 1942. Oil on canvas.

Broadway Boogie-Woogie. 1942/43. Oil on canvas.

New York City II. 1942-44. Oil and paper on canvas.

Fauvism is a movement in French painting that revolutionized the concept of color in modern art. Fauves earned their name ("les fauves"-wild beasts) by shocking exhibit visitors on their first public appearance, in 1905. At the end of the nineteenth century, neo Impressionist painters were already using pure colors, but they applied those colors to their canvases in small strokes. The fauves rejected the impressionist palette of soft, shimmering tones in favor of radical new style, full of violent color and bold distortions. These painters never formed a movement in the strict sense of the word, but for years they would nurse a shared ambition, before each went his separate and more personal way.

The Bauhaus is one of the first colleges of design. It came into being from the merger of the Weimar Academy of Arts and the Weimar School of Arts and Crafts. It was founded by Walter Gropius in 1919 and was closed in 1933 by the Nazis.

The Bauhaus holds a place of its own in the culture and visual art history of 20th century. This outstanding school affirmed innovative training methods and also created a place of production and a focus of international debate. It brought together a number of the most outstanding contemporary architects and artists. The Bauhaus stood almost alone in attempt to achieve reconciliation between the aesthetics of design and the more commercial demands of industrial mass production.
The teaching program was organized in the form of workshops to produce works that were both aesthetically pleasing and useful. The creed of this program asserted that the modernization process could be mastered by means of design. As a result, in 1923 the Bauhaus turned it attention to industry. The first major Bauhaus exhibition which was opened in 1923 reflected the revised principle of art and technology a new unity spanned the full spectrum of Bauhaus work. It was Art and Technology, a New Unity, which was also the name of the workshop in which the art was created. The Nazi Party and other fascist political groups had opposed the Bauhaus throughout the 1920s. They considered it a front for communists, especially because many Russian artists were involved with it. Gropius was succeeded in turn by Hannes Meyer and then Ludwig Mies van der Rohe. School was moved first from Weimar to Dessau, from Dessau again to Berlin, and was closed on the orders of the Nazi regime in 1933. The Bauhaus had a major impact on art and architecture trends in western Europe and the United States in the decades following its demise, as many of the artists involved fled or were exiled by the Nazi regime.

Henri Matisse

Fruit and Coffee-Pot. 1899

Studio under the Eaves. 1903

The Window. 1905

Madame Matisse, "The Green Line" ( La Raie verte). 1905

Andre Derain 1905 painted by Matisse

Interior at Collioure. 1905

Gypsy. 1906. Oil on canvas.

Bouquet (Vase with Two Handles). 1907

The Bank. 1907.

Harmony in Red. 1908.

La Danse (first version). 1909.

La Musique. 1910

The Dance. 1910. Oil on canvas.

Les Coloquintes. 1915-16.

Nude's Back. 1918

Le genou lev. 1922.

Pink Nude. 1935

The Dance. 1932-33

Polynesia, The Sea. 1946.

Icarus. 1947.

The Circus.

Andre Derain 1905 painted by Matisse

Blue Nude IV. 1952 Gouache on paper cut-out

Andr Derain

Harlequin and Pierrot, c.1924

1905 Boats at Collioure's Harbor

1905 Boats

1906 The Dancer

Charing Cross Bridge, London

Henri Matisse 1905 painted by Derain

Raoul Dufy (1877-1953)

The Jetty at Sainte-Adresse 1906 Billboards at Trouville

Futurism Futurism was an international art movement founded in Italy in 1909. It was (and is) a refreshing contrast to the weepy sentimentalism of Romanticism. The Futurists loved speed, noise, machines, pollution, and cities; they embraced the exciting new world that was then upon them rather than hypocritically enjoying the modern worlds comforts while loudly denouncing the forces that made them possible. Fearing and attacking technology has become almost second nature to many people today; the Futurist manifestos show us an alternative philosophy. Manifesto of the Futurist Painters Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, Gino Severini

These paid critics have other interests to defend. Exhibitions, competitions, superficial and never disinterested criticism, condemn Italian art to the ignominy of true prostitution. And what about our esteemed specialists? Throw them all out. Finish them off! The Portraitists, the Genre Painters, the Lake Painters, the Mountain Painters. We have put up with enough from these impotent painters of country holidays. Down with all marble-chippers who are cluttering up our squares and profaning our cemeteries! Down with the speculators and their reinforced-concrete buildings! Down with laborious decorators, phony ceramicists, sold-out poster painters and shoddy, idiodic illustrators! These are our final conclusions: With our enthusiastic adherence to Futurism, we will: Destroy the cult of the past, the obsession with the ancients, pedantry and academic formalism. Totally invalidate all kinds of imitation. Elevate all attempts at originality, however daring, however violent. Bear bravely and proudly the smear of madness with which they try to gag all innovators. Regard art critics as useless and dangerous. Rebel against the tyranny of words: Harmony and good taste and other loose expressions which can be used to destroy the works of Rembrandt, Goya, Rodin... Sweep the whole field of art clean of all themes and subjects which have been used in the past. Support and glory in our day-to-day world, a world which is going to be continually and splendidly transformed by victorious Science. The dead shall be buried in the earths deepest bowels! The threshold of the future will be swept free of mummies! Make room for youth, for violence, for daring!

Joseph Stella (American, 18771946), Battle of Lights, Coney Island, c. 1913-14

Giacomo Balla, Swifts: Paths of Movement + Dynamic Sequences (Volo Rondini Grondaia Cielo), 1913

Umberto Boccioni, The Laugh (La risata), 1911, Umberto Boccioni, Unique Forms of Continuity in Space (Forme uniche della continuit nello spazio), 1913, cast 1972

Giacomo Balla (Italian,

1871-1958), Street Light (Lampada Studio di luce), 1909

Marcel Duchamp (American, born France, 1887-1968; in U.S.A. 1915-18, 1920-23, 1942-68), Nude Descending a Staircase, 1911-12,

Sometimes called Cubo-Futurist, so also see Cubism, as well as the Armory Show of 1913, in which this painting was highly controversial.

Rousseau, Henri, known as Le Douanier Rousseau (1844-1910). French painter, the most celebrated of nave artists.

The Dream 1910

The Sleeping Gypsy 1897 Rousseau is a perfect example of the kind of artist in whom the Surrealists believed: the untaught genius whose eye could see much further than that of the trained artist.

Paul Klee (1879 - 1940)

Senecio. 1922. Oil on gauze. Hermitage. 1918. Watercolor on chalk ground.

Puppet Theater. 1923. Watercolor on chalk ground. Around the Fish. 1926. Tempera and oil.

Death and Fire. 1940. Oil on paper.

Polyphony. 1932. Tempera on linen.

Contemplating. 1938. Paste color on newsprint.

Prades, the Village. 1917. Oil on canvas.

Joan Mir (1893-1983)

Standing Nude. 1921. Nude with Mirror. 1919. Self-Portrait. 1917. Oil on canvas.

The Ear of Corn. 1922/23.

Harlequin's Carnival. 1924-25.

The Tilled Field. 1923/24

Maternity. Oil on canvas. 92 x 73 cm. 1924

The Birth of the World. Oil on canvas. 1925

Person Throwing a Stone at a Bird. 1926.

Dutch Interior I. 1928. Dog Barking at the Moon. 1926.

Swallow/Love. 1934.

Constellation: Awakening at Dawn. 1941 Constellation: The Morning Star. 1940

The Lark's Wing, Encircled with Golden Blue, Rejoins the Heart of the Poppy Sleeping on a Diamond-Studded Meadow. 1967

A Dew Drop Falling from a Bird's Wing Wakes Rosalie, who Has Been Asleep in the Shadow of a Spider's Web. 1939

Max Ernst (1891-1976)

Family Excursions. c. 1919

Le Limaon de chambre. 1920. Tempera, goache, ink, pencil, collage on paper.

Approacing Puberty or The Pleiads/La Pubert proche... ou Les Pliades. 1921.

Oedipus Rex. 1922.

Vision Induced by the Nocturnal Aspect of the Porte St. Denis. 1927.

L'Ange du foyer ou Le Triomphe du surralisme. 1937.

Europe after the Rain II. Oil on canvas. 54 x 146 cm. 1940-42.

The Eye of Silence. 1943/44. The Robing of the Bride. Painting for Young People. 1943

In 1934, Surrealist Max Ernst created an extraordinary collage novel (or, as I pointed out a few years ago, graphic novel), composed of collage images constructed of cut-outs from popular French periodicals and catalogs of the time.