Artistic Movements

By XimenaMuhlia
  • 1980 BCE

    NEO-EXPRESSIONISM

    1. It is the rejection of traditional standards of composition and design; an ambivalent and often brittle emotional tone that reflected contemporary urban life and values; a general lack of concern for pictorial idealization; the use of vivid but jarringly banal color harmonies; and a simultaneously tense and playful presentation of objects in a primitivist manner that communicates a sense of inner disturbance, tension, alienation, and ambiguity. Julian Schnabel and David Salle.
  • 1970 BCE

    PERFORMANCE

    1. The idea was that they, as artists, could represent art and express it in the way they thought convenient. Marta Minujín and Marina Abramovic.
  • 1950 BCE

    COLOR FIELD

    1. It focuses on the lyrical effects of large areas of color, often poured or stained onto the canvas. Norman Bluhm and Sam Francis.
  • 1950 BCE

    POP ART

    1950-1960. This movement was marked by a fascination with popular culture reflecting the affluence in post-war society. Andy Warhol and David Hockney.
  • 1950 BCE

    HAPPENING

    1. Its intention was to eliminate the canvas and recreate it by interaction with the audience. Geoffrey Hendricks and Jim Dine.
  • 1940 BCE

    ABSTRACTS EXPRESSIONISM

    1940-1960. The movement is marked by its use of brushstrokes and texture, the embracing of chance and the frequently massive canvases, all employed to convey powerful emotions through the glorification of the act of painting itself. Jackson Pollock and Willem de Kooning.
  • 1940 BCE

    ACTION PAINTING

    1940-1980. It refers to the dribbling, splashing or otherwise unconventional techniques of applying paint to a canvas. .Jackson Pollock and William Green.
  • 1909 BCE

    FUTURISM

    1909-1944. Their aim was to portray sensations as a “synthesis of what one remembers and of what one sees”, according to Marinetti and to capture what they called the ‘force lines’ of objects. Filippo Tommaso Marinetti and Giacomo Balla.
  • 1908 BCE

    CUBISM

    1908-1914. They used an analytical system in which three-dimensional subjects were fragmented and redefined from several different points of view simultaneously. Pablo Picasso and Georges Braque.
  • 1905 BCE

    FAUVISM

    1905-1908. It was characterized by paintings that used intensely vivid, non-naturalistic and exuberant colors. Andre Derain and Henri Matisse.
  • 1890 BCE

    PRIMITIVISM

    1. It is used to describe any art characterized by imagery and motifs associated with such primitive art. Henri Rousseau and Paul Gaugin.
  • 1890 BCE

    MODERNISM

    1890-1940. Modernism refers to this period’s interest in new types of paints and other materials, in expressing feelings and ideas, in creating abstractions and fantasies, rather than representing what is real. Gustav Klimt and Antoni Gaudi.
  • 1880 BCE

    POST-IMPRESSIONISM

    1880-1920. It represented both an extension of Impressionism and a rejection of that style’s inherent limitations. Paul Cézanne and Paul Gauguin.
  • 1867 BCE

    IMPRESSIONISM

    1867-1886. What they wanted to do was intensify the sensation of real time at the moment of observing a painting. Edouard Manet and Claude Monet.
  • 1830 BCE

    REALISM

    1830-1870. Paint familiar scenes and events as they actually looked. Typically it involved some sort of sociopolitical or moral message, in the depiction of ugly or commonplace subjects. Gustave Courbet and Jean-Francois Millet.
  • 1800 BCE

    ART NOUVEAU

    1. It was characterized by an elaborate ornamental style based on asymmetrical lines, frequently depicting flowers, leaves or tendrils, or in the flowing hair of a female. Alphonse Mucha and Aubrey Beardsley.

  • PONTILISM

    1890-1900. It involved the use of many small dots of color to give a painting a greater sense of vibrancy when seen from a distance. Georges Pierre Seurat and Paul Signac.

  • EXPRESSIONISM

    1905-1925. The artist attempts to depict not objective reality but rather the subjective emotions and responses that objects and events arouse in him. Georges Rouault and Edvard Munch.

  • DADAISM

    1916-1920. Characterized by a spirit of anarchic revolt. Dada reveled in absurdity, and emphasized the role of the unpredictable in artistic creation. Hans Arp and Johannes Baader.

  • SURREALISM

    1920-1930. It was dedicated to expressing the imagination as revealed in dreams, free of the conscious control of reason and convention. Salvador Dalí and Marcel Duchamp.