"20th-century art Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century. Nineteenth-century movements of Post-Impressionism (Les Nabis), Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France and Die Brücke (""The Bridge"") in Germany. Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism. Another German group was Der Blaue Reiter (""The Blue Rider""), led by Kandinsky in Munich, who associated the ""blue rider"" image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of"
"Fauvism Fauvism is the style of les Fauves (French for ""the wild beasts""), a group of early twentieth-century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–1908, and had three exhibitions. The leaders of the movement were André Derain and Henri Matisse. Besides Matisse and Derain, other artists included Albert Marquet, Charles Camoin, Louis Valtat, Jean Puy, Maurice de Vlaminck, Henri Manguin, Raoul Dufy, Othon Friesz, Georges Rouault,"
"notoriety as one of the Fauves (wild beasts). Many of his finest works were created in the decade or so after 1906, when he developed a rigorous style that emphasized flattened forms and decorative pattern. In 1917 he relocated to a suburb of Nice on the French Riviera, and the more relaxed style of his work during the 1920s gained him critical acclaim as an upholder of the classical tradition in French painting. After 1930, he adopted a bolder simplification of form. When ill health in his final years prevented him from painting, he created an important body of work"
"19th century Paris, with the works of Antoine-Louis Barye (1795-1875) - for whom the term was coined, decisively, by critics in 1831 - and Christopher Fratin (1801-1864). By the mid 19th-century, a taste for animal subjects was widespread among the middle-classes. Many modern wildlife artists or art groups hold benefits to support wildlife conservation, or participate in contests held by wildlife conservation organisations. Modern wildlife art painters include: Forerunners of modern wildlife art sculpture include: Modern wildlife art sculptors include: Animal painter An animal painter is an artist who specialises in (or is known for their skill in) the portrayal"
"20th-century Western painting 20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with ""wild"", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of ""The Dance"" signified a key point in his career and in the development of"
"20th-century French art 20th-century French art developed out of the Impressionism and Post-Impressionism that dominated French art at the end of the 19th century. The first half of the 20th century in France saw the even more revolutionary experiments of Cubism, Dada and Surrealism, artistic movements that would have a major impact on western, and eventually world, art. After World War II, while French artists explored such tendencies as Tachism, Fluxus and New realism, France's preeminence in the visual arts progressively became eclipsed by developments elsewhere (the United States in particular). The early years of the twentieth century were dominated"
"portraits, landscapes and still life. André Lhote was influenced by Gauguin and Cézanne and Cézanne held his first one-man exhibition at the Galerie Druet in 1910. Nevertheless, 19th-century painting remained Wallin's preference. Kees van Dongen (1877–1968), usually known as just Van Dongen, was a Dutch painter and one of the Fauves. Fauvism is the style of ""les Fauves"" (French for ""the wild beasts""), a short-lived and loose group of early twentieth-century modern artists whose works emphasized painterly qualities and strong colour over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued"
"and often romantic, but it showed a special bent for a dramatic, narrative, almost journalistic realism (especially appropriate for nationalistic themes) as witnessed by the frontier life depicted by Frederic Remington. This was the beginning of the style of ""Western Art"" that continued with Alexander Phimister Proctor and others through the 20th into the 21st century. The naturalism of the French school, exemplified by Antoine Barye, had a great impact on the first sculptors of American wildlife. The first generation of American animaliers included, Edward Kemeys, Edward Potter (who occasionally worked with Daniel Chester French, producing horses for his equestrian"
"syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. 20th-century Western painting 20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with ""wild"", multi-colored, expressive landscapes and figure"
"of workers leaving the Lumière brothers' factory in Lyon. At the outset of the 20th century, Henri Matisse and several other artists, including the pre-cubists Georges Braque, André Derain, Raoul Dufy, Jean Metzinger and Maurice de Vlaminck, revolutionized the Paris art world with ""wild"", multi-coloured, expressive landscapes and figure paintings that critics referred to as Fauvism. Henri Matisse's two versions of ""The Dance"" signified a key point in his career and in the development of modern painting. In late 19th- and early 20th-century Paris, wealth was growing rapidly, and it became increasingly concentrated. Paris from 1872 to 1927 was a"
"Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with ""wild"", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Henri Matisse's second version of ""The Dance"" signifies a key point in his career and in the development of modern painting. It reflects Matisse's incipient fascination with primitive art: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey"
"Neo-expressionism Neo-expressionism is a style of late modernist or early-postmodern painting and sculpture that emerged in the late 1970s. Neo-expressionists were sometimes called ""Transavantgarde"", ""Junge Wilde"" or ""Neue Wilden"" ('The new wild ones'; 'New Fauves' would better meet the meaning of the term). It is characterized by intense subjectivity and rough handling of materials. Neo-expressionism developed as a reaction against conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way, often using vivid colors. It was overtly inspired"
"photographs, building their own sets and costumes as well as retouching the photographs. Their work often features images from popular culture, gay culture including porn (especially James Bidgood), and religion. Other important contemporary French artists include Jean-Pierre Raynaud, Orlan, Ernest Pignon-Ernest, Daniel Buren, Jean-Marc Bustamante, Pierre Huyghe, Valérie Mréjen. 20th-century French art 20th-century French art developed out of the Impressionism and Post-Impressionism that dominated French art at the end of the 19th century. The first half of the 20th century in France saw the even more revolutionary experiments of Cubism, Dada and Surrealism, artistic movements that would have a major"
"In the early 20th century, several avant-garde movements, including the dadaists, surrealists, and futurists, began to argue for an art that was random, jarring and illogical. The goals of these movements were in some sense serious, and they were committed to undermining the solemnity and self-satisfaction of the contemporary artistic establishment. As a result, much of their art was intentionally amusing. A famous example is Marcel Duchamp's ""Fountain"" (1917), an inverted urinal signed ""R. Mutt"". This became one of the most famous and influential pieces of art in history, and one of the earliest examples of the found object movement."
"Animalier school Animalier school or animalier movement was a roughly late 18th century to late 19th century movement and school of art, which took as its subject in various figurative forms the animal kingdom or Kingdom Animalia. The movement predominantly centered around Paris, France, and Italy, with some offshoots in England, Germany, and North America. Some examples of animalier artists and their subjects are George Stubbs and Jules Moigniez (paintings and sculpture of horses), Antoine-Louis Barye (sculpture of bulls and humans), and Rembrandt Bugatti (felines, human figures, and zoo animals). Animals as a visual motif were used in ancient art"
"38 male painters but no female painters. Neo-expressionism Neo-expressionism is a style of late modernist or early-postmodern painting and sculpture that emerged in the late 1970s. Neo-expressionists were sometimes called ""Transavantgarde"", ""Junge Wilde"" or ""Neue Wilden"" ('The new wild ones'; 'New Fauves' would better meet the meaning of the term). It is characterized by intense subjectivity and rough handling of materials. Neo-expressionism developed as a reaction against conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way, often"
"other specialists in the genre. By the end of the 17th century, the grander subgenre of the hunting trophy still life appeared, now set outdoors, as though at the back door of a palace or hunting lodge. Hares (but rarely rabbits) continued to feature in the works of the Dutch and Flemish originators of the genre, and later French painters like Jean-Baptiste Oudry. From the Middle Ages until modern times, the right to hunt was a vigorously defended privilege of the ruling classes. Hunting Still lifes, often in combination with hunting equipment, adorn the rooms of baroque palaces, indicating the"
"Braque, Picasso, Jean Metzinger, Albert Gleizes, Fernand Léger, Henri Le Fauconnier, and Robert Delaunay. Juan Gris, Marcel Duchamp, Alexander Archipenko, Joseph Csaky and others soon joined. Synthetic cubism, practiced by Braque and Picasso, is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and Fauvism. The group gained their name after critic Louis Vauxcelles described their work with the phrase ""Donatello chez les fauves"" (""Donatello among the wild beasts""), contrasting the paintings with a"
"John Johnston. By the second half of the 19th century, Martin Johnson Heade introduced the American version of the habitat or biotope picture, which placed flowers and birds in simulated outdoor environments. The American trompe-l'œil paintings also flourished during this period, created by John Haberle, William Michael Harnett, and John Frederick Peto. Peto specialized in the nostalgic wall-rack painting while Harnett achieved the highest level of hyper-realism in his pictorial celebrations of American life through familiar objects. The first four decades of the 20th century formed an exceptional period of artistic ferment and revolution. Avant-garde movements rapidly evolved and overlapped"
"artificially wild and irrational nature. One also finds in some of these gardens—curious ruins of temples—called ""follies"". The last half of the eighteenth century saw a turn to Neoclassicism in France, that is to say a conscious use of Greek and Roman forms and iconography. This movement was promoted by intellectuals like Diderot, in reaction to the artificiality and the decorative essence of the ""rocaille"" style. In painting, the greatest representative of this style is Jacques-Louis David, who, mirroring the profiles of Greek vases, emphasized the use of the profile. His subject matter often involved classical history such as the"
"in the years after the turn of the 20th century. Few of these artists were natives; most had migrated from the East, the Midwest or Europe. From their training in the United States or in some cases Europe, they brought the tradition of working directly from nature or “en plein-air” as the French referred to it. Some of the original California Plein-Air Painters were inspired by the ""en plein air"" work of the Barbizon School, but most of them worked within the broad movement now known as American Impressionism. For stylistic comparisons to the contemporary adherents to this style, a"
"on display at the 1905 Salon d'Automne were decried by art critic Louis Vauxcelles as, ""Donatello chez les fauves"" (Donatello among the wild beasts), contrasting the paintings with a Renaissance-style sculpture displayed in the same room at the Grand Palais. Vauxcelles’ comment was printed on 17 October 1905 in ""Gil Blas"", a daily newspaper, and the term Fauvism passed into popular usage for the type of work exhibited, of seeming simplicity in vibrant colours. The very term ""Fauvism"" may have been influenced directly by Rousseau's ""The Hungry Lion"", although Rousseau was not himself counted as a Fauve. Despite their apparent"
"became common in Renaissance art, with still life paintings reaching a peak of popularity in the Netherlands in the 17th century. In the 20th century, different artists such as Klee, Magritte, Matisse and Picasso used representations of teleosts to express radically different themes, from attractive to violent. The zoologist and artist Ernst Haeckel painted teleosts and other animals in his 1904 ""Kunstformen der Natur"". Haeckel had become convinced by Goethe and Alexander von Humboldt that by making accurate depictions of unfamiliar natural forms, such as from the deep oceans, he could not only discover ""the laws of their origin and"
"and in tribal art, in animal style art and objects but were not generally represented as figurative, anatomically correct, creatures. The Celtic-Germanic animal style with its ""combination of abstract and organic shapes, of formal discipline and imaginative freedom, became an important element ... in the art of the Dark Ages."" During the Baroque period in France and England, a 1670 commissioned terracotta model for a sculpture of Louis XIV titled ""Equestrian Statue of Louis XIV"" by Gian Lorenzo Bernini was rejected on the grounds that it was not suitable to the dignity of the king. The term animalier was first"
"the term Fauvism which involved Marque. According to Matisse's story, art critic Louis Vauxcelles saw a bust created by Marque on display where it was surrounded by the brash Fauvist paintings and proclaimed, ""Donatello chez les fauves"" (""Donatello among the wild beasts""). During World War I, Albert Marque was persuaded by the Parisian couture fashion house of Jeanne Margaine-LaCroix to sculpt one hundred fashion dolls which were then clothed in custom-made outfits. The dolls were exhibited in Paris in 1915. Some were sold and others were kept in the Margaine-Lacroix inventory. The dolls were dressed in costumes, often representing regional"
"parts. Animal style was one component, along with Celtic art and late classical elements, in the formation of style of Insular art and Anglo-Saxon art in the British Isles, and through these routes and others on the Continent, left a considerable legacy in later Medieval art. Other names are sometimes used: in Anglo-Saxon art Kendrick preferred ""Helmet"" and ""Ribbon"" for Styles I and II. Animal style Animal style art is an approach to decoration found from China to Northern Europe in the early Iron Age, and the barbarian art of the Migration Period, characterized by its emphasis on animal motifs."
"effectively appropriated the role of avant-garde ""wild beast""—a role that, as far as public opinion was concerned, he was never to relinquish. Kramer goes on to say, Whereas Matisse had drawn upon a long tradition of European painting—from Giorgione, Poussin, and Watteau to Ingres, Cézanne, and Gauguin—to create a modern version of a pastoral paradise in ""Le bonheur de vivre"", Picasso had turned to an alien tradition of primitive art to create in ""Les Demoiselles"" a netherworld of strange gods and violent emotions. As between the mythological nymphs of ""Le bonheur de vivre"" and the grotesque effigies of ""Les Demoiselles,"""
"1904 in France Events from the year 1904 in France. The unofficial art mouvement of ""Fauvism"" (Fauves is the French word for ""wild beasts""). Henri Matisse (1869-1954) was the leader of the small group, with other major artists including André Derain (1880-1954) and maurice de Vlaminick (1876-1958). The mouvement was never made official with documents signed by members of a list of criteria in order for work to be considered Fauvism, but it was simply a small group of mainly French painters who used brilliant colour and unexpected brushstrokes, similar to the German Expressionism mouvement. Matisse created the Fauve style"
"of a recent monarchic tradition. A fashion for medieval architecture may be seen throughout 19th century Europe, originating in England, and a blooming of the Neogothic style, but in France this remains limited to certain 'feudal' buildings in the parks surrounding châteaux. After the Troubadour style disappeared in painting, it seems to have continued (or re-emerged) in architecture, the decorative arts, literature and theatre. Troubadour style Taking its name from medieval troubadours, the Troubadour Style, style troubadour in French, was a somewhat derisive term for French historical painting of the early 19th century with idealised depictions of the Middle Ages"
"monkeys, mice, and cat fur dressing during the late 19th and early 20th centuries. The turn of the century focused on the exotic animals like lions, tigers, leopards, and polar bear fur. The Convention on International Trade in Endangered Species, stopped the exotic animal fur market and the later part of the 20th century focused once again on more accessible fur like rabbit. Today, fur is a very controversial issue with groups like PETA protesting the entire fur industry and designers, like Armani, have decided to go ""fur free."" There are several notable instances of pieces of Modern Art in"
"the French entries to claim the internationally coveted ""Grand Prix de Champagne"". The exposition also was the showcasing of another Russian entry, the famous matryoshka doll (Russian nesting doll). The Art Nouveau (""New Art"") style began to develop in the 1880s and became fashionable in Europe and the United States during the 1890s. The art form takes inspiration from the natural world, drawing references from botanical studies and deep sea organisms. Fluid twisting, curving lines and a ""whiplash"" effect are the trademarks of the natural art form. The art form took shape in works ranging from painting to sculpture and"
"the sudden popularity among the cognoscenti in early 20th century Paris of newly discovered African fetish sculptures and other works from non-European cultures were taken up by Picasso, Henri Matisse, and many of their colleagues. Later in the 20th century, Pop Art and Abstract Expressionism came to prominence. Rapid advances in science and technology led to the late Modern and Postmodern period. In these periods, the art and cultures of the world went through many changes, and there was a great deal of intermixture between cultures, as new communications technologies facilitated the national and even global dissemination of music, art"
"to Italy, and Michael and Sarah Stein became important patrons of Matisse, while Gertrude Stein continued to collect Picasso. The Salon d'Automne of 1905 brought notoriety and attention to the works of Henri Matisse and the Les Fauves group. The latter gained their name after critic Louis Vauxcelles described their work with the phrase ""Donatello chez les fauves"" (""Donatello among the wild beasts""), contrasting the paintings with a Renaissance-type sculpture that shared the room with them. Henri Rousseau (1844–1910), an artist that Picasso knew and admired and who was not a Fauve, had his large jungle scene ""The Hungry Lion"