Editing Modern art (section)

== History ==
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{{stack|
[[File:Henri de Toulouse-Lautrec 065.jpg|thumb|[[Henri de Toulouse-Lautrec]], ''At the Moulin Rouge: Two Women Waltzing'', 1892]]
[[File:Paul Gauguin- Manao tupapau (The Spirit of the Dead Keep Watch).JPG|thumb|[[Paul Gauguin]], ''[[Spirit of the Dead Watching]]'' 1892, [[Albright-Knox Art Gallery]]]]
[[File:Georges Seurat - Les Poseuses.jpg|thumb|[[Georges Seurat]], ''[[Models (painting)|Models]]'' (''Les Poseuses''), 1886–88, [[Barnes Foundation]]]]
[[File:Edvard Munch, 1893, The Scream, oil, tempera and pastel on cardboard, 91 x 73 cm, National Gallery of Norway.jpg|thumb|''[[The Scream]]'' by [[Edvard Munch]], 1893]]
[[File:Kollwitz.jpg|thumb|right|[[Käthe Kollwitz]], ''[[Woman with Dead Child]]'', 1903 etching]]
[[File:Family of Saltimbanques.JPG|thumb|[[Pablo Picasso]], ''[[Family of Saltimbanques]]'', 1905, [[National Gallery of Art]], [[Washington, DC.]]]]
[[File:Jean Metzinger, 1907, Paysage coloré aux oiseaux aquatique, oil on canvas, 74 x 99 cm, Musée d’Art Moderne de la Ville de Paris.jpg|thumb|[[Jean Metzinger]], ''[[Paysage coloré aux oiseaux aquatiques]]'', 1907, oil on canvas, 74 × 99 cm, [[Musée d'Art Moderne de la Ville de Paris]]]]
[[File:Egon Schiele - Gustav Klimt im blauen Malerkittel - 1913.jpeg|thumb|right|[[Egon Schiele]], ''Klimt in a light Blue Smock'', 1913]]
[[File:Chagall IandTheVillage.jpg|thumb|[[Marc Chagall]], ''[[I and the Village]]'', 1911]]
[[File:Malevich.black-square.jpg|thumb|[[Kasimir Malevich]], ''[[Black Square (painting)|Black Square]]'', 1915]]
[[File:Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg|thumb|[[Marcel Duchamp]], ''[[Fountain (Duchamp)|Fountain]]'', 1917. Photograph by [[Alfred Stieglitz]]]]
[[File:Hoch-Cut With the Kitchen Knife.jpg|thumb|[[Hannah Höch]], ''Cut with the Kitchen Knife through the Last Epoch of Weimar Beer-Belly Culture in Germany'', 1919, collage of pasted papers, 90×144&nbsp;cm, [[Berlin State Museums|Nationalgalerie, Staatliche Museen zu Berlin]]]]
[[File:Vassily Kandinsky, 1923 - On White II.jpg|thumb|[[Wassily Kandinsky]], ''On White II'', 1923]]
}}
[[File:Edouard Manet - Luncheon on the Grass - Google Art Project.jpg|thumb|left|[[Édouard Manet]], ''[[Le déjeuner sur l'herbe|The Luncheon on the Grass]]'' ({{Lang|fr|Le déjeuner sur l'herbe}}), 1863, [[Musée d'Orsay]], [[Paris]]]]

=== Roots in the 19th century ===
[[File:Boy Blowing Bubbles Edouard Manet.jpg|left|thumb|223x223px|[[Édouard Manet]], ''[[Boy Blowing Bubbles]]'', 1867, [[Calouste Gulbenkian Museum]]]]
Although modern [[sculpture]] and [[architecture]] are reckoned to have emerged at the end of the 19th century, the beginnings of modern [[painting]] can be located earlier.{{sfn |Arnason |Prather |1998 |p=[https://archive.org/details/historyofmoderna00arna_0/page/17/mode/1up 17]}} [[Francisco Goya]] is considered by many as the Father of Modern Painting without being a Modernist himself, a fact of art history that later painters associated with Modernism as a style, acknowledge him as an influence.<ref>{{Cite news |last=Lubow |first=Arthur |date=2003-07-27 |title=The Secret of the Black Paintings |url=https://www.nytimes.com/2003/07/27/magazine/the-secret-of-the-black-paintings.html |access-date=2024-04-28 |work=The New York Times |language=en-US |issn=0362-4331}}</ref><ref>{{Cite web |last=Danto |first=Arthur C. |date=2004-03-01 |title=Francisco de Goya  |url=https://www.artforum.com/columns/francisco-de-goya-168178/ |access-date=2024-04-28 |website=Artforum |language=en-US}}</ref><ref>{{Cite news |date=2003-10-04 |title=The unflinching eye |url=https://www.theguardian.com/artanddesign/2003/oct/04/art.biography |access-date=2024-04-28 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref> The date perhaps most commonly identified as marking the birth of modern art as a movement is 1863,{{sfn |Arnason |Prather |1998 |p=[https://archive.org/details/historyofmoderna00arna_0/page/17/mode/1up 17]}} the year that [[Édouard Manet]] showed his painting ''[[Le déjeuner sur l'herbe]]'' in the [[Salon des Refusés]] in Paris.<ref>{{Cite web |last=Cohen |first=Alina |date=2019-03-21 |title=Why Manet’s Masterpiece Has Confounded Historians for over a Century |url=https://www.artsy.net/article/artsy-editorial-manets-masterpiece-confounded-historians-century |access-date=2025-01-06 |website=Artsy |language=en}}</ref> Earlier dates have also been proposed, among them 1855 (the year [[Gustave Courbet]] exhibited ''[[The Artist's Studio]]'') and 1784 (the year [[Jacques-Louis David]] completed his painting ''[[The Oath of the Horatii]]'').{{sfn |Arnason |Prather |1998 |p=[https://archive.org/details/historyofmoderna00arna_0/page/17/mode/1up 17]}} In the words of art historian [[H. Harvard Arnason]]: "Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning ....  A gradual metamorphosis took place in the course of a hundred years."{{sfn |Arnason |Prather |1998 |p=[https://archive.org/details/historyofmoderna00arna_0/page/17/mode/1up 17]}}{{multiple image
| align     = left
| direction = horizontal
| image1    = Van Gogh - la courtisane.jpg
| width1    = 94
| caption1  = [[Vincent van Gogh]], ''Courtesan (after [[Keisai Eisen|Eisen]])'' (1887), [[Van Gogh Museum]]
| alt1      = Multi-colored portrait of a far eastern courtesan with elaborate hair ornamentation, colorful robelike garment, and a border depicting marshland waters and reeds.
| image2    = Vincent van Gogh - Bloeiende pruimenboomgaard- naar Hiroshige - Google Art Project.jpg
| width2    = 133
| caption2  = [[Vincent van Gogh]], ''The Blooming Plumtree (after [[Hiroshige]])'' (1887), [[Van Gogh Museum]]
| alt2      = Portrait of a tree with blossoms and with far eastern alphabet letters both in the portrait and along the left and right borders.
| image3    = Van Gogh - Portrait of Pere Tanguy 1887-8.JPG
| width3    = 126
| caption3  = [[Vincent van Gogh]], ''[[Portrait of Père Tanguy]]'' (1887), [[Musée Rodin]]
| alt3      = Portrait of a man of a bearded man facing forward, holding his own hands in his lap; wearing a hat, blue coat, beige collared shirt, and brown pants; sitting in front of a background with various tiles of far eastern and nature-themed art.
}}The strands of thought that eventually led to modern art can be traced back to the [[Age of Enlightenment|Enlightenment]].{{efn|"In the seventeenth and eighteenth centuries momentum began to gather behind a new ''view'' of the world, which would eventually create a new ''world'', the modern world." — Lawrence E. Cahoone{{sfn |Cahoone |1996 |p=[https://archive.org/details/frommodernismtop0000unse/page/27/mode/1up 27]}}}} The modern art critic [[Clement Greenberg]], for instance, called [[Immanuel Kant]] "the first real Modernist" but also drew a distinction: "[[The Enlightenment]] criticized from the outside ... . Modernism criticizes from the inside."{{sfn |Greenberg |1982 |p=[https://archive.org/details/modernartmoderni00fras/page/5/mode/1up 5]}} The [[French Revolution]] of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and accustomed the public to vigorous political and social debate.<ref>{{Cite web |title=what is Contemporary art – a definition |url=http://www.contemporary-art.com/contemporary-art-2.html |access-date=2025-01-06 |website=www.contemporary-art.com}}</ref> This gave rise to what art historian [[Ernst Gombrich]] called a "self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper."{{sfn |Gombrich |1995 |p=[https://archive.org/details/storyofart00gomb_0/page/477/mode/1up 477]}}

The pioneers of modern art were [[Romanticism|Romantics]], [[Realism (visual arts)|Realists]] and [[Impressionism|Impressionists]].{{sfn |Arnason |Prather |1998 |p=[https://archive.org/details/historyofmoderna00arna_0/page/22/mode/1up 22]}}{{failed verification|date=April 2021}} By the late 19th century, additional movements which were to be influential in modern art had begun to emerge: [[Post-Impressionism]] and [[Symbolism (arts)|Symbolism]].

Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly [[Japonism|Japanese printmaking]], to the coloristic innovations of [[J. M. W. Turner|Turner]] and [[Eugène Delacroix|Delacroix]], to a search for more [[Realism (arts)|realism]] in the depiction of common life, as found in the work of painters such as [[Jean-François Millet]]. The advocates of realism stood against the [[idealism]] of the tradition-bound [[academic art]] that enjoyed public and official favor.{{sfn |Corinth |Schuster |Vitali |Butts |1996 |p=25}} The most successful painters of the day worked either through commissions or through large public exhibitions of their work. There were official, government-sponsored painters' unions, while governments regularly held public exhibitions of new fine and decorative arts.

The Impressionists argued that people do not see objects but only the light that they reflect, and therefore painters should paint in natural light ([[en plein air]]) rather than in studios and should capture the effects of light in their work.{{sfn |Cogniat |1975 |p=61}} Impressionist artists formed a group, ''Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs'' ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions.{{sfn |Cogniat |1975 |pp=43–49}} The style was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a [[Art movement|"movement."]] These traits—establishment of a working method integral to the art, the establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art.

=== Early 20th century ===
[[File:Les Demoiselles d'Avignon.jpg|thumb|left|[[Pablo Picasso]], ''[[Les Demoiselles d'Avignon]]'' 1907, [[Museum of Modern Art]], [[New York City|New York]]]]
[[File:La danse (I) by Matisse.jpg|thumb|left|[[Henri Matisse]], ''[[Dance (Matisse)|The Dance I]]'', 1909, [[Museum of Modern Art]], [[New York City|New York]]]]
[[File:Franz Marc 020.jpg|thumb|left|[[Franz Marc]], ''Rehe im Walde'' (''Deer in Woods''), 1914, [[Kunsthalle Karlsruhe]]]]

Among the movements that flowered in the first decade of the 20th century were [[Fauvism]], [[Cubism]], [[Expressionism]], and [[futurism (art)|Futurism]].

In 1905, a group of four German artists, led by [[Ernst Ludwig Kirchner]], formed [[Die Brücke]] (The Bridge) in the city of [[Dresden]].<ref>{{Cite web |title=Die Brücke (The Bridge) |url=https://www.moma.org/collection/terms/die-brucke-the-bridge |access-date=2025-01-06 |website=The Museum of Modern Art |language=en}}</ref> This was arguably the founding organization for the [[German Expressionist]] movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed [[Der Blaue Reiter]] (The Blue Rider) in Munich.<ref>{{Cite web |date=2020-09-04 |title=Shows That Made Contemporary Art History |url=https://magazine.artland.com/the-shows-that-made-contemporary-art-history-the-first-exhibition-of-der-blaue-reiter/ |access-date=2025-01-06 |website=Artland Magazine |language=en-US}}</ref> The name came from [[Wassily Kandinsky]]'s ''Der Blaue Reiter'' painting of 1903. Among their members were [[Wassily Kandinsky|Kandinsky]], [[Franz Marc]], [[Paul Klee]], and [[August Macke]]. However, the term "Expressionism" did not firmly establish itself until 1913.<ref name=Sheppard/>{{rp|page=274}}

Futurism took off in Italy a couple years before [[World War I]] with the publication of [[Filippo Tommaso Marinetti]]'s ''[[Manifesto of Futurism|Futurist Manifesto]]''.<ref>{{Cite web |title=Khan Academy |url=https://www.khanacademy.org/humanities/art-1010/xdc974a79:italian-art-before-world-war-i/art-great-war/a/italian-futurism-an-introduction#:~:text=Marinetti%20launched%20Futurism%20in%201909,museums,%20libraries,%20and%20feminism. |access-date=2025-01-06 |website=www.khanacademy.org |language=en}}</ref> [[Benedetta Cappa|Benedetta Cappa Marinetti]], wife of Filippo Tommaso Marinetti, created the second wave of the artistic movement started by her husband. "Largely thanks to Benedetta, her husband F.T. Marinetti re orchestrated the shifting ideologies of Futurism to embrace feminine elements of intuition, spirituality, and the mystical forces of the earth."<ref>{{Cite journal |last=Conaty |first=Siobhan M. |date=2009 |title=Benedetta Cappa Marinetti and the Second Phase of Futurism |jstor=i40026522 |journal=Woman's Art Journal |volume=30 |issue=1 |pages=19–28 }}</ref> She painted up until his death and spent the rest of her days tending to the spread and growth of this period in Italian art, which celebrated technology, speed and all things new.<ref>{{Cite web |title=Benedetta Cappa Marinetti |url=https://artsandculture.google.com/story/benedetta-cappa-marinetti/9gICBKcaODaiIQ |access-date=2025-01-06 |website=Google Arts & Culture |language=en}}</ref>

During the years between 1910 and the end of [[World War I]] and after the heyday of [[cubism]], several movements emerged in Paris. [[Giorgio de Chirico]] moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as [[Alberto Savinio]]).<ref>{{Cite book |last=James |first=Thrall Soby |url=https://www.moma.org/documents/moma_catalogue_1967_300298679.pdf |title=Giorgio de Chirico |publisher=Simon and Schuste |year=1955 |location=New York }}</ref> Through his brother, he met Pierre Laprade, a member of the jury at the [[Salon d'Automne]] where he exhibited three of his dreamlike works: ''Enigma of the Oracle'', ''Enigma of an Afternoon'' and ''Self-Portrait''. In 1913 he exhibited his work at the [[Salon des Indépendants]] and Salon d'Automne, and his work was noticed by [[Pablo Picasso]], [[Guillaume Apollinaire]], and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of [[Surrealism]]. ''[[The Song of Love (Giorgio de Chirico)|Song of Love]]'' (1914) is one of the most famous works by de Chirico and is an early example of the [[Surrealism|surrealist]] style, though it was painted ten years before the movement was "founded" by [[André Breton]] in 1924. The [[School of Paris]], centered in [[Montparnasse]] flourished between the two world wars.

World War I brought an end to this phase but indicated the beginning of many [[anti-art]] movements, such as the in [[Dada#Zürich|Zürich]] and [[Dada#Berlin|Berlin]] emerging [[Dada]], including the work of [[Emmy Hennings]], [[Hannah Höch]], [[Hugo Ball]] and [[Marcel Duchamp]], and of [[Surrealism]].<ref>{{Cite journal |date=March 27, 1968 |title=Dada, Surrealism, and Their Heritage |url=https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/4009/releases/MOMA_1968_Jan-June_0026_26.pdf |journal=The Museum of Modern Art}}</ref> Artist groups like [[de Stijl]] and [[Bauhaus]] developed new ideas about the interrelation of the arts, architecture, design, and art education.<ref>{{Cite book |last=Bayer |first=Herbert |url=https://www.moma.org/documents/moma_catalogue_2735_300190238.pdf |title=Bauhaus, 1919–1928 |date=1938 |publisher=The Museum of Modern Art: Distributed by New York Graphic Society|isbn=0870702408 |location=New York }}</ref>

Modern art was introduced to the United States with the [[Armory Show]] in 1913 and through European artists who moved to the U.S. during [[World War I]].<ref>{{Cite book|last=Martinez |first=Andrew |date=1933 |title=One Hundred Years at the Art Institute: A Centennial Celebration |url=https://publications.artic.edu/gauguin/sites/default/files/file_assets/61_Gau_MuseumStudies_Martinez19.1Centennial.pdf |publisher=Art Institute of Chicago Museum |chapter=A Mixed Reception for Modernism: The 1913 Armory Show at the Art Institute of Chicago |volume=19 |issue=1 |pages=30–57+102–105 |JSTOR=}}</ref>

=== After World War II ===
It was only after [[World War II]], however, that the U.S. became the focal point of new artistic movements.{{sfn |Saunders |2013}} The 1950s and 1960s saw the emergence of [[Abstract Expressionism]], [[Color field painting]], [[Conceptual art]]ists of [[Art & Language]], [[Pop art]], [[Op art]], [[Hard-edge painting]], [[Minimal art]], [[Lyrical Abstraction]], [[Fluxus]], [[Happening]], [[video art]], [[Postminimalism]], [[Photorealism]] and various other movements. In the late 1960s and the 1970s, [[Land art]], [[performance art]], conceptual art, and other new art forms attracted the attention of curators and critics, at the expense of more traditional media.{{sfn |Mullins |2006 |p=14}} Larger [[installation art|installations]] and [[performance art|performances]] became widespread.

By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by [[Douglas Crimp]]), [[new media art]] had become a category in itself, with a growing number of artists experimenting with technological means such as [[video art]].{{sfn |Mullins |2006 |p=9}} Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of [[neo-expressionism]] and the revival of [[figurative art|figurative painting]].{{sfn |Mullins |2006 |pp=14–15}}

Towards the end of the 20th century, many artists and architects started questioning the idea of "the modern" and created typically [[Postmodern art|Postmodern works]].{{sfn |Jencks |1987 |p={{page needed|date=April 2021}}}}