Editing Modern art (section)

=== 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.