20th Century Art Movements — Comprehensive Study Notes (Impressionism to Op Art)

Modern Arts: Impressionism

  • A break from past painting traditions; the movement sought to capture the viewer’s momentary impression of a scene rather than a precise, highly detailed rendering.
  • Name origin: The term comes from Claude Monet’s painting Impression, Sunrise (1872) which exemplified the approach. The label reflected the artists’ focus on fleeting perception rather than exact reproduction.
  • Key figures: Claude Monet, Edouard Manet, Auguste Renoir; other early contributors included members who helped initiate the movement (e.g., Sisley, Bazille).
  • Core ideas and methods:
    • En plein air painting (outdoors) to capture natural light and atmosphere.
    • Short, visible brushstrokes and a light palette to convey changing conditions of light and color.
    • Emphasis on ordinary subject matter: landscapes, urban scenes, everyday life.
    • Focus on the momentary impression rather than a detailed narrative or precise anatomy.
  • Works mentioned in the slides:
    • Monet: Impression, Sunrise (1872) — named work that sparked the movement’s label.
    • Monet, The Impression Sunrise (1872) [Oil on Canvas].
    • The Monet works: Bridge Over a Pond of Water Lilies (1899); The Red Boats, Argenteuil (1875); Irises in Monet’s Garden (1900).
    • Manet: Rue MosniER Decked with Flag (1878); Argenteuil (1874); The Bar at the Folies-Bergère (1882).
  • Post-Impressionism bridge (context): While Impressionism focused on perception and light, Post-Impressionists like Cézanne and Van Gogh expanded on those ideas through experimental approaches to form and color.

Modern Arts: Expressionism — A Bold New Movement

  • Core idea: Emphasizes the artist’s subjective feelings and emotions over literal depiction; aims to convey emotional experience rather than reproduce outward appearances.
  • Techniques and characteristics:
    • Bold, exaggerated colors; distorted forms; expressive brushstrokes.
    • Emphasis on inner experience, imagination, and feelings.
    • Tends toward a more emotional, sometimes unsettling representation of subjects.
  • Styles and related movements arising within or alongside Expressionism:
    • Neoprimitivism: Incorporation of non-European and tribal art forms; example: Amedeo Modigliani’s oval faces and elongated shapes influenced byAfrican art.
    • Fauvism: Use of bold, wild color (e.g., Henri Matisse) for emotional impact.
    • Dadaism: Anti-art stance, rejection of traditional aesthetics; found objects and unconventional materials; reaction to World War I.
    • Surrealism: Exploration of the subconscious and dream imagery; irrational juxtapositions.
    • Social Realism: Art as social critique and reform.
  • Notable examples and figures:
    • Neoprimitivism and Modigliani’s elongated forms (Head, Stone examples shown).
    • Fauvism: Matisse’s Blue Window (1911, Oil on Canvas).
    • Dadaism: Rejection of conventional forms; playful yet subversive works by artists like Chagall and Chirico (e.g., Melancholy and Mystery of a Street, 1914; I and the Village, 1911).
    • Surrealism: Dreamlike, illogical imagery; Dali’s Persistence of Memory; Klee and Miro’s playful works.
    • Social Realism: Protest-driven works; Ben Shahn’s Miners’ Wives (1948, Egg tempera on board); Picasso’s Guernica (1937) as a monumental statement against war.
  • Filipino counterparts mentioned:
    • Ben Cabrera (b. August 27, 1942): significant Filipino painter, influential peer; notable works include From Hillman to Sergeant (1978) and Sabel (1965).
    • Jose Joya (1931–1996): printmaker, mixed-media artist; dean of UP College of Fine Arts; noted for dynamic spontaneity and action painting; heavy impastos and bold brushstrokes (Hills of Niko – 1964; Mariveles).
    • Alfonso Ossorio (1916–1990): internationally recognized for complex visual language; significant exhibitions (The Angry Christ—1950; Congregation).
    • Emmanuel Garibay (1962–2010/11): expressionist figurative style with social-political content.

Modern Arts: Abstractionism — Cubism and Futurism

  • Abstractionism emerged as an intellectual response to 20th-century science and ideas about space-time and relativity; shift from emotional to rational/analytic approaches.
  • Forms of abstraction and their aims:
    • Reducing natural appearances to shapes, lines, colors; sometimes representational (abstraction) and sometimes non-representational (pure abstraction).
    • Abstractionists sought to analyze, detach, simplify, and reorganize visual elements.
  • Cubism (1907–1914):
    • Pioneered by Pablo Picasso and Georges Braque.
    • Objects broken down into geometric forms and reassembled as planes; multiple viewpoints shown simultaneously.
    • Created a sense of dynamism through fragmentary perspectives; figures often shown with front and side views at once.
    • Key example: Picasso and Braque’s Cubist experiments; Influenced later works such as Guernica with its fractured perspective.
    • Mondrian and Non-Objectivism: Mondrian’s geometry evolved into non-objective art using lines, planes, and primary colors.
  • Futurism (1909–1914):
    • Originated in Italy; celebrated speed, technology, youth, and violence of modern life.
    • Depicted dynamism, machines, industrial cities, and movement; impression of speed and energy.
    • Armored Train (Gino Severini, 1915) as an example of Futurist energy.
  • Mechanical Style (Futurism-derived):
    • Emerged from Futurism; forms like planes, cones, spheres, cylinders fit together; brightened by primary colors.
    • Fernand Léger’s The City (1919) as an example.
  • Non-objectivism (Abstract Expression of geometry):
    • Logical geometric abstraction; imagery not intended to depict recognizable subjects.
    • Mondrian as a leading figure; 1942 Mondrian (Piet Mondrian, 1942) using lines, shapes, and colors in a cool, impersonal approach; primary colors with black and white.
  • Key artists and works in Abstractionism:
    • Kandinsky (1866–1944): Russian-born, believed colors provoke emotions; Untitled (First Abstract Watercolor), 1910; Composition VIII, 1923; Transverse Lines, 1923.
    • Kasimir Malevich (1879–1935): The Black Square, 1915; White on White, 1918.
    • Piet Mondrian (1872–1944): Composition in Brown and Grey, 1913; Composition A, 1923.
  • Abstract Expressionism (1943–1965):
    • Emerged in the United States; emphasis on spontaneity, freedom, and emotional expression.
    • Characterized by gestural brushstrokes, vibrant color, and large-scale canvases; often non-representational and focused on conveying inner states.
    • Substyles within Abstract Expressionism:
    • Action Painting: dynamic, large, gestural application of paint; Pollock’s floor-based drip paintings are iconic examples (e.g., his drip technique).
    • Color Field Painting: large expanses of color intended to envelop the viewer; prominent artists include Mark Rothko and Barnett Newman; also includes Adolph Gottlieb and Lee Krasner’s works.
  • New York School and evolution:
    • The movement began with American artists in New York, drawing on European influences and developing a distinct American voice.
    • By the early 1960s, momentum shifted toward lighter treatments, humor, and irreverence, paving the way for Neo-Dada, Pop Art, and Op Art.
  • Major works and artists mentioned:
    • Jackson Pollock (1912–1956): Drip technique; Big canvases; Pollock’s Blue Poles (1952) achieved high valuation.
    • Rothko (Mark Rothko) and Barnett Newman: Color Field painters; explored vast color fields and their emotional resonance.
    • Adolph Gottlieb, Lee Krasner: Abstract Expressionists contributing to the Color Field and other expressions.

Post-World War II Developments: New York School and Beyond

  • After the initial surge of the New York School, new movements emerged in the 1960s and 1970s:
    • Neo-Dadaism: Rejection of traditional values, use of recognizable imagery, objects, posters, and assemblages; connected to Pop Art via a humorous or ironic approach.
    • Pop Art: Focus on celebrities, advertisements, and mass media; ironic, accessible imagery; Andy Warhol as a leading figure.
    • Op Art: Optical Art; visual effects created by precise lines, spaces, and color arrangements; illusion of movement achieved through geometric precision.
  • Notable Pop Art works:
    • Whaam! (Roy Lichtenstein, 1963) — acrylic and oil on canvas; comic-strip imagery as high art.
    • In the Car (Roy Lichtenstein, 1963).

Installation Art and Performance Art (Contemporary Forms)

  • Installation Art:
    • A contemporary form that uses space and materials to alter the viewer’s experience of a space.
    • Typically life-sized or larger; not confined to galleries; can be placed in public or private spaces, indoor or outdoor.
    • Examples in the slides include Cordillera Labyrinth by Roberto Villanueva (1989), Earth-based outdoor bamboo installation; Silpiel Pasyon at Rebolusyon by Santiago Bose (1989); Go to Room 117 by Sid Gomez Hildawa (1990); Four Masks by Edgar Talusan Fernandez (1991).
    • Materials range from everyday objects and natural materials to media like video, sound, and computers; installation art is also known as environmental art, project art, or temporary art.
  • Performance Art:
    • A form where the action of a person or group at a given place and time constitutes the artwork.
    • Elements include time, space, the performer’s body, and a relationship with the audience.
    • Often non-traditional, improvisational, and capable of existing outside conventional theater formats.
    • The performer is the artist; performances can be intimate gestures or grand acts and may last minutes to hours; may be scripted or improvised.
  • Classroom application (from slides):
    • Group activity planned: Groups A and B to create installation artworks; Groups C and D to present performance art.
    • Steps include brainstorming, gathering materials, constructing, titling, and presenting/installing works; followed by discussion.
  • Evaluation and examples:
    • Exhibit evaluation criteria include theme selection, completeness, display, labeling, task assignments, and group cooperation.
    • “An Exhibit on Modern Art” evaluation form example with criteria: Very Good, Good, Fair, Poor.

Impressionism to Abstract Styles: Quick Reference and Key Facts

  • Impressionism: A break from traditional painting; name derived from Impression, Sunrise; focus on viewer’s momentary impression; Monet and Manet as early influencers; notable works and dates cited above.
  • Post-Impressionism: Follow-on from Impressionism; Cézanne and Van Gogh as leading figures; experimentation with geometry, distortion, color choices beyond literal realism.
    • Cézanne (1839–1906): Transition figure toward expressionism and abstraction.
    • Van Gogh (1853–1890): Known for heavy brushwork, intense emotion, pulsating color; Starry Night (1889) and The Sower (1888) referenced.
  • Expressionism (1905–1920): Emphasizes subjective emotion with bold color and distorted form; early movement that influenced later abstract styles.
  • Cubism (1907–1914): Fragmented geometric forms; multiple viewpoints; pioneers: Picasso, Braque; influenced later works and provided groundwork for abstraction.
  • Futurism (1909–1914): Italian movement celebrating speed, technology, and dynamism; emphasis on movement and machine aesthetics.
  • Dada (1915–1920): Anti-art, anti-tradition; chance, absurdity, found objects; response to the horrors of World War I.
  • Surrealism (1924–1966): Subconscious and dream logic; irrational juxtapositions; artists like Dali, Miro, Klee.
  • Abstract Expressionism (1943–1965): U.S.-led movement prioritizing spontaneity, emotion, and non-representational forms; notable subtypes include Action Painting and Color Field Painting; key figures: Jackson Pollock, Rothko, Newman, Krasner, Gottlieb.
  • New York School and postwar developments: European émigrés and American artists blending Cubist and Surrealist influences into a distinctly American narrative.
  • Neo-Dadaism, Pop Art, and Op Art (1960s): Reactions to Abstract Expressionism; Pop Art used everyday imagery and mass media; Op Art used optical illusions and precise formal arrangements.
  • Filipino art context:
    • Ben Cabrera, Jose Joya, Alfonso Ossorio, Emmanuel Garibay as Filipino counterparts influencing and reflecting global movements.
  • Key takeaways for exam-ready understanding:
    • How each movement responded to prior styles (rejection, redefinition, or synthesis).
    • How color, form, brushwork, and viewpoint contribute to the movement’s expressive aims.
    • Real-world relevance and social critique (e.g., Guernica as anti-war statement; Social Realism’s reformist aims).
    • The evolution from representational to abstract and non-representational practices in the 20th century.

Key Movements and Defining Features (at a glance)

  • Expressionism (1905–1920): Emphasized subjective feelings over literal depiction; bold colors; distorted forms; expressive brushwork.
  • Cubism (1907–1914): Fragmented forms into geometric planes; multiple perspectives; dynamic viewer engagement.
  • Futurism (1909–1914): Celebration of speed, technology, and modern life; machinery and movement as subject.
  • Dada (1915–1920): Anti-art, absurdism, anti-tradition; use of found objects and unconventional materials.
  • Surrealism (1924–1966): Dreamlike, irrational imagery; subconscious exploration.
  • Abstract Expressionism (1943–1965): Post-World War II U.S. movement; spontaneity, large canvases; gestural painting or color field approaches.
  • Abstract Expressionism subtypes:
    • Action Painting: Gesture-based, dynamic application of paint (e.g., Pollock).
    • Color Field Painting: Large color expanses meant to envelop the viewer (Rothko, Newman).
  • Post-war developments and later movements:
    • Neo-Dadaism, Pop Art, Op Art: Reactions to Abstract Expressionism; incorporation of mass-media imagery and optical effects.

Specific Q&A and prompts (study prompts from the slides)

  • Key factors contributing to the dramatic shift in 20th-century art styles: rejection of traditional aesthetics, embrace of innovation, and diverse experiments across movements.
  • Role of color, form, and brushstrokes in Expressionism: emphasis on subjective emotion; bold color; distorted forms; expressive brushwork to convey inner states.
  • Significance of multiple perspectives and fragmentation in Cubism: shattered perspective; simultaneous viewpoints; energetic dynamism and unbalanced, impactful compositions.
  • How Futurist artists captured dynamism of modern life: focus on speed, machinery, movement, and the energy of modern urban environments; depiction of dynamism through fractured forms and motion cues.
  • How Dada challenged the definition of art: rejection of traditional aesthetics; anti-art stance; use of nonsense, chance, and non-traditional materials.
  • Summary of Impressionism vs. Abstractionism: Impressionism captures momentary impression and light; Abstractionism foregrounds analysis, simplification, and non-representational forms.
  • How Cubists conveyed dynamism and energy: fragmentation of form; multiple viewpoints; rearrangement of planes; non-traditional composition.
  • How styles reflected modern life: Futurism’s speed and mechanization; Mechanical Style’s industrial forms; Non-objectivism’s rational, orderly abstraction; Surrealism’s dream logic and subconscious exploration.

Visual references and representative works (for quick recall)

  • Monet, Impression, Sunrise (1872) — origin of term “Impressionism.”
  • Monet, Bridge Over a Pond of Water Lilies (1899); Argenteuil (1875); Irises in Monet’s Garden (1900).
  • Manet, Rue MosniER Decked with Flag (1878); The Bar at the Folies-Bergère (1882).
  • Van Gogh, Starry Night (1889); The Sower (1888);
  • Cézanne (Post-Impressionism) — geometric approach and structural approach to form.
  • Picasso, Cubism and Guernica (1937): fragmentary composition vs. commentary on war; Three Musicians (1921); Girl Before a Mirror (1932).
  • Dali (Surrealism) — Persistence of Memory (1931).
  • Pollock (Abstract Expressionism) — Drip paintings; Blue Poles (1952).
  • Rothko (Color Field) — large color fields; Newman (Color fields).
  • Warhol (Neo-Dada/Pop Art) — celebrity imagery; Warholian approach (notably in Warhol prints).
  • Lichtenstein (Pop Art) — Whaam! (1963); In the Car (1963).
  • Mondrian (Non-objectivism) — Composition in Brown and Grey (1913); Composition A (1923).
  • Kandinsky (Abstract) — Untitled (First Abstract Watercolor) (1910); Composition VIII (1923).
  • Malevich — The Black Square (1915); White on White (1918).

Quick glossary (definitions wired to slides)

  • Line: A connection between two points; can be straight, curved, diagonal, or zigzag.
  • Shape: A two-dimensional figure formed by a closed line.
  • Form: A three-dimensional figure with length, width, and depth (e.g., pyramids, cubes).
  • Space: The area occupied by an object plus the area around it; creates depth.
  • Texture: Tactile quality; rough, smooth, soft, prickly, etc.
  • Color: Hue, value, and intensity; affects mood.
  • Value: Lightness or darkness of a color; extremes are black and white.
  • Balance: Distribution of visual weight.
  • Emphasis: Hierarchy by stressing one element over another.
  • Harmony: Interaction of elements for an aesthetically pleasing whole.
  • Proportion: Relationship of elements within the artwork.
  • Variation: Differences to highlight key areas via lines, shapes, colors.
  • Contrast: The difference between two things.

Notes on dates and movements (quick reference condensed)

  • Impressionism: active 1870s-1880s; Impression, Sunrise (1872).
  • Post-Impressionism: late 19th century; Cézanne (1839–1906); Van Gogh (1853–1890).
  • Expressionism: 1905-1920.
  • Cubism: 1907-1914.
  • Futurism: 1909-1914.
  • Dada: 1915-1920.
  • Surrealism: 1924-1966.
  • Abstract Expressionism: 1943-1965.
  • Installation Art and Performance Art: mid-20th century onward; prominent from the 1970s onward.
  • Pop Art: 1950s–1960s; Neo-Dada/Pop Art in the USA and Europe; Roy Lichtenstein and Andy Warhol as major figures.
  • Op Art: 1960s; visual trickery and optical illusions.