Western painting

Source: Wikipedia, the free encyclopedia.

Johannes Vermeer's Girl with a Pearl Earring (1665–1667)
Édouard Manet's The Balcony (1868)
History of art
Periods and movements
Regions
Art of the Middle East

Art of Central Asia

Art of East Asia

Art of South Asia

Art of Southeast Asia

Art of Europe

Art of Africa

Art of the Americas

Art of Oceania
Religions
Techniques
Types

The history of Western painting represents a continuous, though disrupted, tradition from

representational and traditional modes of production, after which time more modern, abstract and conceptual forms gained favor.[2]

Initially serving imperial, private, civic, and religious patronage, Western painting later found audiences in the

Francisco de Goya, John Constable, and J. M. W. Turner.[6] During the 19th century commercial galleries became established and continued to provide patronage in the 20th century.[7][8]

Western painting reached its zenith in Europe during the Renaissance, in conjunction with the refinement of drawing, use of perspective, ambitious architecture, tapestry, stained glass, sculpture, and the period before and after the advent of the printing press.[9] Following the depth of discovery and the complexity of innovations of the Renaissance, the rich heritage of Western painting continued from the Baroque period to Contemporary art.[10]

Pre-history

See also: Prehistoric art

The

red ochre
and black pigment and show horses, rhinoceros, lions, buffalo, mammoth, or humans often hunting.

Prehistoric European cave paintings share common themes with other prehistoric paintings that have been found throughout the world; implying the universality of purpose and similarity of the impulses that might have inspired the artists to create the imagery.[citation needed] Various conjectures have been made as to the meaning these paintings had to the artists who made them. Prehistoric men may have painted animals to "catch" their soul or spirit in order to hunt them more easily, or the paintings may represent an animistic vision and homage to surrounding nature, or they may be the result of a basic need of expression that is innate to human beings, or they may be recordings of the life experiences of the artists and related stories from the members of their circle.

Greece and Rome

See also: Ancient art

Bronze Age Aegean Civilizations

Minoan painting is the art produced by the Bronze Age Aegean Minoan civilization from about 3000 to 1100 BC, though the most extensive and finest survivals come from approximately 2300 to 1400 BC. It forms part of the wider grouping of Aegean art, and in later periods came for a time to have a dominant influence over Cycladic art. Since wood and textiles have decomposed, the best-preserved (and most instructive) surviving examples of Minoan art are its pottery, palace architecture (with frescos which include "the earliest pure landscapes anywhere"),[12] small sculptures in various materials, jewellery, metal vessels, and intricately-carved seals.

It was influenced by the neighbouring cultures of Ancient Egypt and the ancient Near East, which had produced sophisticated urban art for much longer, but the character of the small but wealthy mercantile Minoan cities was very different, with little evidence of large temple-based religion, monarchs, or warfare, and "all the imaginative power and childlike freshness of a very young culture".[13] All these aspects of the Minoan culture remain rather mysterious. Sinclair Hood described an "essential quality of the finest Minoan art, the ability to create an atmosphere of movement and life although following a set of highly formal conventions".[14]

The largest and best collection of Minoan art is in the

Minoan culture (EM, MM, LM), and their many sub-phases. The dates to be attached to these remain much discussed, although within narrowing ranges.[15]

The relationship of Minoan art to that of other contemporary cultures and later

Mycenaean art and Cycladic art of the same periods,[16] even after Crete was occupied by the Mycenaeans, but only some aspects of the tradition survived the Greek Dark Ages after the collapse of Mycenaean Greece.[17]

Classical Antiquity

A fresco showing Hades and Persephone riding in a chariot, from the tomb of Queen Eurydice I of Macedon at Vergina, Greece, 4th century BC

Around 1100 BC, tribes from the north of Greece conquered Greece and its art took a new direction. The culture of

red-figure vase painting
still exist.

Some famous Greek painters who worked on wood panels and are mentioned in texts are Apelles, Zeuxis and Parrhasius; however, with the single exception of the Pitsa panels, no examples of ancient Greek panel painting survive, only written descriptions by their contemporaries or later Romans. Zeuxis lived in the 5th century BC and was said to be the first to use sfumato. According to Pliny the Elder, the realism of his paintings was such that birds tried to eat the painted grapes. Apelles is described as the greatest painter of antiquity, and is noted for perfect technique in drawing, brilliant color, and modeling.

Roman art was influenced by Greece and can in part be taken as a descendant of ancient Greek painting. However, Roman painting does have important unique characteristics. Surviving Roman paintings include wall paintings and frescoes, many from villas in Campania, in Southern Italy at sites such as Pompeii and Herculaneum. Such painting can be grouped into 4 main "styles" or periods[18] and may contain the first examples of trompe-l'œil, pseudo-perspective, and pure landscape.[19]

Almost the only painted portraits surviving from the ancient world are a large number of

Al-Fayum. Although these were neither of the best period nor the highest quality, they are impressive in themselves, and give an idea of the quality that the finest ancient work must have had. A very small number of miniatures
from Late Antique illustrated books also survive, and a rather larger number of copies of them from the Early Medieval period.

Middle Ages

Main articles: Medieval art, Byzantine art, Illuminated manuscript, Middle Ages, and Dark Ages (historiography)

The rise of Christianity imparted a different spirit and aim to painting styles. Byzantine art, once its style was established by the 6th century, placed great emphasis on retaining traditional iconography and style, and gradually evolved during the thousand years of the Byzantine Empire and the living traditions of Greek and Russian Orthodox icon-painting. Byzantine painting has a hieratic feeling and icons were and still are seen as a representation of divine revelation. There were many frescos, but fewer of these have survived than mosaics. Byzantine art has been compared to contemporary

Chora Church
in Istanbul.

Giotto

In post-Antique Catholic Europe the first distinctive artistic style to emerge that included painting was the Insular art of the British Isles, where the only surviving examples are miniatures in Illuminated manuscripts such as the Book of Kells.[20] These are most famous for their abstract decoration, although figures, and sometimes scenes, were also depicted, especially in Evangelist portraits. Carolingian and Ottonian art also survives mostly in manuscripts, although some wall-painting remain, and more are documented. The art of this period combines Insular and "barbarian" influences with a strong Byzantine influence and an aspiration to recover classical monumentality and poise.

Walls of Romanesque and Gothic churches were decorated with frescoes as well as sculpture and many of the few remaining murals have great intensity, and combine the decorative energy of Insular art with a new monumentality in the treatment of figures. Far more miniatures in Illuminated manuscripts survive from the period, showing the same characteristics, which continue into the Gothic period.

Panel painting becomes more common during the

Gothic painting became more realistic, with the beginnings of interest in the depiction of volume and perspective in Italy with Cimabue and then his pupil Giotto
. From Giotto on, the treatment of composition by the best painters also became much more free and innovative. They are considered to be the two great medieval masters of painting in western culture. Cimabue, within the Byzantine tradition, used a more realistic and dramatic approach to his art. His pupil, Giotto, took these innovations to a higher level which in turn set the foundations for the western painting tradition. Both artists were pioneers in the move towards naturalism.

Churches were built with more and more windows and the use of colorful

Notre Dame de Paris. By the 14th century Western societies were both richer and more cultivated and painters found new patrons in the nobility and even the bourgeoisie. Illuminated manuscripts took on a new character and slim, fashionably dressed court women were shown in their landscapes. This style soon became known as International Gothic style and was dominant from 1375 to 1425 with and tempera
panel paintings and altarpieces gaining importance.

Early Modern Period

Renaissance and Mannerism

Main articles:
Renaissance painting, Italian Renaissance painting, Early Netherlandish painting, Dutch and Flemish Renaissance painting, Mannerism, and High Renaissance
Robert Campin – Mérode Altarpiece, c. 1427. Central Panel L'Annonciation by Campin with side panels done by an assistant

The Renaissance (French for 'rebirth'), a cultural movement roughly spanning the 14th through the mid-17th century, was driven by

Early Renaissance
.

In the Flanders area of the Low Countries, following developments made in the

the Master of Flémalle) and van Eyck brought its use to new heights and employed it to represent the naturalism for which they were aiming. With this new medium, the painters of this period were capable of creating richer colors with a deep intense tonality. The illusion of glowing light with a porcelain-like finish characterized Early Netherlandish painting and was a major difference to the matte surface of tempera paint used in Italy.[21]

Fra Angelico, 1425–1428

Unlike the Italians, whose work drew heavily from the art of ancient Rome, the northerners retained a stylistic residue of the sculpture and

illuminated manuscripts of the Middle Ages (especially its naturalism). Another important Netherlandish painter of this period was Rogier van der Weyden, a pupil of Campin, whose compositions stressed human emotion and drama, demonstrated for instance in his Descent from the Cross, which ranks among the most famous works of the 15th century and was the most influential Netherlandish painting of Christ's crucifixion. Other important artists were Hugo van der Goes (whose work was highly influential in Italy), Dieric Bouts (who was among the first northern painters to demonstrate the use of a single vanishing point),[21] Petrus Christus, Hans Memling and Gerard David. Collectively, the advances in painting in Europe north of the Alps is known as the Northern Renaissance
.

In

Venetian school, such as Giovanni Bellini, Giorgione, Titian, and Veronese
, were less concerned with precision in their drawing than with the richness of color and unity of effect that could be achieved by a more spontaneous approach to painting.

Flemish, Dutch and German painters of the

Romanists
.

Titian, 1520–1523

Renaissance painting reflects the revolution of ideas and science (

easel painting
in the Renaissance, painting gained independence from architecture. Easel paintings—movable pictures which could be hung easily on walls—became a popular alternative to paintings fixed to furniture, walls or other structures. Following centuries dominated by religious imagery, secular subject matter slowly returned to Western painting. Artists included visions of the world around them, or the products of their own imaginations in their paintings. Those who could afford the expense could become patrons and commission portraits of themselves or their family.

The High Renaissance in Italy gave rise to a stylized art known as Mannerism after 1520, although some painters, such as Titian and Paolo Veronese, continued painting in a High Renaissance style late into the century. In place of the balanced compositions and rational approach to perspective that characterized art at the dawn of the 16th century, the Mannerists sought instability, artifice, and doubt. The calm Virgins of Raphael and serene expressions of Leonardo's subjects are replaced by the troubled expressions of Pontormo and the emotional intensity of El Greco. Restless and unstable compositions, often extreme or disjunctive effects of perspective, and stylized poses are characteristic of Italian Mannerists such as Tintoretto, Pontormo, and Bronzino, and appeared later in the work of Northern Mannerists such as Hendrick Goltzius, Bartholomeus Spranger, and Joachim Wtewael.

Baroque and Rococo

Main articles:
Quadratura, Dutch Golden Age painting, and Flemish Baroque painting

Baroque painting is associated with the

Counter Reformation or Catholic Revival;[22][23] the existence of important Baroque painting in non-absolutist and Protestant states also, however, underscores its popularity, as the style spread throughout Western Europe.[24]

Baroque painting is characterized by great drama, rich, deep color, and intense light and dark shadows with the purpose of the art being to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. The earliest Baroque painters included the Caracci brothers,

Grand Manner by artists such as the Carracci, Guido Reni, and Luca Giordano. Illusionistic church ceiling frescoes by Pietro da Cortona
seemed to open to the sky.

Rembrandt van Rijn, The Jewish Bride, ca. 1665–1669

A much quieter type of Baroque emerged in the

Dutch Golden Age Painting
.

During the 18th century,

Louis XV's succession brought a change in the court artists and general artistic fashion. The 1730s represented the height of Rococo development in France exemplified by the works of Antoine Watteau and François Boucher
. Rococo still maintained the Baroque taste for complex forms and intricate patterns, but by this point, it had begun to integrate a variety of diverse characteristics, including a taste for Oriental designs and asymmetric compositions.

The Rococo style spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany,

Frederician Rococo developed in the Kingdom of Prussia
.

The French masters

Élisabeth Vigée-Lebrun were highly accomplished portrait painters. La Tour specialized in pastel
painting, which became a popular medium during this period.

William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism). The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors.[26]

By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassical artists such as Jacques-Louis David, whose imposing history paintings depicting both historical and contemporary events embodied the ideals of the French Revolution.

19th century

Main articles:
Post Impressionism, and Symbolism

After

Ingres. Ingres' work already contains much of the sensuality, but none of the spontaneity, that was to characterize Romanticism
.

By the mid-19th century, painters became liberated from the demands of their patronage to only depict scenes from religion, mythology, portraiture or history. Art became more purely a means of personal expression in the work of painters like

Francisco de Goya, John Constable, and J. M. W. Turner. Romantic painters turned landscape painting
into a major genre, considered until then as a minor genre or as a decorative background for figure compositions. Some of the major painters of this period are
James Abbott McNeill Whistler evoke sophistication, decadence, and the philosophy of "art for art's sake". In the United States the Romantic tradition of landscape painting was known as the Hudson River School:[27] exponents include Thomas Cole, Frederic Edwin Church, Albert Bierstadt, Thomas Moran, and John Frederick Kensett. Luminism
was a movement in American landscape painting related to the Hudson River School.

Johan Jongkind, 1871, a prefiguration of impressionism

A major force in the turn towards

plein air
painting.

In the latter third of the century Impressionists such as Édouard Manet, Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley, Berthe Morisot, Mary Cassatt, and Edgar Degas worked in a more direct approach than had previously been exhibited publicly. They eschewed allegory and narrative in favor of individualized responses to the modern world, sometimes painted with little or no preparatory study, relying on deftness of drawing and a highly chromatic palette. Monet, Pissarro, and Sisley used the landscape as their primary motif, the transience of light and weather playing a major role in their work. Following a practice that had become increasingly popular by mid-century, they often ventured into the countryside together to paint in the open air, but not for the traditional purpose of making sketches to be developed into carefully finished works in the studio.[28] By painting in sunlight directly from nature, and making bold use of the vivid synthetic pigments that had become available since the beginning of the century, they developed a lighter and brighter manner of painting.

Edvard Munch, 1893, early example of Expressionism

Manet, Degas, Renoir, Morisot, and Cassatt concentrated primarily on the human subject. Both Manet and Degas reinterpreted classical figurative canons within contemporary situations; in Manet's case the re-imaginings met with hostile public reception. Renoir, Morisot, and Cassatt turned to domestic life for inspiration, with Renoir focusing on the female nude. While Sisley most closely adhered to the original principals of the Impressionist perception of the landscape, Monet sought challenges in increasingly chromatic and changeable conditions, culminating in his series of monumental works of

Water Lilies painted in Giverny
.

Georges-Pierre Seurat led art to the edge of modernism. For Gauguin Impressionism gave way to a personal symbolism. Seurat transformed Impressionism's broken color into a scientific optical study, structured on frieze-like compositions. The painting technique he developed, called Divisionism, attracted many followers such as Paul Signac, and for a few years in the late 1880s Pissarro adopted some of his methods. Van Gogh's turbulent method of paint application, coupled with a sonorous use of color, predicted Expressionism and Fauvism
, and Cézanne, desiring to unite classical composition with a revolutionary abstraction of natural forms, would come to be seen as a precursor of 20th-century art.

The spell of Impressionism was felt throughout the world, including in the United States, where it became integral to the painting of

American Impressionists such as Childe Hassam, John Henry Twachtman, and Theodore Robinson. It also exerted influence on painters who were not primarily Impressionistic in theory, like the portrait and landscape painter John Singer Sargent. At the same time in America at the turn of the 20th century there existed a native and nearly insular realism, as richly embodied in the figurative work of Thomas Eakins, the Ashcan School, and the landscapes and seascapes of Winslow Homer, all of whose paintings were deeply invested in the solidity of natural forms. The visionary landscape, a motive largely dependent on the ambiguity of the nocturne, found its advocates in Albert Pinkham Ryder and Ralph Albert Blakelock
.

In the late 19th century there also were several, rather dissimilar, groups of

Russian Symbolists such as Mikhail Vrubel
.

Symbolist painters mined

Les Nabis. In their exploration of dreamlike subjects, symbolist painters are found across centuries and cultures, as they are still today; Bernard Delvaille has described René Magritte's surrealism as "Symbolism plus Freud".[29]

20th century

Main article: 20th-century Western painting
Synthetic Cubism, Tubism

The heritage of painters like

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.[31]

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"),[32] contrasting the paintings with a Renaissance-type sculpture that shared the room with them.[33] The jungle scene The Hungry Lion Throws Itself on the Antelope by Henri Rousseau (who was not a Fauve) hung near the works by Matisse and may have inspired the sarcastic term used in the press.[34] Vauxcelles' comment was printed on 17 October 1905 in the daily newspaper Gil Blas, and passed into popular usage.[33][35]

In the first two decades of the 20th century and after cubism, several other important movements emerged;

Modernist architecture and design, to avant-garde film, theatre and modern dance and became an experimental laboratory for the expression of visual experience, from photography and concrete poetry to advertising art
and fashion.

Fauvism, Der Blaue Reiter, Die Brücke

Main articles: Fauvism, Der Blaue Reiter, and Die Brücke

Picasso's yin in the 20th century. Fauvist painters included Albert Marquet, Charles Camoin, Maurice de Vlaminck, Raoul Dufy, Othon Friesz, the Dutch painter Kees van Dongen, and Picasso's partner in Cubism, Georges Braque amongst others.[36]

Fauvism had no concrete theories, and was short lived, beginning in 1905 and ending in 1907. They had only three exhibitions. Matisse was seen as the leader of the movement, due to his seniority in age and prior self-establishment in the academic art world. His 1905 portrait of Mme. Matisse,

Impressionist painter Claude Monet
.

By 1907 Fauvism no longer was a shocking new movement, and Appolinaire said of Matisse in an article published in La Falange, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."[37]

expressionist artists formed in Dresden in 1905. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members included Max Pechstein and Otto Mueller. This seminal group had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism.[38]

a 1903 painting by Kandinsky. For Kandinsky, blue is the color of spirituality: the darker the blue, the more it awakens human desire for the eternal.[39]

Expressionism, Symbolism, American Modernism, Bauhaus

Main articles:
American Modernism, Modernism, and Bauhaus

Expressionism and Symbolism are broad rubrics that involve several related movements in 20th-century painting that dominated much of the avant-garde art being made in Western, Eastern and Northern Europe. Expressionist works were painted largely between World War I and World War II, mostly in France, Germany, Norway, Russia, Belgium, and Austria. Fauvism, Die Brücke, and Der Blaue Reiter are three of the best known groups of Expressionist and Symbolist painters. Marc Chagall's painting I and the Village tells an autobiographical story that examines the relationship between the artist and his origins, with a lexicon of artistic Symbolism. Gustav Klimt, Egon Schiele, Edvard Munch, Emil Nolde, Chaïm Soutine, James Ensor, Oskar Kokoschka, Ernst Ludwig Kirchner, Max Beckmann, Franz Marc, Georges Rouault, Amedeo Modigliani, and some Americans abroad such as Marsden Hartley and Stuart Davis, were considered influential expressionist painters. Although Alberto Giacometti is primarily thought of as a Surrealist sculptor, he made intense expressionist paintings as well.

American painters during the period between World War I and World War II tended to go to Europe for recognition.

the 291.[44] In Europe masters like Henri Matisse and Pierre Bonnard
continued developing their narrative styles independent of any movement.

Pioneers of abstraction

Piet Mondrian, "Composition No. 10" 1939–1942, De Stijl

theosophists, that pure visual abstraction had corollary vibrations with sound and music. They posited that pure abstraction could express pure spirituality. His earliest abstractions were generally titled as the example in the Composition VII, making connection to the work of the composers of music. Kandinsky included many of his theories about abstract art in his book Concerning the Spiritual in Art. Other major pioneers of early abstraction include Swedish painter Hilma af Klint, Russian painter Kazimir Malevich, and Swiss painter Paul Klee. Robert Delaunay was a French artist who is associated with Orphism
, (reminiscent of a link between pure abstraction and cubism). His key contributions to abstract painting refer to his bold use of color and his experimentation of both depth and tone.

Dada and Surrealism

Zürich, Switzerland, during World War I and peaked from 1916 to 1920. The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design to advance its antiwar politic and rejection of the prevailing standards in art through anti-art cultural works. Other artists associated with the Dada movement include Francis Picabia, Man Ray, Kurt Schwitters, Hannah Höch, Tristan Tzara, Hans Richter, Jean Arp, and Sophie Taeuber-Arp
. Duchamp and several Dadaists are also associated with Surrealism, the movement that dominated European painting in the 1920s and 1930s.

Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, Philadelphia Museum of Art

In 1924

Surrealist movement in painting became synonymous with the avant-garde and featured artists whose works varied from the abstract to the super-realist. With works on paper like Machine Turn Quickly, Francis Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. Yves Tanguy, René Magritte and Salvador Dalí are particularly known for their realistic depictions of dream imagery and fantastic manifestations of the imagination. During the 1920s André Masson's work was decisive in helping the young artist Joan Miró find his roots in Surrealist painting. Miró's The Tilled Field (1923–1924) verges on abstraction while suggesting a complex of objects and figures and arrangements of sexually active characters; it was Miró's first Surrealist masterpiece.[45] Joan Miró, Jean Arp, André Masson, and Max Ernst
were very influential, especially in the United States during the 1940s.

Max Ernst, whose 1920 painting Murdering Airplane is seen here, studied philosophy and psychology in Bonn and was interested in the alternative realities experienced by the insane. His paintings may have been inspired by the

psychoanalyst Sigmund Freud's study of the delusions of a paranoiac, Daniel Paul Schreber. Freud identified Schreber's fantasy of becoming a woman as a castration complex. The central image of two pairs of legs refers to Schreber's hermaphroditic desires. Ernst's inscription on the back of the painting reads: The picture is curious because of its symmetry. The two sexes balance one another.[46]

Throughout the 1930s, Surrealism continued to become more visible to the public at large. A Surrealist group developed in Britain and, according to Breton, their 1936 London International Surrealist Exhibition was a high-water mark of the period and became the model for international exhibitions. Surrealist groups in Japan, and especially in Latin America, the Caribbean and in Mexico produced innovative and original works. Other prominent surrealist artists include Giorgio de Chirico, Méret Oppenheim, Toyen, Grégoire Michonze, Roberto Matta, Kay Sage, Leonora Carrington, Dorothea Tanning, and Leonor Fini.

Neue Sachlichkeit, Social realism, regionalism, American Scene painting, Symbolism

During the 1920s and the 1930s and the

modernist color painters like Henri Matisse and Pierre Bonnard
.

The Night (Die Nacht), 1918–1919, Kunstsammlung Nordrhein-Westfalen
, Düsseldorf

In Germany

Neue Sachlichkeit ("New Objectivity") emerged as Max Beckmann, Otto Dix, George Grosz and others politicized their paintings. The work of these artists grew out of expressionism, and was a response to the political tensions of the Weimar Republic
, and was often sharply satirical.

During the 1930s radical leftist politics characterized many of the artists connected to Surrealism, including

Guernica
to commemorate the horrors of the bombing.

Guernica
, protest against Fascism

Guernica is an immense black-and-white, 3.5-metre (11 ft) tall and 7.8-metre (23 ft) wide mural painted in oil. The mural presents a scene of death, violence, brutality, suffering, and helplessness without portraying their immediate causes. The choice to paint in black and white invokes the immediacy of a newspaper photograph.[48] The painting was first exhibited in Paris in 1937, then Scandinavia and London, and in 1939 at Picasso's request the painting was sent to the United States in an extended loan (for safekeeping) at

MoMA
. Finally in accord with Picasso's wish to give the painting to the people of Spain as a gift, it was sent to Spain in 1981.

From the

American Scene Painting. Regionalism movements that contained both political and social commentary dominated the art world in the USA. Artists such as Ben Shahn, Thomas Hart Benton, Grant Wood, George Tooker, John Steuart Curry, Reginald Marsh
, and others became prominent.

Winesburg, Ohio, Sinclair Lewis' 1920 Main Street, and Carl Van Vechten's The Tattooed Countess in literature.[49] However, with the onset of the Great Depression
, the painting came to be seen as a depiction of steadfast American pioneer spirit.

A renaissance of the arts in Latin America included the

Lenin
and other communist imagery, he fired Rivera, and the unfinished work was eventually destroyed by Rockefeller's staff.

Frida Kahlo's works relate to Surrealism and to the

Magic Realism movement in literature. Her works are often characterized by their stark portrayals of pain. Of her 143 paintings 55 are self-portraits, which frequently incorporate symbolic portrayals of her physical and psychological wounds.[50]

Abstract expressionism

The 1940s in New York City heralded the triumph of American

The Art of This Century
, as well as other factors.

Barnett Newman, Onement 1, 1948. During the 1940s Barnett Newman wrote several articles about the new American painting.

Post-Second World War American painting called Abstract expressionism included artists like

Robert Coates.[51][52]
Abstract expressionism,
Color Field painting are synonymous with the New York School.[53]

Technically Surrealism was an important predecessor for Abstract expressionism with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all over" look of Pollock's drip paintings.

Additionally, Abstract expressionism has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, rather nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist. Pollock's energetic "

East Hampton, de Kooning further explored the theme through drawings and pastels. He finished work on Woman I by November 1952, and probably the other three women pictures were concluded at much the same time.[54] The Woman series are decidedly figurative paintings. Another important artist is Franz Kline
, as demonstrated by his painting High Street (1950), who was labelled an action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas.

Clyfford Still, Barnett Newman, Adolph Gottlieb, and the serenely shimmering blocks of color in Mark Rothko's work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann and Robert Motherwell can be described as practitioners of action painting and Color field painting.

During the 1950s Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell and Adolph Gottlieb. It essentially involved abstract paintings with large, flat expanses of color that expressed the sensual, and visual feelings and properties of large areas of nuanced surface. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The overall expanse and gestalt of the work of the early color field painters speaks of an almost religious experience, awestruck in the face of an expanding universe of sensuality, color and surface. During the early-to-mid-1960s Color Field painting came to refer to the styles of artists like Jules Olitski, Kenneth Noland, and Helen Frankenthaler, whose works were related to second-generation abstract expressionism, and to younger artists like Larry Zox, and Frank Stella – all moving in a new direction.

Realism, Landscape, Seascape, Figuration, Still-Life, Cityscape

During the 1930s through the 1960s as abstract painting in America and Europe evolved into movements such as

Robert De Niro, Sr., and Elaine de Kooning
.

In Italy during this time, Giorgio Morandi was the foremost still-life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements.[55]

Latin American Symbolism

Arshile Gorky's portrait of Willem de Kooning is an example of the evolution of abstract expressionism from the context of figure painting, cubism and surrealism. Along with his friends de Kooning and John D. Graham Gorky created bio-morphically shaped and abstracted figurative compositions that by the 1940s evolved into totally abstract paintings. Gorky's work seems to be a careful analysis of memory, emotion and shape, using line and color to express feeling and nature.[56][57]

Study after Velázquez's Portrait of Pope Innocent X, 1953 is a painting by the Irish-born artist Francis Bacon and is an example of Post World War II European Expressionism. The work shows a distorted version of the Portrait of Innocent X painted by the Spanish artist Diego Velázquez in 1650. The work is one of a series of variants of the Velázquez painting which Bacon executed throughout the 1950s and early 1960s, over a total of forty-five works.[58] When asked why he was compelled to revisit the subject so often, Bacon replied that he had nothing against the Popes, that he merely "wanted an excuse to use these colours, and you can't give ordinary clothes that purple colour without getting into a sort of false fauve manner."[59] The Pope in this version seethes with anger and aggression, and the dark colors give the image a grotesque and nightmarish appearance.[60] The pleated curtains of the backdrop are rendered transparent, and seem to fall through the Pope's face.[61]

The figurative work of Francis Bacon, Frida Kahlo, Edward Hopper, Lucian Freud, Andrew Wyeth and others served as a kind of alternative to abstract expressionism.

Nighthawks (1942) is a realist painting by Edward Hopper that portrays people sitting in a downtown diner late at night. It is not only Hopper's most famous painting, but one of the most recognizable in American art. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. This portrayal of modern urban life as empty or lonely is a common theme throughout Hopper's work. One of the most well-known images in 20th-century American art is Wyeth's tempera painting, Christina's World, in the collection of the Museum of Modern Art in New York City. It depicts a woman lying on the ground in a treeless, mostly tawny field, looking up at and crawling towards a gray house on the horizon; a barn and various other small outbuildings are adjacent to the house.[62]

After World War II the term

Lyrical Abstraction of the 1960s and 1970s. Milton Avery as well through his use of color and his interest in seascape and landscape paintings connected with the Color field aspect of Abstract expressionism as manifested by Adolph Gottlieb and Mark Rothko as well as the lessons American painters took from the work of Henri Matisse.[63][64]

Pop art

Gerald Murphy, Stuart Davis and Charles Demuth
during the 1920s and 1930s foreshadow the style and subject matter of Pop art.

In New York City during the mid-1950s, Rauschenberg and Johns created works of art that at first seemed to be continuations of

Camel cigarettes; and Rauschenberg's surprising constructions using inclusions of objects and pictures taken from popular culture, hardware stores, junkyards, the city streets, and taxidermy
, gave rise to a radical new movement in American art. Eventually by 1963 the movement came to be known worldwide as Pop art.

Pop art is exemplified by the artists

painterly style. They helped usher in Pop art as a major art movement that relied on themes from popular culture
.

Earlier in England in 1956 the term Pop Art was used by Lawrence Alloway for paintings that celebrated consumerism of the post World War II era. This movement rejected Abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted material consumer culture, advertising, and iconography of the mass production age.[67] The early works of English artist David Hockney, such as A Bigger Splash, and the works of Richard Hamilton, Peter Blake, and Eduardo Paolozzi, are considered seminal examples in the movement. In New York's

10th Street galleries artists were formulating an American version of Pop art. Claes Oldenburg had his storefront, and the Green Gallery on 57th Street began to show Tom Wesselmann and James Rosenquist. There is a connection between the radical works of Duchamp, and Man Ray, the rebellious Dadaists – with a sense of humor; and Pop Artists like Alex Katz
, Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.

Art Brut, New Realism, Bay Area Figurative Movement, Neo-Dada, Photorealism

During the 1950s and 1960s as abstract painting in America and Europe evolved into movements such as

Christo, Niki de Saint Phalle, David Hockney, Alex Katz, Malcolm Morley, Ralph Goings, Audrey Flack, Richard Estes, Chuck Close, Susan Rothenberg, Eric Fischl, and Vija Celmins were a few who became prominent between the 1960s and the 1980s. Fairfield Porter
was largely self-taught, and produced representational work in the midst of the Abstract Expressionist movement. His subjects were primarily landscapes, domestic interiors and portraits of family, friends and fellow artists.

Also during the 1960s and 1970s, there was a reaction against painting. Critics like Douglas Crimp viewed the work of artists like

arte povera, performance art and body art among others.[69][70]

Neo-Dada is also a movement that started in the 1950s and 1960s and was related to Abstract expressionism only with imagery. This trend, in which manufactured items are combined with artist materials, is exemplified by the work of Jasper Johns and Robert Rauschenberg. Rauschenberg's "combines" in the 1950s were forerunners of Pop Art and Installation art, and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography. Rauschenberg, Johns, Larry Rivers, John Chamberlain, Claes Oldenburg, George Segal, Jim Dine, and Edward Kienholz among others created new conventions of art-making; they made acceptable in serious contemporary art circles the radical inclusion of unlikely materials as parts of their works of art.[71][72]

Geometric abstraction, Op Art, Hard-Edge, Color field, Minimal Art, New Realism

  • Yves Klein, 1962, New Realism
    New Realism

During the 1960s and 1970s abstract painting continued to develop in America through varied styles.

Minimal Art. Two influential teachers, Josef Albers and Hans Hofmann, introduced a new generation of American artists to their advanced theories of color and space. Albers is best remembered for his work as a Geometric abstractionist
painter and theorist. Most famous of all are the hundreds of paintings and prints that make up the series Homage to the Square. In this rigorous series, begun in 1949, Albers explored chromatic interactions with flat colored squares arranged concentrically on the canvas. Albers' theories on art and education were formative for the next generation of artists. His own paintings form the foundation of both hard-edge painting and Op art.

Josef Albers, Hans Hofmann,

Geometric abstract artists, minimalists, and Hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract, formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Bykert Gallery, and the Park Place Gallery
were important showcases for Minimalism and shaped canvas painting in New York City during the 1960s.

Shaped canvas, Washington Color School, Abstract Illusionism, Lyrical Abstraction

Lyrical Abstraction

Color Field painting pointed toward a new direction in American painting, away from

Color Field paintings
in Washington, D.C. during the 1950s and 1960s, Black, Grey, Beat is a large vertical stripe painting and typical of Gene Davis's work. Frank Stella, Kenneth Noland, Ellsworth Kelly, Barnett Newman, Ronald Davis, Neil Williams, Robert Mangold, Charles Hinman, Richard Tuttle, David Novros, and Al Loving are examples of artists associated with the use of the shaped canvas during the period beginning in the early 1960s.

From 1960 Frank Stella produced paintings in aluminum and copper paint and his first works using shaped canvases (canvases in a shape other than the traditional rectangle or square), often being in L, N, U or T-shapes. These later developed into more elaborate designs, in the Irregular Polygon series (1967), for example. Later he began his Protractor Series (1971) of paintings, in which arcs, sometimes overlapping, within square borders are arranged side by side to produce full and half circles painted in rings of concentric color. Harran II, 1967, is an example of the Protractor Series.

The Andre Emmerich Gallery, the

Minimal art
were often closely associated with each other. In actuality by the early 1970s both movements became decidedly diverse.

Lyrical Abstraction (the term being coined by Larry Aldrich, the founder of the

Contemporary Art in the mid-1960s through the 1970s.[81]

Abstract Illusionism, Monochrome, Minimalism, Postminimalism

Brice Marden, 1966/1986, Monochrome painting
Abstract Illusionism

One of the first artists specifically associated with Minimalism was

Museum of Modern Art in New York. The widths of the stripes in Stella's stripe paintings were not entirely subjective, but were determined by the dimensions of the lumber used to construct the supportive chassis upon which the canvas was stretched. In the show catalog, Carl Andre noted, "Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes. There is nothing else in his painting." These reductive works were in sharp contrast to the energy-filled and apparently emotionally charged paintings of Willem de Kooning or Franz Kline and leaned more toward less gestural coloristic field paintings of Barnett Newman and Mark Rothko
.

Artists such as

Hard-edge formats from the late 1950s through the 1960s.[82]

Because of a tendency in Minimalism to exclude the pictorial, illusionistic and fictive in favor of the literal—as demonstrated by Robert Mangold, who understood the concept of the shape of the canvas and its relationship to objecthood—there was a movement away from painterly and toward sculptural concerns. Donald Judd had started as a painter, and ended as a creator of objects. His seminal essay, "Specific Objects" (published in Arts Yearbook 8, 1965), was a touchstone of theory for the formation of Minimalist aesthetics. In this essay, Judd found a starting point for a new territory for American art, and a simultaneous rejection of residual inherited European artistic values. He pointed to evidence of this development in the works of an array of artists active in New York at the time, including Jasper Johns, Dan Flavin and Lee Bontecou. Of "preliminary" importance for Judd was the work of George Earl Ortman [2], who had concretized and distilled painting's forms into blunt, tough, philosophically charged geometries. These Specific Objects inhabited a space not then comfortably classifiable as either painting or sculpture. That the categorical identity of such objects was itself in question, and that they avoided easy association with well-worn and over-familiar conventions, was a part of their value for Judd.

In a much more general sense, one might find European roots of Minimalism in the geometric abstractions painters in the Bauhaus, in the works of Piet Mondrian and other artists associated with the movement DeStijl, in Russian Constructivists and in the work of the Romanian sculptor Constantin Brâncuși. American painters such as Brice Marden and Cy Twombly show a clear European influence in their pure abstraction, minimalist painting of the 1960s. Ronald Davis polyurethane works from the late 1960s pay homage to the Broken Glass of Marcel Duchamp. This movement was heavily criticised by high modernist formalist art critics and historians. Some anxious critics thought Minimalist art represented a misunderstanding of the modern dialectic of painting and sculpture as defined by critic

Michael Fried, a Greenbergian critic, who objected to the work on the basis of its "theatricality". In Art and Objecthood (published in Artforum in June 1967) he declared that the Minimalist work of art, particularly Minimalist sculpture, was based on an engagement with the physicality of the spectator. He argued that work like Robert Morris's transformed the act of viewing into a type of spectacle, in which the artifice of the act observation
and the viewer's participation in the work were unveiled. Fried saw this displacement of the viewer's experience from an aesthetic engagement within, to an event outside of the artwork as a failure of Minimal art.

Abstract Expressionist generation, but one whose reductive all-black paintings seemed to anticipate minimalism, had this to say about the value of a reductive approach to art: "The more stuff in it, the busier the work of art, the worse it is. More is less. Less is more. The eye is a menace to clear sight. The laying bare of oneself is obscene. Art begins with the getting rid of nature."[83]

During the 1960s and 1970s artists as powerful and influential as

Phillip Guston, Lee Krasner, Richard Diebenkorn, Elmer Bischoff, Agnes Martin, Sam Francis, Gene Davis, Joan Mitchell, Friedel Dzubas, and younger artists like Sam Gilliam, Sean Scully, Pat Steir, Elizabeth Murray, Walter Darby Bannard, Dan Christensen, Joan Snyder, Richard Tuttle, Ross Bleckner, Archie Rand, Susan Crile
, and dozens of others produced vital and influential paintings.

Still other important innovations in abstract painting took place during the 1960s and the 1970s characterized by

Color Field painting, Minimal art, Hard-edge painting, Lyrical Abstraction, and Postminimalism blurred the distinction between movements that became more apparent in the 1980s and 1990s. The Neo-expressionism movement is related to earlier developments in Abstract expressionism, Neo-Dada
, Lyrical Abstraction and Postminimal painting.

Neo-expressionism

In the late 1960s the abstract expressionist painter Philip Guston helped to lead a transition from abstract expressionism to Neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. These works were inspirational to a new generation of painters interested in a revival of expressive imagery.[84] His painting Painting, Smoking, Eating is an example of Guston's return to representation.

In the late 1970s and early 1980s, there was also a return to painting that occurred almost simultaneously in Italy, Germany, France and

Stuckists respectively. These painting were characterized by large formats, free expressive mark making, figuration, myth and imagination. All work in this genre came to be labeled neo-expressionism
.

Neo-expressionism was a style of modern painting that became popular in the late 1970s and dominated the art market until the mid-1980s. It developed in Europe as a reaction against the conceptual and minimalistic art of the 1960s and 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in a virtually abstract manner) in a rough and violently emotional way using vivid colors and banal color harmonies. The veteran painters Philip Guston, Frank Auerbach, Leon Kossoff, Gerhard Richter, A. R. Penck and Georg Baselitz, along with the slightly younger artists Damien Hirst, Anselm Kiefer, the Americans Eric Fischl, Susan Rothenberg, David Salle, Jean-Michel Basquiat, Julian Schnabel, and Keith Haring, the Italians Francesco Clemente, Mimmo Paladino, Sandro Chia, and Enzo Cucchi, and many others became known for working in this intense expressionist vein of painting. Critical reaction was divided. Some critics regarded it as driven by profit motivations by large commercial galleries.[84]

Anselm Kiefer is a leading figure in European Neo-expressionism.[86] By the 1980s, Kiefer's themes widened from a focus on Germany's role in civilization to the fate of art and culture in general. His work became more sculptural and involves not only national identity and collective memory, but also occult symbolism, theology and mysticism.[87] The theme of all the work is the trauma experienced by entire societies, and the continual rebirth and renewal in life.

Painting still holds a respected position in contemporary art. Art is an open field no longer divided by the objective versus non-objective dichotomy. Artists can achieve critical success whether their images are representational or abstract. What has currency is content, exploring the boundaries of the medium, and a refusal to recapitulate the works of the past as an end goal.[88][89][90]

Damien Hirst, 2003

Contemporary Painting

Main articles:
Late Modernism

Throughout the 20th century and into the 21st century, with the advent of

fine arts and the low arts have started to fade,[91] as contemporary high art continues to challenge these concepts by mixing with popular culture.[92]

Mainstream painting has been rejected by artists of the postmodern era in favor of artistic pluralism.[93] According to art critic Arthur Danto there is an anything goes attitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity.[94]

See also

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On the effects of Gutenberg's printing

External links
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