The Short Story of Modern Art: A Pocket Guide to Key Movements, Works, Themes, and Techniques by Susie Hodge

The Short Story of Modern Art: A Pocket Guide to Key Movements, Works, Themes, and Techniques Reviews

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  Z. Yasemin

  Great introduction to modern arts!
  I really liked Metaphysical, impressionism, and dada art! and I am in awe of Van Gogh one more time.
  Postmodern and Futurist movements... no no for me.
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  Emma Agulló

  el típic llibre de la botigueta del caixafòrum que et regala el teu pare! genial tenir-lo per casa
• 
  Servabo Fidem

  All art was once modern, and much of it socked when it was new, but as time passes, what was once modern becomes old and familiar, and only new art is seen as modern. For centuries, artists were expected to follow certain conventions. From the 17th to the 19th centuries, the official art academies that were established across Europe wielded great power in the art world and, to be successful, artists adored to the preferred precise and lifelike academic art styles. They also acknowledged the hierarchy of subjects that included history, religion, mythology and portraiture, reflecting the taste of the upper and upper-middle classes. Then, during the 1850s, when inspired by such things as fashion, technology and social, political and cultural events, and inventions such as printing, photography, chemical pigments and computers, more artists began producing art that opposed these conventions. Shocking the establishment, many of their ideas became categorized as movements.
  
  The art produced between the mid-19th century and the 1970s is generally known as modern art. Since then, all art produced has been labelled "contemporary art". This book explores modern and contemporary art, considering many of the changes and developments that have occurred up tot he present day. It investigates works of art, individual artists' approaches and techniques, themes, meanings and materials, as well as art movements, developments and events that inspired many of the artistic innovations.
  
  Realism [1830 - 1890]: The first art movement to denounce traditions that had been established by official art academics, especially the Ecole des Beaux-Arts in Paris. Realism developed in art and literature in the second half to the 19th century, challenging the hierarchy of subjects that included religion, history, mythology and portraits, executed with exacting techniques and appealing to the rich. Reacting against the prevailing Romantic movement, Realism began in France also partly in response to the 1848 Revolution. Realists portrayed the modern world, including peasants, workers and rural and urban locations. Key artists are Gustave Courbet, Jean-Francois Millet, Hondré Daumier, Jean-Baptise-Camille Corot, Édouard Manet, Rosa Bonheur.
  
  Impressionism [1865 - 1885]: Focusing on light, the Impressionists' paintings were colourful and sketchy brush strokes, often painting outdoors directly in front of their motifs rather than inside their studios. Their ideas, which had been developing since the mid-1860s, evolved from English landscape art and Realism. Using color theories and exploiting modern technologies, including photography, portable paints and synthetic pigments, the original Impressionists painted landscapes and everyday scenes featuring ordinary people and modern life, but their focus was essentially on the transient effects of light and weather. Key artists are Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, Berthe Morisot, Edgar Degas, Mary Cassatt.
  
  Post-Impressionism [1885 - 1910]: All being French, some evoked atmosphere or spirituality through color and symbolism, some explored optical effects and color theories, and some sought to convey the underlying structure of things. Although they all worked independently, color and shape were generally important to all the Post-Impressionists. They all still represented the visible world, but altered what they saw by moving away from objective, lifelike depictions, ultimately inspiring ideas about abstraction. Key artists are Paul Cézanne, Vincent Van Gogh, Paul Gauguin, Henri De Toulouse-Lautrec, Henri Rousseau, Georges Seurat.
  
  Neo-Impressionism [1886 - 1906]: Unlike the Impressionists, who focused on spontaneity and nature, Neo-Impressionists based their art on science. Often grouped together with the Post-Impressionists, the Neo-Impressionists specifically explored scientific color theories. Using color in a scientific and systematic manner, they placed small dabs or dots of pure colours side by side across their canvases without previously mixing them, creating vibrant images of modern life. Key artists are Georges Seurat, Camille Pissarro, Paul Signac, Théo Van Rysselberghe, Henri-Edmond Cross.
  
  Art Nouveau [1890 - 1914]: This developed in fine art, architecture and design in various countries. Natural forms, sinuous lines and asymmetrical, dynamic compositions were among the most prominent design elements of Art Nouveau. As well as an attempt to integrate mass production with craftsmanship and to overcome concerns about industrialization, the movement was reacting against the fussiness of many contemporary designs. Abandoning excessive decoration, most Art Nouveau artists believed that function should dictate an object's form, and they depicted that form in organic themes and asymmetrical, Japanese-style compositions. Key artists are Gustav Klimt, Alphonse Much, Arthur Heygate Mackmurdo, Charles Rennie Mackintosh, Louis Comfort Tiffany.
  
  American Realism [1890 - 1940]: At the beginning of the 20th century in America, several painters, writers and musicians began creating works that reflected their developing urban environments. Since the late 19th century, the US had been experiencing enormous industrial, economic, social and cultural change. European immigrants and increasing international trade were improving prosperity, and American Realists sought to portray the social realities of ordinary people and the cities. Generally, they captured images of everyday immigrant and working-class life. Key artists are Robert Henri, George Bellows, Edward Hopper.
  
  Modernism [1890 - 1950]: This was characterized by a rejection of past styles and an emphasis on innovation and experimentation. Driven by various social and political developments, Modernism became a collective term for many early avant-garde art and design movements. It was expressed through art, design, architecture and literature, and associated with advances in science and technology. Modernist artists rejected traditions of trying to depict the natural world, focusing instead on such things as color, shape and emotions. Their utopian spirit arose during a period of rapid change, and manifested as an abandonment of conservative values and ornamentation, along with experimentation with new materials, techniques and processes. Key artists are Constantin Brancusi, Barbara Hepworth, Henry Moore, Edward Hopper.
  
  Fauvism [1905 - 1909]: Influenced by some Post-Impressionist and Neo-Impressionist ideas, the artists who became known as Les Fauves painted with unnatural colours and distorted lines. Characterized by the vivid colours that they often applied straight from the tube, the Fauves employed bold, expressive brush strokes and simplified forms, conveying light, space and optimism. The Fauves deliberately disregarded natural colours and shadows and simplified the landscape and figures. Key artists are Henri Matisse, Henri Manguin, André Derain, Albert Marquet, Maurice De Vlaminck.
  
  Expressionism [1905 - 1930]: Arising from anxieties about modern life, Expressionism began in Germany and Expressionists created emotionally charged images to convey their angst including anxiety, alienation and love. Figurative and abstract paintings comprised distorted forms and strong colours. Key artists are Wassily Kandinsky, Franz Marc, Paula Modersohn Becker, George Grosz.
  
  Naïve Art/Primitivism [1906 - 1930]: With childlike simplicity and a lack of perspective, Naïve Art is usually made by those with no formal artistic training. In general, this art is perceived as lacking in artifice, and it has similarities with Primitivism, a modern art movement that borrows elements of non-Western art. Naïve Art is admired for their apparent lack of sophistication and it has often been valued by artists who dislike what they regard as the insincerity of traditional painting approaches. Key artists are Henri Rousseau, Alfred Wallis, Henry Darger.
  
  Cubism [1907 - 1914]: In an attempt to represent the world more honestly, Cubists abandoned linear perspective. All Cubists presented multiple viewpoints in their art. Because this created more angles and planes than in traditional paintings with single viewpoints, the work often seems to be made up of geometric shapes. Key artists are Pablo Picasso, Georges Braque, Albert Gleizes.
  
  Futurism [1909 - 1914]: Embracing modernity, youth and violence and condemning the past, the Futurists wished to eradicate evidence of Italian traditions and destroy galleries and museums in a bid to celebrate the technology, mechanization, power and speed of modern life. The Futurists portrayed everyday subjects using faceted shapes and broken lines, emphasizing technology, machines and war. Key artists are Umberto Boccioni, Carlo Carrà, Luigi Russolo.
  
  Orphism [1911 - 1914]: Initially figurative, Orphism became increasingly abstract, using form and color to communicate meaning. Key artists are Robert Delaunay, Francis Picabia.
  
  Metaphysical Painting [1911 - 1920]: This is a realistic painting style that included unexpected and unsettling juxtapositions of objects. A favourite subject was eerie, almost empty city squares, featuring exaggerated perspective, long shadows, classical statues and incongruous objects. Key artists are Carlo Carrà, Giorgio De Chirico.
  
  Constructivism [1913 - 1932]: Focusing on complete abstraction and the use of modern materials, Constructivism began as a blend of art and industry. With no sense of emotion or spirituality, Constructivism evolved from modern world and concerns in Russia's social and political unrest. Key artists are Vladimir Tatlin, Varvara Stepanova.
  
  Suprematism [1915 - 1925]: Abandoning al notions of the real world, Suprematism became highly influential and encouraged viewers to contemplate ideas beyond superficial appearances. Key artists are Kazimir Malevich, El Lissitzky.
  
  Dada [1916 - 1930]: A nihilistic art movement that aimed to destroy traditional artistic values and to replace these with a new art. Anything was acceptable; the only constant was that all the art rejected established artistic values. All Dadaists wee anti-war and questioned the nature of a society that allowed the war to happen. They vehemently criticized nationalistic and bourgeois attitudes, and through it all, considered the role of artists and the purpose of art. Key artists are Marcel Duchamp, Man Ray, Kurt Schwitters.
  
  Neo-Plasticism [1917 - 1931]: This form featured paintings and designs using only vertical and horizontal lines, and black and white and primary colours. The aim was for a pure representation of the human mind through an aesthetically purified abstract form comprising the straight line and the clearly defined primary color. Key artists are Piet Mondrian, Theo Van Doesburg, Bart Van Der Leck.
  
  Bauhaus [1919 - 1933]: The aim was to raise the status of crafts to the same level as fine art, while also concentrating on amalgamating art with industry. Breaking new ground, it introduced many ideas that inspired art, design and architecture throughout the 20th century and beyond. Key artists are Wassily Kandinsky, Josef Albers.
  
  Magic Realism [1920 - 1960]: This was an art and literary movement that conveyed ambiguous ideas sing contemporary subjects, often with seemingly strange atmospheres. Magic Realists sought to uncover what they perceived as hidden realities in society by showing that what might seem apparent is not always so. Key artists are Alberto Savinio, Paul Cadmus, George Tooker.
  
  Surrealism [1924 - 1966]: In exploring their own unconscious thoughts and dreams, Surrealists produced both representational and abstract works of art, often featuring illogical juxtapositions or unexpected associations. Key artists are René Magritte, Max Ernst.
  
  Abstract Expressionism [1943 - 1955]: Abandoning the constraints of trying to represent the real world, the Abstract Expressionists conveyed their subconscious feelings, often using unexpected methods, materials and tools. Key artists are Jackson Pollock, Lee Krasner, Franz Kline, Joan Mitchell, Louise Nevelson.
  
  Color Field [1947 - 1965]: Color Field artists avoided figurative elements and produced abstract paintings that were intended to inspire contemplation. They saturated their canvases with flat swathes of paint so that they dissolved and blended together, and their art was the first style to avoid any suggestion of a form placed against a background. Color Field paintings have no suggestion of solidity or depth, and no beginning or end. Instead, the large planes of color were intended to inspire viewers to reflect, as the painters sought individual, spiritual approaches to abstraction. Key artists are Mark Rothko, Barnett Newman.
  
  Neo-Dada [1952 - 1970]: In the light of occurrences and developments in America, Neo-Dadaists reinterpreted Dada and made viewers an important aspect of their art by using found objects, collage and assemblage to create his own unique blend of multimedia art. Key artists are Robert Rauschenberg, Jasper Johns.
  
  Op Art [1954]: Intrigued by the nature of perception, optical effects and illusions, some artists painted abstract patterns in strongly contrasting colours or in black and white. Key artists are Victor Vasarely, Frank Stella.
  
  Pop Art [1956 - 1970]: After WWII, consumerism, mass media, mass production and mass entertainment proliferated, and these social phenomena became known as popular culture to differentiate them from high culture. Pop art was provocative, brash and yet familiar. Traditional technical skills were often abandoned in efforts to blend commercial art and fine art. Key artists are Andy Warhol, Peter Blake, Richard Hamilton.
  
  Hard-Edge Painting [1959 - 1971]: This type of painting produced impersonal, brightly coloured, smooth and crisply defined abstract paintings that they planned carefully. Artists' approach was precise and calculated, as they concentrated on color and immaculate lines, and emphasized the flatness of their picture planes, making no attempt to create illusions or depict anything from the real world. Key artists are Ellsworth Kelly, Frank Stella, Jules Olitski.
  
  Post-Modernism [1960]: This style embraced contradictory layers of meaning, and is funny, absurd, ironic or focusing on low culture. Key artist is Marina Abramovic.
  
  Street Art [1968]: Created in public locations and related to graffiti and guerrilla art, Street Art covers many styles, materials and techniques. They are generally created in unauthorized places, away from traditional art venues. Key artists are Banksy, Keith Haring.
  
  Neo-Expressionism [1970 - 1990]: This conveyed powerful emotions, usually with distortions or energetic or textural brushwork. The art was intuitive and emotionally-charged. Key artists are Georg Baselitz, Philip Guston, Anselm Kiefer, Julian Schnabel, Paula Rego.
• 
  Flo Gourmel

  I looooved this book. It caught me like a thriller. I was so happy to put some time periods and common features to the art movements. It even inspired me to take an art class.
  I will definitely keep it in on my bookshelf to consult it whenever needed.
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  Hadeel Othman

  A perfect little manual on modern art! I wish I had this when I was in school it's so straightforward yet interesting. I will totally read this again when I need a refresher on my art terms
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  Olga

  Прям очень краткий справочник по теме, начиная с импрессионистов. Есть разбивка по хронологии развития, по темам, материалам. По сути что-то вроде каталога. Мне хотелось бы более подробных статей по выборочным течениям/художникам. По Баухаусу например вообще особо нет информации, что это, откуда и как, только общие слова.
  С другой стороны, это же pocket guide, что в русском издании куда-то потерялось.
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  Alma Barrios

  It a good start to know basic and understand key terms. However it’s limiting and doesn’t state all possible styles movements mostly European based. For instance it doesn’t include other modern movements from other locations such as russia. It’s easy to skim and more for a person who’s interested in modern art. I also love the vibrancy of the colors and the quality of the book.And also just and easy read!
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  Leysha

  This book was extremely informational. It told me about so many different types of art styles. It didn't linger on a specific art style for two long it was short and snappy, which is what I love about this book!
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  Yaryna Zheldak

  Чудова книжка з купою інфи. Обов'язково перечитуватиму, наступного разу з записником, щоб малювати усі зв'язки між творами, техніками, темами і стилями.
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  Bloodorange

  Brief rtc
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  Hannah McIntyre

  Great introduction to modern art, which I knew very little about. Very accessible.
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  David Thomas

  A broad ranging book about modern art, covering movements, key works, and different mediums. I used it as a bathroom book and it lasted me a couple months. Pretty accessible.