Today we’re going to improve YOUR art style with a few simple practical tips that you can use.
Posting and creating Original Art isn’t easy. Creating your own character, all from your head is more difficult than it looks. But it’s an important step in your improvement as an artist, getting out from the fan art comfort zone for a bit and jump on your original ideas.
I love doing fanart, from games, movies, and series that somehow touched me, drawing them in my style. But finding your own art style can seem very hard as well and that’s why it’s important to focus on original content at times.
This doesn’t need to be a dreary and hard process. As always, the most important thing is for you to have fun with what you’re doing.
1- Find Artists and Art Styles That You Love
As an artist, surely you find inspiration not only from nature and life around you but also from other artists, musicians, photographers and so on.
Which artists did you fell in love with their art? What kind of art styles do you like the best?
This can range from more classical artists from the old times, like Leonardo Da Vinci, Botticelli, Monet many others; to current day artists like Loish, Stanley “Artgerm” Lau, Noah Bradley and many more!
I like to have some Pinterest Boards with pieces that I like and that inspire me.
It usually has a lot of John William’s paintings, Gustav Klimt and Vermeer, I really like how tranquil their works feel like.
I also follow current artists like Loish, Ilya Kuvshinov, and Sakimichan.
You might notice that most of these artists I mentioned, tend to paint very harmonious and calming pieces and this is also something that I like to address in my own art.
Pick your favorite artists and your favorite pieces by them, keep some Pinterest boards with images that you like and inspire you. Look at them, analyze them and try to understand why you like them so much, why does that particular piece speak to you and how was it made.
Learn from them and take some inspiration from them!
Apart from artists, you can also be inspired by music and books.
Read your favorite authors and listen to your favorite musicians. Even if they don’t show you their art through pictures, they use words and notes that can bring images to your mind.
The things you read can give you ideas.
This can be very important in the create original art segment.
A lot of times, it’s hard to just come up with something from nothing. For me, music helps a lot. While listening to a song, I can imagine and create so many stories and characters!
Then, while listening to those songs again, I can find the inspiration to put that down on paper, either through drawing or writing!
Find out what works best for you and what inspires you. Use it and learn with those things, surround yourself with it and you can grow as an artist!
2- Copy Other Art. “Copy?!”
You cannot improve without learning, and before creating your own thing, you start off by copying.
If you want to learn to draw a flower, you have to look for one and copy it into your paper, by observing. The same goes for people, objects, animals, anything!
When trying to come up with your own style, it’s a good exercise to watch the artists you like, and try to copy them, so that you can understand how and why they do what they do.
But remember, this is just for yourself, a practicing exercise, so don’t publish any of that nor claim it as your own!
Fanart is also a good way to improve your own style!
Sometimes when watching your favorite movie or series and playing your favorite games, you’ll feel compelled to draw something from it, but can feel a bit intimidated by the thought.
Look for references, take screenshots of whatever you’re watching and want to draw and make sketches from it. Try different shapes and styles or even a more realistic copy of it so you can understand better it’s shapes and lines.
Practice a lot and with each sketch try to adapt it to be more in your style and with your own touch!
By looking and trying to imitate something you’re observing and analyzing, you can improve and figure out some difficulties you might be having with drawing or painting.
After all, drawing is something you learn by doing and not just by looking!
3- Mix Different Art Styles
You’re still trying to figure out your style and you’re not sure yet what kind of style do you like.
Even when you find it, you’ll notice that it’s always changing, sometimes in a very noticeable way and others not so much. But you’ll be able to see that little detail that you now do differently.
Our visual perception changes frequently, every day we see new things and so, our art and style changes as well, this is a normal process.
You’ll realize that when you’re at the beginning of your artistic path, your style changes more frequently than later on, but if you ever feel yourself in a stump you can always take a little break from what you’re doing and experiment a bit with styles.
Think of art styles you like and try to mix them!
Let’s say you really enjoy the way Disney works their characters, but you’re also in love with Ghibli’s work, try to draw a character that has a mix of the two.
We could go even beyond that and try to mix and match some Leonardo Da Vinci with Pixar, I wonder what could come out of there!
Experimenting with different things helps you find what is it that you like about certain styles and this way you can later apply it to your own drawings and style more easily.
4- Make Lots of Mistakes
Man (or Woman) up to your mistakes!
Learn from them and make use of them!
Did you make a line that slipped and made a huge mess of your drawing?
Maybe it didn’t! Maybe you can use it, keep going and use that line for something else, a new element or object to give something extra to your character.
You don’t forcibly need to have a clean style, maybe a rough style is your thing and works very well! There are a lot of artists that work more roughly than others.
In fact, throughout history, there’s been more cleaned and organized art styles but also very abstract, very noisy and rough art styles.
In the Renaissance period, symmetry, clean and organized paintings reigned, however, the Impressionism period was all about experimenting with shapes, big strokes, the contrast between colors and big blotches of paint.
At some point in art history, it was all about breaking the rules!
Take also Picasso as an example, who learned to draw realistically and very academically, but later on, deconstructed all of those notions to something very rough and even sometimes confusing.
Sometimes the emotions you want to portray in your painting work better if you do it in a more sketchy style, other times it’s the opposite.
It’s up to you to know what works best and how do you like to paint.
Don’t be afraid to fail and learn from your mistakes, that’s what they’re there for!
5- Develop New Ideas
Sometimes you feel stuck and that your art style isn’t really going anywhere. Take a breather!
Stop with the usual drawings and styles you’re doing and find new ideas to work with.
Experimenting and trying out new things will open new horizons for you, helping you and improving yourself and your art.
Once again, Pinterest boards can come in handy here.
Whenever I find a new book, manga, comic or game that I like, I end up creating a new board for them, so that I can keep some visual elements of those things and let it inspire me.
I often notice that my art can change depending on the genre I’m fawning over at that moment.
Sometimes I’m really into Dark Souls and Berserk and so my style ends up more somber and nostalgic. Others I feel like watching, playing or reading lighter series, for example, Legend of Zelda, Studio Ghibli movies, Disney shows, like Gravity Falls and my style leans a bit more towards a cute and colorful style.
So the best thing to do is to find things that you like because that’s usually what will inspire you!
If it’s a movie or a game, take lots of screenshots from the things you like in it and save them somewhere your computer.
If it’s a real place you tend to visit frequently, take pictures of it and keep them to come back to whenever you’re in need of inspiration.
And, of course, check out the internet, there must be something for you out there!
6- Try Different Tools
From watercolor to ink, charcoal to clay.
Try different drawing or sculpture tools (or anything else artistic that you’re working on) and see what you can come up with!
It might not be pretty right at the start, but you might find something that you love to work with.
It will also help you a long way in developing your own art style since you’ll be using a comfortable tool that you enjoy using.
Finding out the right tool for you is important.
Using a graphite pencil might not be for you. It took me some time to realize it since it’s all you use through school.
But at some point, I realized that using graphite pencils weren’t really doing it for me.
I can’t really explain what bothered me, but I always felt that my drawings weren’t how I wanted them to be.
So I tried different things.
I started using inking pens and regular Bic Pens for sketching. I really like it, but sometimes I didn’t feel like using them.
Finally, I discovered the perfect tool for sketching: a red colored pencil!
Colored pencils are very smooth to work with and the red makes the picture pop up and easier to see and fix details.
So now, this is the tool I use the most.
Today I look at my old drawings, done with graphite and I feel they’re extremely stiff compared to the ones I do now.
This is thanks to, not only lots of practice but finding the right tool for me.
Don’t be afraid to try new tools.
From time to time, choose a new tool and try it out. You never know when you’ll find a new technique you like. A new form of art, that you never expected to love this much.
This goes for both traditional and digital art.
There are so many brushes and textures for you to try out. Experiment, even if it means that you’ll go back to the basic hard brush you used before.
The most important is the experience and what you learn from it.
7- Relax, Stressing Out Won’t Help
Really, relax. If you’re stressing over that particular drawing that’s not going in the direction you wanted to go, chances are that getting yourself frustrated won’t help.
I can attest to that!
Some days just won’t go the way we want them to and I used to have some trouble dealing with that frustration, but I learn to deal with it!
I realized that forcing myself to do it, even if it’s leaving me stressed and angry by the minute just wouldn’t work.
What to do then?
Not forever of course, but take a breather.
Either take a small break to walk around the house, go to a window and look a bit outside. Go drink a cup of water, stretch a bit, pet and play your pet, water your plants and have a snack.
If that wasn’t enough, either go and try to doodle different and simple things, inside zone that usually makes you happy.
It’s perfectly fine if you end up just aimlessly sketching the rest of the day or to just really stop drawing for the day.
Sometimes that’s what your mind and body .
Tomorrow, the day after that or even the next week is a new day and the most important is to not let yourself burn out!
8- Focus on the Now, Skill Comes With Practice
Keep your mind on the step you’re going through right now, don’t worry about what other people think about your current artistic level.
You’ll get better, you’ll take the steps to get better and find your own art style. Just shut down all the outside voices and focus on yourself for now.
You can’t expect your own personal art style to appear from one day to the next.
Even when you find your style, you’ll notice that it will always go through changes. Smaller ones and less noticeable, but you’ll see them.
Every new piece I finish, I find a new detail, a different way of painting the shadows or how I do my lines, that I didn’t do before.
This is a fun process, but at times, especially at the beginning, it can be frustrating. You look up and see artists drawing a face with no apparent struggle at all! In seconds!
They’ve struggled as well, they’ve just drawn a 1000 more faces than you. So don’t focus on others, nor their art.
Admire them, learn from them, but continue focusing on you and your art. Keep working on your drawings and practice.
9- Keep Going, Never Stop
Your style isn’t going to magically develop overnight, so keep drawing day in and day out.
Keep practicing and following these tips I’ve talked about here today and more importantly, don’t give up!
Never forget that drawing is a skill and you’re improving every day.
Even if sometimes you don’t seem to notice it, believe me, you’ll be very surprised when you look back to your drawings from a year ago and realize how much different and better you are now.
And if it takes longer and you feel you still didn’t find your “perfect style”, that’s fine!
First, even if you think it’s not your style, it is, whatever you’re drawing it’s yours and it has your own personal touch.
Second, as long as you’re happy with the way your drawings come out, that’s perfect!
You should have fun and be happy with your drawings, always!
Life is too short to stress over such small things.
We are excited to share some information on art in your home today. We had such an awesome response to the gallery wall post that we wanted to do a few more art related posts. Today I am going to talk about mixing art styles in your house and some steps to grouping art collections together. In the beginning of February I will be back with tips on selecting new pieces of art and sharing some of our favorite sources and artists. Mixing art of different styles and periods can sometimes seem like a daunting task, but luckily we have some great tips to keep in mind that will hopefully make it easier.
Overall, you want to try to achieve a collected look, like your pieces have been gathered over time rather than bought all in one fell swoop. Maintaining some element of contrast in what you are using is definitely key.
6 TIPS FOR MIXING ART STYLES
1. MEDIUM: Mixing mediums is a great way to group an art collection together. This helps achieve great visual interest and makes your art have that collected look we mentioned above. For instance, if you have a couple of charcoal sketches add some variation in the grouping with a brightly colored oil or modern watercolor.
Black Crow Studios
2. SCALE/DETAIL: You want a room to have visual interest, but not be overwhelming to the eye. Pieces with lots of intricate detail, such as architectural prints and botanicals, look best in groups. Your eye takes that in as one large piece, not 4 to 6 individual elements. This helps tone down the busyness of the subject matter and create a more simplified visual. I would also recommend mixing in a large scale photograph or an abstract landscape into the grouping.
Lyra Nebula Prints
3. SUBJECT MATTER: This is important both in selecting and grouping art together. Select things that speak to you and our relevant in your life. As we have shown, different styles of art mix beautifully together, but more importantly choose a subject matter that is relevant to your personal experiences. Do you love to travel? Then gather pieces along your journeys and group them together in a collection. That way you will be happy looking at them and remember your trips whenever you see them. Are you deathly afraid of horses in real life? Then you probably shouldn’t pick a large portrait of a horse. On the other hand, just because you love something doesn’t mean you should cover you house in only that one thing. Just because you love florals doesn’t mean you should only have paintings by Lulie Wallace or Helen McCullagh in your house. Variety in your groupings and collections is what creates interest!
4. COLOR: As you are mixing your art together, also keep in mind the primary colors in each piece. Pairing a classic oil painting with a beautiful watercolor will work, but try to choose varying color palettes since both pieces are paintings will likely have a lot of movement. However, when you do have art from lots of different styles or time periods, it does help to create some continuity by choosing similar color palettes. It helps create cohesiveness and unify all the different style together.
5. STYLE: Art works best when juxtaposed next to things that bring something new to the table. Do NOT be afraid to mix styles in your home. If you have a modern piece in black and white, mix it with a brightly colored floral photograph or map, or a delicate etching. Art is just another layer in your home, so if the piece feel like you then they should also feel like your space and fit well with other design elements in your home. When it comes to style it is best to go with your gut.
6. TEXTURE: Including an item or items with dimension really help add interest to your collection. You can show these items off with or without a frame, and these types of pieces are typically the best conversation starters. If you have a pendant, a piece of jewelry, a beautiful scarf or a intricate tapestry, do not be afraid to include those in your collection.
Scout and Lily
If you are looking for some inspiration on art or art display, there are a few bloggers who do it really well. I would recommend checking out Jenny from Little Green Notebook, Brittany from Brittany Makes, Chris Loves Julia, and Emily from Emily A. Clark. They have beautiful collections and a great eye.
SHOP SOME OF THE ARTISTS AND PIECES FROM THIS MIXING ART STYLES POST:
Feature Image: Brittany Makes
NEW: Too lazy to read this post? I got a video for that.
What is Your Style?
Style is learned, adopted, manipulated, and developed over time. Sometimes on accident, sometimes on purpose, and often times both.
Your style is a combination of your voice, techniques, color choices, compositions, subject matter, media, and more all wrapped up. Your style is what binds each of your pieces together into a unique and cohesive collection. The best part is that it continues to evolve over time. Even when you’ve found it, it starts to change.
We can learn so much from looking at our own art. If you are unsure if you’ve found your style, start by asking yourself a few questions:
- Are there elements of design that tie your pieces together?
- What themes show up in your art most often?
- What kind of subjects are you drawn to? Many or a few?
- What kind of art do you enjoy creating at the moment?
- Does your art stand out against the work of other artists?
I can always tell when someone is still in the exploratory phase of their art. When an artist jumps around between many subjects, or when their pieces are lined up together and appear as if a they all could come from different artists–they haven’t quite figured out their style yet.
There’s absolutely nothing wrong with this! It takes time and a lot of work. So, if you are currently looking for your style, I’ve created a worksheet to help you brainstorm and collect your thoughts as you read this post.
How do artists find their style?
First, no artist or creator is completely original. Inspiration for our styles comes from the world around us and what we choose to expose ourselves to. It doesn’t develop out of thin air. The simple formula for finding your style is to take in stimuli from the outside world and twist and shape it into something new with your mind and your hands. Repeat this over and over in a variety of ways.
If you are stuck, you need to find new stimuli.
Copy the Artists You Like
But a bunch of them. If you copy one exactly, you are ripping them off. If you take partial ideas from multiple artists, then you are able to make something unique.
If you haven’t already, you need to read “Steal Like an Artist” by Austin Kleon. It’s full of helpful creative advice.
Every artist gets asked the question “Where do you get your ideas?”
The honest artist answers, “I steal them.”
If you are drawn to a certain artist’s work, it’s probably stimulating part of your style. When I first started drawing as a teen, I was obsessed with the art of Brandon Boyd. To this day, I have to credit him for my obsession with line work. In college, I fell in love with Alphonse Mucha and Art Nouveau. More recently, when I got into fluid painting, I was naturally inspired by Emma Lindstrom. You can see their influences in my work, but you can also see that my style does not look exactly like theirs.
Take little style elements from any source you can. The more, the merrier.
Copy the World Around You
Mimic nature. Study light, form, color, and shape. Take figure drawing classes. Set up a still life in your living room. Working on your technical skills regularly will introduce you to new perspectives and style paths.
Practice. Practice. PRACTICE.
If you are only doing art in your head (chronic procrastinators know what I’m talking about!), your style won’t develop. If you only do art a couple of times a month or less, you won’t see much progress. Try to create as often as you can. Every day is best, but a few times a week is perfect.
Step Out of Your Comfort Zone
Push your skills. Draw with your non-dominant hand. Study a variety of subject matter. Work big. Work small. Explore loose and fast sketching. Practice tight and slow sketching. If you don’t know what you like doing yet, then practice as many skills as you can.
If you plan on or have already taken college art classes, you learn that instructors assign exercises in as many styles as they can fit into a semester. They assume you have no idea who you are as an artist, so they push you in every direction to help you develop your unique voice.
Make Time to Play
Release expectations and just have fun. When you have a precise vision for what you want to create, you limit your perspective and create a blind spot. I’ve set out to create one thing, ‘screwed it up’ and created something entirely different that I loved and now incorporate into my style. If I would have stuck to my expectations, I would have considered this a failure.
Surprising things can happen when we become more playful and just let art happen.
Remember That it Takes Time
Finding your style often involves knowing who you are as a person and embracing it. It sounds cheesy, but being an artist isn’t just a career or hobby, it’s a lifestyle. The more you weave art into your daily life and your personality into your art, the easier it will be to cultivate your style, but all of this takes time.
Creating and showcasing your personal style is a wonderful achievement. Some artists develop early, and some take years to find their rhythm and voice. Whatever pace you need to work at is the right pace. Honestly, I’m still working on mine.
Don’t try to force your style, but exercise your art muscles whenever you can.
I hope this post was helpful. If you have any questions, leave them below. And if you need an outside perspective and help finding your style, I’m always happy to offer my coaching services.
Now go get messy!
P.S. If you enjoy my blogs and gain any inspiration from the content I put out there, please consider becoming a Patron of Messy Ever After on Patreon. Pledging just $1 a month enables me to keep doing what I do. Plus, you get extra little perks like phone wallpapers and the ability to pick my brain whenever you want through the artist Q&A perk.
Discovering Your Artistic Style Worksheet
How to Brand Your Instagram Account: A Guide for Artists
Seven Days of Self-Employment
Styles pinterest art
Artistic works produced during the period extending roughly from the 1860s to the 1970s
For other uses, see Modern art (disambiguation). Not to be confused with contemporary art, nor art moderne.
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, which was characteristic for the traditional arts, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art.
Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse-Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubistsGeorges Braque, André Derain, Raoul Dufy, Jean Metzinger and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's two versions of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
At the start of 20th-century Western painting, and initially influenced by Toulouse-Lautrec, Gauguin and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practiced by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.
The notion of modern art is closely related to modernism.[a]
Roots in the 19th century
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. The date perhaps most commonly identified as marking the birth of modern art is 1863, the year that Édouard Manet showed his painting Le déjeuner sur l'herbe in the Salon des Refusés in Paris. 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). 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."
The strands of thought that eventually led to modern art can be traced back to the Enlightenment.[b] The important 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." 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. 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."
The pioneers of modern art were Romantics, Realists and Impressionists.[failed verification] By the late 19th century, additional movements which were to be influential in modern art had begun to emerge: post-Impressionism and Symbolism.
Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the coloristic innovations of Turner and Delacroix, to a search for more 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. The most successful painters of the day worked either through commissions or through large public exhibitions of their own 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 which 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. 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. The style was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a "movement". These traits—establishment of a working method integral to the art, establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art.
Early 20th century
Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism, and Futurism.
During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade, a member of the jury at the Salon d'Automne where he exhibited three of his dreamlike works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, and his work was noticed by Pablo Picasso, Guillaume Apollinaire, and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. Song of Love (1914) is one of the most famous works by de Chirico and is an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924.
World War I brought an end to this phase but indicated the beginning of a number of anti-art movements, such as Dada, including the work of Marcel Duchamp, and of Surrealism. Artist groups like de Stijl and Bauhaus developed new ideas about the interrelation of the arts, architecture, design, and art education.
Modern art was introduced to the United States with the Armory Show in 1913 and through European artists who moved to the U.S. during World War I.
After World War II
It was only after World War II, however, that the U.S. became the focal point of new artistic movements. The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Conceptual artists of Art & Language, Pop art, Op art, Hard-edge painting, Minimal art, Lyrical Abstraction, Fluxus, Happening, Video art, Postminimalism, Photorealism and various other movements. In the late 1960s and the 1970s, Land art, Performance art, Conceptual art, and other new art forms had attracted the attention of curators and critics, at the expense of more traditional media. Larger installations and performances became widespread.
By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art. Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of neo-expressionism and the revival of figurative painting.
Towards the end of the 20th century, a number of artists and architects started questioning the idea of "the modern" and created typically Postmodern works.
Art movements and artist groups
(Roughly chronological with representative artists listed.)
- Romanticism and the Romantic movement – Francisco de Goya, J. M. W. Turner, Eugène Delacroix
- Realism – Gustave Courbet, Camille Corot, Jean-François Millet, Rosa Bonheur
- Pre-Raphaelites – William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti
- Macchiaioli – Giovanni Fattori, Silvestro Lega, Telemaco Signorini
- Impressionism – Frédéric Bazille, Gustave Caillebotte, Mary Cassatt, Edgar Degas, Armand Guillaumin, Édouard Manet, Claude Monet, Berthe Morisot, Pierre-Auguste Renoir, Camille Pissarro, Alfred Sisley
- Post-impressionism – Georges Seurat, Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, Henri Rousseau, Henri-Jean Guillaume Martin, Albert Lebourg, Robert Antoine Pinchon
- Pointillism – Georges Seurat, Paul Signac, Maximilien Luce, Henri-Edmond Cross
- Divisionism – Gaetano Previati, Giovanni Segantini, Pellizza da Volpedo
- Symbolism – Gustave Moreau, Odilon Redon, Edvard Munch, James Whistler, James Ensor
- Les Nabis – Pierre Bonnard, Édouard Vuillard, Félix Vallotton, Maurice Denis, Paul Sérusier
- Art Nouveau and variants – Jugendstil, Secession, Modern Style, Modernisme – Aubrey Beardsley, Alphonse Mucha, Gustav Klimt,
- Art Nouveauarchitecture and design – Antoni Gaudí, Otto Wagner, Wiener Werkstätte, Josef Hoffmann, Adolf Loos, Koloman Moser
- Early Modernistsculptors – Aristide Maillol, Auguste Rodin
Early 20th century (before World War I)
- Abstract art – Francis Picabia, Wassily Kandinsky, František Kupka, Robert Delaunay, Sonia Delaunay, Léopold Survage, Piet Mondrian, Kazimir Malevich,
- Fauvism – André Derain, Henri Matisse, Maurice de Vlaminck, Georges Braque, Kees van Dongen
- Expressionism and related – Die Brücke, Der Blaue Reiter – Ernst Ludwig Kirchner, Wassily Kandinsky, Franz Marc, Egon Schiele, Oskar Kokoschka, Emil Nolde, Axel Törneman, Karl Schmidt-Rottluff, Max Pechstein
- Cubism – Pablo Picasso, Georges Braque, Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay, Henri Le Fauconnier, Marcel Duchamp, Jacques Villon, Francis Picabia, Juan Gris
- Futurism – Giacomo Balla, Umberto Boccioni, Carlo Carrà, Gino Severini, Natalia Goncharova, Mikhail Larionov
- Orphism – Robert Delaunay, Sonia Delaunay, František Kupka
- Suprematism – Kazimir Malevich, Alexander Rodchenko, El Lissitzky
- Synchromism – Stanton Macdonald-Wright, Morgan Russell
- Vorticism – Wyndham Lewis
- Sculpture – Constantin Brâncuși, Joseph Csaky, Alexander Archipenko, Raymond Duchamp-Villon, Jacques Lipchitz, Ossip Zadkine, Henri Laurens, Elie Nadelman, Chaim Gross, Chana Orloff, Jacob Epstein, Gustave Miklos
- Photography – Pictorialism, Straight photography
World War I to World War II
- Dada – Jean Arp, Marcel Duchamp, Max Ernst, Francis Picabia, Kurt Schwitters
- Surrealism – Marc Chagall, René Magritte, Jean Arp, Salvador Dalí, Max Ernst, Giorgio de Chirico, André Masson, Joan Miró
- Pittura Metafisica – Giorgio de Chirico, Carlo Carrà, Giorgio Morandi
- De Stijl – Theo van Doesburg, Piet Mondrian
- New Objectivity – Max Beckmann, Otto Dix, George Grosz
- Figurative painting – Henri Matisse, Pierre Bonnard
- American Modernism – Stuart Davis, Arthur G. Dove, Marsden Hartley, Georgia O'Keeffe
- Constructivism – Naum Gabo, Gustav Klutsis, László Moholy-Nagy, El Lissitzky, Kasimir Malevich, Vadim Meller, Alexander Rodchenko, Vladimir Tatlin
- Bauhaus – Wassily Kandinsky, Paul Klee, Josef Albers
- Scottish Colourists – Francis Cadell, Samuel Peploe, Leslie Hunter, John Duncan Fergusson
- Social realism – Grant Wood, Walker Evans, Diego Rivera
- Precisionism – Charles Sheeler, Charles Demuth
- Sculpture – Alexander Calder, Alberto Giacometti, Gaston Lachaise, Henry Moore, Pablo Picasso, Julio Gonzalez
After World War II
- Figuratifs – Bernard Buffet, Jean Carzou, Maurice Boitel, Daniel du Janerand, Claude-Max Lochu
- Sculpture – Henry Moore, David Smith, Tony Smith, Alexander Calder, Isamu Noguchi,Alberto Giacometti, Sir Anthony Caro, Jean Dubuffet, Isaac Witkin, René Iché, Marino Marini, Louise Nevelson, Albert Vrana
- Abstract expressionism – Joan Mitchell, Willem de Kooning, Jackson Pollock, Arshile Gorky, Hans Hofmann, Franz Kline, Robert Motherwell, Clyfford Still, Lee Krasner,
- American Abstract Artists – Ilya Bolotowsky, Ibram Lassaw, Ad Reinhardt, Josef Albers, Burgoyne Diller
- Art Brut – Adolf Wölfli, August Natterer, Ferdinand Cheval, Madge Gill
- Arte Povera – Jannis Kounellis, Luciano Fabro, Mario Merz, Piero Manzoni, Alighiero Boetti
- Color field painting – Barnett Newman, Mark Rothko, Adolph Gottlieb, Sam Francis, Morris Louis, Kenneth Noland, Jules Olitski, Helen Frankenthaler
- Tachisme – Jean Dubuffet, Pierre Soulages, Hans Hartung, Ludwig Merwart
- COBRA – Pierre Alechinsky, Karel Appel, Asger Jorn
- Conceptual art – Art & Language, Dan Graham, Lawrence Weiner, Bruce Nauman, Daniel Buren, Victor Burgin, Sol LeWitt
- De-collage – Wolf Vostell, Mimmo Rotella
- Neo-Dada – Robert Rauschenberg, Jasper Johns, John Chamberlain, Joseph Beuys, Lee Bontecou, Edward Kienholz
- Figurative Expressionism – Larry Rivers, Grace Hartigan, Elaine de Kooning, Robert De Niro, Sr., Lester Johnson, George McNeil, Earle M. Pilgrim, Jan Müller, Robert Beauchamp, Bob Thompson
- Feminist Art — Eva Hesse, Judy Chicago, Barbara Kruger, Mary Beth Edelson, Ewa Partum, Valie Export, Yoko Ono, Louise Bourgeois, Cindy Sherman, Kiki Smith, Guerrilla Girls, Hannah Wilke
- Fluxus – George Maciunas, Joseph Beuys, Wolf Vostell, Nam June Paik, Daniel Spoerri, Dieter Roth, Carolee Schneeman, Alison Knowles, Charlotte Moorman, Dick Higgins
- Happening – Allan Kaprow, Joseph Beuys, Wolf Vostell, Claes Oldenburg, Jim Dine, Red Grooms, Nam June Paik, Charlotte Moorman, Robert Whitman, Yoko Ono
- Dau-al-Set – founded in Barcelona by poet/artist Joan Brossa, – Antoni Tàpies
- Grupo El Paso [es; ca; pl] – founded in Madrid by artists Antonio Saura, Pablo Serrano
- Geometric abstraction – Wassily Kandinsky, Kazimir Malevich, Nadir Afonso, Manlio Rho, Mario Radice, Mino Argento, Adam Szentpétery
- Hard-edge painting – John McLaughlin, Ellsworth Kelly, Frank Stella, Al Held, Ronald Davis
- Kinetic art – George Rickey, Getulio Alviani
- Land art – Ana Mendieta, Christo, Richard Long, Robert Smithson, Michael Heizer
- Les Automatistes – Claude Gauvreau, Jean-Paul Riopelle, Pierre Gauvreau, Fernand Leduc, Jean-Paul Mousseau, Marcelle Ferron
- Minimal art – Sol LeWitt, Donald Judd, Dan Flavin, Richard Serra, Agnes Martin
- Postminimalism – Eva Hesse, Bruce Nauman, Lynda Benglis
- Lyrical abstraction – Ronnie Landfield, Sam Gilliam, Larry Zox, Dan Christensen, Natvar Bhavsar, Larry Poons
- Neo-figurative art – Fernando Botero, Antonio Berni
- Neo-expressionism – Georg Baselitz, Anselm Kiefer, Jörg Immendorff, Jean-Michel Basquiat
- Transavanguardia – Francesco Clemente, Mimmo Paladino, Sandro Chia, Enzo Cucchi
- Figuration libre – Hervé Di Rosa, François Boisrond, Robert Combas
- New realism – Yves Klein, Pierre Restany, Arman
- Op art – Victor Vasarely, Bridget Riley, Richard Anuszkiewicz, Jeffrey Steele
- Outsider art – Howard Finster, Grandma Moses, Bob Justin
- Photorealism – Audrey Flack, Chuck Close, Duane Hanson, Richard Estes, Malcolm Morley
- Pop art – Richard Hamilton, Robert Indiana, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, Andy Warhol, Ed Ruscha, David Hockney
- Postwar European figurative painting – Lucian Freud, Francis Bacon, Frank Auerbach, Gerhard Richter
- New European Painting – Luc Tuymans, Marlene Dumas, Neo Rauch, Bracha Ettinger, Michaël Borremans, Chris Ofili
- Shaped canvas – Frank Stella, Kenneth Noland, Ron Davis, Robert Mangold.
- Soviet art – Aleksandr Deyneka, Aleksandr Gerasimov, Ilya Kabakov, Komar & Melamid, Alexandr Zhdanov, Leonid Sokov
- Spatialism – Lucio Fontana
- Video art – Nam June Paik, Wolf Vostell, Joseph Beuys, Bill Viola, Hans Breder
- Visionary art – Ernst Fuchs, Paul Laffoley, Michael Bowen
Important modern art exhibitions and museums
For a comprehensive list, see Museums of modern art.
- Albright-Knox Art Gallery, Buffalo, New York
- Art Institute of Chicago, Chicago, Illinois
- Governor Nelson A. Rockefeller Empire State Plaza Art Collection, Albany, New York
- Guggenheim Museum, New York City, New York, and Venice, Italy ; more recently in Berlin, Germany, Bilbao, Spain, and Las Vegas, Nevada
- High Museum, Atlanta, Georgia
- Los Angeles County Museum of Art, Los Angeles, California
- McNay Art Museum, San Antonio, Texas
- Menil Collection, Houston, Texas
- Museum of Fine Arts, Boston, Massachusetts
- Museum of Modern Art, New York City, New York
- San Francisco Museum of Modern Art, San Francisco, California
- The Baker Museum, Naples, Florida
- Walker Art Center, Minneapolis, Minnesota
- Whitney Museum of American Art, New York City, New York
- ^"One way of understanding the relation of the terms 'modern,' 'modernity,' and 'modernism' is that aesthetic modernism is a form of art characteristic of high or actualized late modernity, that is, of that period in which social, economic, and cultural life in the widest sense [was] revolutionized by modernity ... [this means] that modernist art is scarcely thinkable outside the context of the modernized society of the late nineteenth and twentieth centuries. Social modernity is the home of modernist art, even where that art rebels against it." — Lawrence E. Cahoone
- ^"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
- Arnason, H. Harvard; Prather, Marla (1998). History of modern art : painting, sculpture, architecture, photography (4th ed.). New York: Harry N. Abrams, Inc. ISBN . OCLC 1035593323 – via Internet Archive.
- Atkins, Robert (1997). Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords (2nd ed.). New York: Abbeville Press Publishers. ISBN . OCLC 605278894 – via Internet Archive.
- Cahoone, Lawrence (1996). From Modernism to Postmodernism: An Anthology. Cambridge, Mass: Blackwell Publishers. ISBN . OCLC 1149327777 – via Internet Archive.
- "CIMA Art Gallery". Times of India Travel. 2015-06-30. Retrieved 2021-06-12.
- Clement, Russell (1996). Four French Symbolists: A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis. Westport, Conn: Greenwood Press. ISBN . OCLC 34191505.
- Cogniat, Raymond (1975). Pissarro. New York: Crown Publishers. ISBN . OCLC 2082821.
- Corinth, Lovis; Schuster, Peter-Klaus; Vitali, Christoph; Butts, Barbara; Brauner, Lothar; Bärnreuther, Andrea (1996). Lovis Corinth. Munich; New York: Prestel. ISBN . OCLC 35280519.
- Greenberg, Clement (1982). "Modernist Painting". In Frascina, Francis; Harrison, Charles; Paul, Deirdre (eds.). Modern Art and Modernism: A Critical Anthology. In association with the Open University. London: Harper & Row. ISBN . OCLC 297414909 – via Internet Archive.
- Gombrich, Ernst H. (1995). The Story of Art. London: Phaidon Press Limited. ISBN . OCLC 1151352542 – via Internet Archive.
- Jencks, Charles (1987). Post-Modernism: The New Classicism in Art and Architecture. New York: Rizzoli. ISBN . OCLC 1150952960 – via Inernet Archive.
- John-Steiner, Vera (2006). "Patterns of Collaboration among Artists". Creative Collaboration. Oxford University Press. pp. 63–96. doi:10.1093/acprof:oso/9780195307702.003.0004. ISBN . OCLC 5105130725, 252638637.
- Lander, David (November–December 2006). "Fifties Furniture THE SIDE TABLE AS SCULPTURE". Shopping. American Heritage. American Association for State and Local History. 57 (6). ISSN 2161-8496. OCLC 60622066. Archived from the original on 2007-10-20.
- Mullins, Charlotte (2006). Painting people : figure painting today. New York: D.A.P./Distributed Art Pubs. ISBN . OCLC 71679906.
- Saunders, Frances Stonor (2013-06-14) [1995-10-22]. "Modern art was CIA 'weapon'". The Independent. Retrieved 2021-04-17.
- Scobie, Stephen (1988). "The Allure of Multiplicity: Metaphor and Metonymy in Cubism and Gertrude Stein". In Neuman, S. C.; Nadel, Ira Bruce (eds.). Gertrude Stein and the Making of Literature. London: Palgrave Macmillan UK. doi:10.1007/978-1-349-08541-5_7. ISBN . OCLC 7323640453 – via Internet Archive.
- Adams, Hugh (1979). Modern Painting. New York: Mayflower Books. ISBN . OCLC 691113035 – via Internet Archive.
- Childs, Peter (2000). Modernism. London New York: Routledge. ISBN . OCLC 48138104 – via Internet Archive.
- Crouch, Christopher (1999). Modernism in Art, Design and Architecture. New York: St. Martin's Press. ISBN . OCLC 1036752206 – via Internet Archive.
- Dempsey, Amy (2002). Art in the Modern Era: A Guide to Schools and Movements. New York: Harry N. Abrams. ISBN . OCLC 47623954.
- Everdell, William (1997). The First Moderns: Profiles in the Origins of Twentieth-Century Thought. Chicago: University of Chicago Press. ISBN . OCLC 45733213 – via Internet Archive.
See also: The First Moderns.
- Frazier, Nancy (2000). The Penguin Concise Dictionary of Art History. New York: Penguin Reference. ISBN . OCLC 70498418.
- Hunter, Sam; Jacobus, John M; Wheeler, Daniel (2005). Modern Art: painting, sculpture, architecture, photography (3rd ed.). Upper Saddle River, NJ: Prentice Hall. ISBN . OCLC 1114759321.
- Kolocotroni, Vassiliki; Goldman, Jane; Taxidou, Olga, eds. (1998). Modernism: An Anthology of Sources and Documents. Edinburgh; Chicago: Edinburgh University Press; The University of Chicago Press. ISBN . OCLC 1150833644, 44964346 – via Internet Archive.
- Ozenfant, Amédée; Rodker, John (1952). Foundations of Modern Art. New York: Dover. OCLC 1200478998. Retrieved 2021-04-19 – via Internet Archive.
- Read, Herbert Edward; Read, Benedict; Tisdall, Caroline; Feaver, William (1975). A Concise History of Modern Painting. New York: Praeger Publishers. ISBN . OCLC 741987800, 894774214, 563965849 – via Internet Archive.
|Wikimedia Commons has media related to Modern art.|
You will also be interested:
- Psalm 27 nkjv
- White herringbone wallpaper
- Simplify your answer
- Civ 5 directx
- Painted rocks landscape
- Blender ideas 3d
- Pokemon brock girlfriend
She is 22 almost now, Marina said. Yeah, that is, it was 19-20 then yes. YES was 19 and I was almost 18 Got it, it means you were standing like this and for some reason your sister was. Sticking her fingers in your ass.