sculptures in movement

okay but can we talk about motherfucking gian lorenzo bernini???

sure, he was an asshole, I won’t deny that. 

one time he tried to kill his brother and ordered a henchman to scar his lover’s face out of anger when he found out they were having an affair.

he was actually the one having an affair with Constanza in the first place, since she was already married (people apparently made lots of jokes about the irony of her name, seeing as she was anything but constant) and tbh I hate his guts 

but I can’t lie, his artistic ability was fucking incredible. at the age of 14, this motherfucker starts working under a master sculptor, producing some of the finest fucking marble slabs of all time

just look at this shit

this was a work he completed WHILE HE WAS A TEENAGER

his fucking david

mmm that freshly carved marble

except it’s NOT

this was done during the motherfucking 1600s, people 

oh yeah just look at that veil clinging to her body, you can see her fucking face through it (which, btw, is a Big Deal in art history) 

in the right lighting, you can practically see this motherfucker sweat like he’s standing outside in the sunlight wearing 5 layers of robes in 100 degree weather

find a front profile of this sculpture and you’ll see that bernini even took the time to carve a button that doesn’t fit all the way through its hole

sly bernini

man, bernini was a piece of shit but look at those butt cheeks

so round

so voluptuous 

you can almost see the flop and squish 

sly bernini 

this gorgeous gal is constanza motherfucking bonarelli, once the object and subject of bernini’s love and desire (pre facial scarring)

I’ll give you a hint: bernini is the reason y’all can’t take the term “bust” seriously anymore, they used to be perfectly dignified 3D portraits of old people but nooooo, he had to go and capture her in a flash of defiant rage

if you’ve watched the Power of Art’s episode on bernini’s life and accomplishments, you’d better fucking know that he believed people were closest to their inner essence, displaying their true selves in the moments directly before and after they spoke

that’s exactly what the fuck he captured in this moment, without a fucking reference somehow don’t ask me how I don’t even know



granted, bernini’s assistant was the one who did the leaves on daphne’s hands

looks like that brazen horny motherfucker apollo won’t be catching up to her anytime soon

sly bernini 



you fucking bet I saved the best for last

shit went downhill in his career after he failed to erect the towers of st. peter’s on swampy ground, and the flames of hell were already licking his heels, and don’t even get me started on borrowmini, that little shit was a genius craftsman 

so he attempted to redeem himself by designing a cathedral for saint teresa

he took one fucking look at her description of the moment she was called to serve god and said “if this is what heavenly pleasure feels like, I’ve experienced it a lot.” 

in her fucking manuscript she says the angel was pointing the “fiery tip” of an arrow at her heart, causing her to feel “pain and pleasure all at once”. 

does that arrow fucking look like it’s pointed at her heart?

HELL no. 

say what you want about bernini’s character, I know I sure do (catch rants from me on a daily basis), but you can’t deny that his skill with marble was impeccable. 

sly, sly bernini. 


“Just as one can compose colors, or forms, so one can compose motions.“
Alexander Calder

Don’t miss the must-see exhibition Calder: Hypermobility, which The New York Times called "a high-spirited showcase.” On view through Monday only, the exhibition features major examples of Alexander Calder’s work—from early motor-driven abstractions to hanging mobiles.


Universal Everything. Walking City -Architecture + Evolution + Movement . Winner of Golden Nica at Ars Electronica 2014. creative director: Matt Pyke. animation : chris perry .music: simon pyke 

We’re looking forward to Calder: Hypermobility, opening this Friday. The dynamic exhibition will focus on the extraordinary breadth of movement and sound in the work of Alexander Calder. Whitney members see it first during special preview days this Wednesday and Thursday.

[Alexander Calder (1898–1976), Aspen, 1948. Sheet metal, rod, lead, and paint, 38 × 25 × 31 in. (96.5 × 63.5 × 78.7 cm). Calder Foundation, New York. © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York]

Every Friday at 11 am, Alexander Calder’s motorized piece, Untitled (1938), will be activated for 10 minutes. One of 8 sculptures whose motors were restored specifically for Calder: Hypermobility, this particular work has never before been exhibited—either during Calder’s lifetime or after. The barely perceptible yet complex movement of this work is delicate and meditative. Activated by a small motor, the drive belt is a string that turns 3 wooden discs. As the discs slowly rotate, 4 stacked tetrahedrons of wire expand and contract in a helical motion. One complete cycle of the sculpture lasts about an hour, making it well suited for contemplative observation. 

[Alexander Calder, Untitled, 1938, Wire, wood, string, and rod, with motor, 87 × 45 × 39 in. (221 × 114.3 × 99.1 cm). Calder Foundation, New York; promised gift of Alexander S. C. Rower. © 2017 Calder Foundation, New York / Artists Rights Society (ARS), New York]


               Pop art icon Takashi Murakami is returning to Paris France with his latest exhibit “Learning the Magic of Painting” which is opening this week and will remain on display until December 23rd 2016

                 On February 1st, 1962 Takashi Murakami was born. Murakami grew up in a household that placed a high value on art inspiring both Takashi and his younger brother Yuri to become an artist. Murakami developed an early love and passion for animé and manga due to the stylized art and color palettes. Aside from animation and manga Murakami credits western movies as an impact on his career “Only recently did I realize how much I’ve been influenced by Steven Spielberg.” Later Murakami would find himself at T.U.A Tokyo University of the Arts, seeking the drafting skills necessary to become an animator, but eventually majored in Nihonga, the ‘traditional’ style of Japanese painting incorporating traditional Japanese artistic conventions, techniques and subjects. With the knowledge of a Ph.D. in Nihonga and the influence of manga, he gradually chose to explore more contemporary art styles, media, and strategies.

               Murakami grew to become unsatisfied with the state of contemporary art in Japan, believing it to be “a deep appropriation of Western trends.” In response to the stale art scene Murakami began developing his own pop icon motifs such as “Mr. DOB,” whose name plays on the slang expression “dobojite,” meaning “why?“—was originally created as a statement that Japanese art doesn’t need to imitate American art, and should find its own means of expression. This later developed into a form of self-portraiture, the first of several endlessly morphing and recurring emblems shown throughout his archives. Though he garnered attention, many of his early pieces were not initially well received in Japan. With the attention gained, Murakami continued to embrace unconventional works of art embracing the now well received kawaii movement. ”I set out to investigate the secret of market survivability—the universality of characters such as Mickey Mouse, Sonic the Hedgehog, Doraemon, Miffy, and Hello Kitty.“

               While Murakami became well known (to say the least) in both Japan and the United States; it was his handbag designs for Louis Vuitton in 2003 that propelled him into worldwide celebrity status. Murakami’s designs reinvigorated and revamped the fashion empire’s products and status, making Louis Vuitton bags the hot new must-have item for any and every one that could make the purchase. Murakami applied his trademark use of vivid, bright colors to the traditional “LV” logo, incorporating his signature emblems, such as wide-open cartoon eyes and smiling blossoms. In conjunction with the Louis Vuitton handbag release, the release of Kanye West’s 2007 album release Graduation skyrocketed Murakami’s success and position in the art world due to his design gracing the cover of the album. The collaborations lead to another partnership in 2008; “The Simple Things” an art show collaboration with close friend Pharrell Williams showcasing the beauty in everyday items.

               Murakami returned to the art world with “The 500 Arhats” in 2012 as a token of gratitude to the nation of Qatar, one of the first countries to offer support after the Great East Japan Earthquake and Tsunami in 2011.  “The 500 Arhats” is considered to be the largest painting in history standing at 10-feet in height and stretching at a 300-feet length. The story behind the works of art came from the legend of the 500 Arhats; followers of Buddha that spent their lives spreading the knowledge of his teachings. It is said that the story was introduced to Japan during the Heian period, presenting itself to the public through works on canvas and wood and stone sculptures. Murakami engaged with more than 200 students from national colleges in order to complete this monumental artwork. After “The 500 Arhats” Murakami released his debut film “Jellyfish eyes” a child’s tale of poignant memories and wondrous dreams. When asked why embark on a children’s film Murakami responded with “Looking back at my own life, what forms me now is almost entirely my experience in childhood, the stories I heard in childhood. So I wanted to make a story addressed to children as well.” Since the release of “Jellyfish Eyes” Murakami has directed “It Girl” (a Pharrell Williams music video), and has promised a “Jellyfish Eyes” film trilogy.

                Takashi Murakami’s latest exhibit held at the famous Galerie Perrotin “Learning the Magic of Painting,” is opening this week in Paris. The 12th solo exhibition will span across the three spaces in Paris at 76 rue de Turenne and 10 impasse Saint-Claude featuring more than 40 recent and never before seen artworks. The exhibit will feature “The 500 Arhats”, 15 painted handbags with accompanying paintings, monumental multi-panel painting “A Picture of Lives Wriggling in the Forest at the Deep End of the Universe” which reaches around three walls and represents a large scale anthology of Murakami’s mind-melting world and Zen influenced sculptures alike. Throughout the exhibition, the artist’s trademark style is instantly recognizable due to the always monstrous yet “kawaii” characters, the indigenous flower and skull motifs and the tone of impermanence in our lives that Takashi Murakami so effortlessly creates.

                “Learning the Magic of Painting” will be on display until December 23rd 2016.

anonymous asked:

Autistic Kara Danvers thoughts

ok well in j&j hsau which i still haven’t rly started she’s on the spectrum & just

ok so she’s learned that being totally honest w people isn’t always a good thing like she had some trouble when she was younger abt just saying what was on her mind 24/7 & like sometimes it wasn’t nice which she didn’t like & whoever kara was talking to didn’t like either. she’s not mean yknow & just bc she thinks something at one moment doesn’t mean she always thinks it so it takes a while but in the end the only ppl she’s totally completely unreservedly honest w almost all the time are alex & eliza. kara also has trouble with being distracted like she’ll totally dive into something & Not take a break for hours but sometimes like it’s not the thing she’s supposed to be doing so she means to be reading a book for class but she has this essay she hasn’t finished & it’s not due for a week & the book has to be read in two days time but she just can’t focus on the book. also she focuses rly hard & forgets to eat & sleep & stuff so they have to have rly clear schedules so Kara knows what she should be doing & her fam helps her to stick to them & bring her back on topic. sometimes conversations go astray too bc she follows a trail of thought instead of sticking to one thing

anyway here

lena arrives on friday afternoon. school just got out & kara is skating down the road & dare she say it yes she does she’s scoping out the den of the luthors to see if her newest plot could work. it absolutely will - it’s something of a masterpiece she thinks & james & clark & alex agree - which is awesome. it’s all lazy & quiet & she can hear the sprinklers chuffing away in someone’s back yard & everything is in a hazy kind of focus that happens sometimes when she gets tired.

it doesn’t last. this girl slips out of a car in front of the luthor place. she’s Beautiful with long dark hair & the neatest hands folded in front of her & she has nothing of kara’s restless energy she’s still & quiet & she might sink into the sharp lines & modern backdrop of the luthor house like one more classic sculpture except for small little movements. brushes her hair back behind her ear, she tilts her chin up to examine the place, she frowns with the tiniest motion but Kara sees it she can’t not see it she wants to catalogue every detail she

lands with a thud on the ground & groans, pulls her wrist up to her chest.

“ow,” she complains a little pathetically. two seconds & then there’s the skid of tyres & alex is bending down from her bike. kara takes her hand, lets her haul her up & she pouts as alex takes her hand & examines it with gentle fingers. “what’s the diagnosis, doctor danvers?”

“a scrape.” alex FLINGS her hand back when she determines there’s nothing rly wrong w her & kara hisses, clutches her hand protectively to her chest. “your nose is BLEEDING though. we should get you home.”

kara risks a look over Alex’s shoulder but the girl has long since gone inside the house. alex cranes around to see where kara’s looking & rolls her eyes.

“plot later, wash all this off first.”

Kara nods & after five minutes of trying to retrieve her board from under the parked car she had slammed into, they give it up for lost & Kara climbs onto Alex’s bike, feet on the little bars. she pats Alex’s shoulder when she’s ready & alex doesn’t bother taking it slow. she punches her feet down toward the road & complains about how heavy Kara is now she’s not ten anymore & she swerves, pretending to want to throw Kara off & grinning when kara punches her

they make it home without another incident - okay with only one more incident & it was totally not their fault but there was a pothole & they just wanted to see what would happen anyway now they’re both grazed up & eliza closes her eyes for a whole minute when they walk through the front door & sighs when she opens them again & her daughters are standing in front of her still all ripped up & grinning sheepishly.

“hi mum,”

“kitchen Alexandra,”

“ooooh,” Kara teases & quakes when eliza turns a firm glare on her. “hi eliza”

“You get some towels. honestly girls i just want one day, ONE day, where you don’t come home bloody. is that too much to ask?”

there’s a lot of finger pointing & blame going on in the next few minutes & eliza honestly puts two fingers to her mouth & whistles to get them quiet.

kara flinches. “oh i don’t like that,” she says, tone a little disgust but mostly realisation & eliza & alex nod that they’ll remember that.

“kara what happened,” eliza asks & alex groans & stomps away into the kitchen since there’s no way Kara will lie to their mother

“i was scoping out the luthor place when i saw the prettiest girl in the world she was tall but not as tall as me i dont think and she had the loveliest brown hair and green eyes I think but I was pretty far away and she looked so neat and lovely and I,” kara makes a whistling sound but quiet, not sharp, and slaps her hand against her other hand, “into a car and alex helped me up and my wrist isn’t broken I just grazed my hand and my nose bled a little.” it dripped all over her shirt & more when she dabbed at it & now she knows she looks like someone out of a horror movie. eliza looks faintly amused, maybe. amused looks similar to happy & kind but Kara is pretty sure this is amused. Kara continues. “my board got stuck under the car and the girl must’ve gone inside or something because i couldn’t see her anymore which is a shame and alex let me ride on her bike with her and on the way home,”

“what’s this about the prettiest girl?” Alex interrupts & eliza looks even more amused

“that can wait alex,” she smiles. “go on Kara what happened on the way home?”


“did the girl go into the luthor place?” alex asks & kara covers her ears.

“you’re distracting me alex,” she says quietly & stares down at her dirty sneakers & tries not to lose track of her words. “alex rode into a pothole & we fell & walked home.” she leaves out some details like alex asking if she wants to & kara enthusiastically agreeing but at the root of it that is what happened.

“so it was an accident and you didn’t purposefully ride into it?” eliza asks & kara states wide eyed at alex, looking for a prompt.

it never comes & kara gulps. “um. no?”

“mhm.” eliza shakes her head & sighs. “alright kitchen both of you. i will get the towels and alex you help Kara with that graze of hers.”



New York-based artist, Daniel Rozin, creates incredible installations and sculptures that react to the movements of viewers. 

His latest project called “PomPom Mirror”, features a synchronized array of 928 spherical faux fur puffs controlled by hundreds of motors that respond to the presence of viewers using computer-vision. 

Keep reading

List of paintrist by Isme

Second part: Impressionism to abstract expressionism


Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari.

Impressionist painting characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles.

the French impressionism

  • Frédéric Bazille
  • Marie Bracquemond
  • Gustave Caillebotte
  • Mary Cassatt
  • Paul Cézanne
  • Edgar Degas
  • Paul Gauguin
  • Eva Gonzalès
  • Armand Guillaumin
  • Edouard Manet
  • Claude Monet
  • Berthe Morisot
  • Camille Pissarro
  • Pierre-Auguste Renoir
  • Alfred Sisley

American impressionism

  • Walter Emerson Baum
  • Reynolds Beal
  • James Carroll Beckwith
  • Frank Weston Benson
  • Rae Sloan Bredin
  • Soren Emil Carlsen
  • John Fabian Carlson
  • William Merritt Chase
  • Morgan Colt
  • Colin Campbell Cooper
  • Fern Isabel Coppedge
  • Nate Dunn
  • John Fulton Folinsbee
  • Edmund Greacen
  • Arthur Clifton Goodwin
  • Frederick Childe Hassam
  • Joseph Rodefer DeCamp
  • Thomas Wilmer Dewing
  • Frederick Carl Frieseke
  • Daniel Garber
  • Wilfid de Glehn
  • Philip Leslie Hale
  • William Langson Lathrop
  • Willard Leroy Metcalf
  • Roy Cleveland Nuse
  • Julian Onderdonk
  • Mary Elizabeth Price
  • Robert Lewis Reid
  • Edward Willis Redfield
  • Granville Redmond
  • Guy Orlando Rose
  • Charles Rosen
  • Walter Elmer Schofield
  • Edward Emerson Simmons
  • George William Sotter
  • Robert Carpenter Spencer
  • Edmund Charles Tarbell
  • John Henry Twachtman
  • William Wendt
  • Julian Alden Weir
  • Guy Carleton Wiggins
  • Mary Agnes Yerkes

impressionism elswhere

  • George Hendrik Breitner
  • Emile Claus
  • Joaquin Clausell
  • Lovis Corinth
  • Isaac Israels
  • Konstantin Korovin
  • Max Liebermann
  • Valentin Serov
  • Max Slevogt
  • Joaquin Sorolla
  • Frits Thaulow
  • Lesser Ury
  • Sherree Valentine-Daines
  • Federico Zandomeneghi


Post-Impressionism (also spelled Postimpressionism) is a predominantly French art movement that developed roughly between 1886 and 1905; from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the naturalistic depiction of light and colour. Due to its broad emphasis on abstract qualities or symbolic content, Post-Impressionism encompasses Neo-Impressionism, Symbolism, Cloisonnism, Pont-Aven School and Synthetism, along with some later Impressionists work. The movement was led by Paul Cezanne, Paul Gauguin, Vincent van Gogh and Georges Seurat.
The term Post-Impressionism was coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet. Fry used the term when he organized the 1910 exhibition Manet and the Post-Impressionists. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, often thick application of paint, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour.

  • Richard Bergh
  • Emile Bernard
  • Frank Bramley
  • Paul Cezanne
  • Paul Gauguin
  • Charles Guerin
  • Augustus John
  • Nils Kreuger
  • Henri Lebasque
  • Karl Nordstrom
  • Leonid Pasternak
  • Maurice Prendergast
  • Henri Rousseau
  • Paul Serusier
  • Gaston La Touche
  • Henri Toulouse-Lautrec
  • Suzanne Valadon
  • Vincent van Gogh

Camden Town Group (Post-impressionism) (UK)

The Camden Town Group was a group of English Post-Impressionist artists active 1911-1913. They gathered frequently at the studio of painter Walter Sickert in the Camden Town area of London.

  • Walter Bayes
  • Robert Bevan
  • Malcolm Drummond
  • Harold Gilman
  • Charles Ginner
  • Spencer Gore
  • Ducan Grant
  • James Dickson Innes
  • Augustus John
  • Henry Lamb
  • Wyndham Lewis
  • Maxwell Gordon Lightfoot
  • James Bolivar Manson
  • Lucien Pissarro
  • William Ratcliffe
  • Walter Sickert

Non members

  • Anna Hope Hudson
  • Ethel Sands
  • Marjorie Sherlock
  • John Nash
  • Paul Nash


Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Seurats greatest masterpiece, A Sunday Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first made its appearance at an exhibition of the Societe des Artistes Independants (Salon des Independants) in Paris. Around this time, the peak of France™s modern era emerged and many painters were in search of new methods. Followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists™ characterization of their own contemporary art. Pointillism technique is often mentioned, because it was the dominant technique in the beginning.

  • Henri-Edmond Cross
  • Alfred William Finch
  • Maximilian Luce
  • Angelo Morbelli
  • Hippolyte Petitjean
  • Lucien Pissarro
  • Theo van Rysselberghe
  • Georges Seurat
  • Paul Signac

Les XX (Belgium)

Les XX was a group of twenty Belgian painters, designers and sculptors, formed in 1883 by the Brussels lawyer, publisher, and entrepreneur Octave Maus. For ten years “Les Vingt” , as they called themselves, held an annual exhibition of their art; each year twenty international artists were also invited to participate in the exhibition. Artists invited over the years included Camille Pissarro (1887, 1889, 1891), Claude Monet (1886, 1889), Georges Seurat (1887, 1889, 1891, 1892), Paul Gauguin (1889, 1891), Paul Cézanne (1890), and Vincent van Gogh (1890, 1891).
Les XX was in some ways a successor to the group L'Essor. The rejection of Ensor’s The Oyster Eater in 1883 by L'Essor Salon, following the earlier rejection by the Antwerp Salon, was one of the events that led to the formation of Les XX.
In 1893, the society of Les XX was transformed into “La Libre Esthétique”.

  • James Ensor
  • Alfred William Finch
  • Henry de Groux
  • Dario de Regoyos y Valdes
  • Odilon Redon,
  • Theo van Rysselberghe
  • Paul Signac
  • Jan Toorop
  • Henry van de Velde

les Nabis (France)

Les Nabis (Nabi means prophet in Hebrew and in Arabic.) were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in contemporary art and literature, most of them studied at the private art school of Rodolphe Julian (Académie Julian) in Paris in the late 1880s.
In 1890, they began to participate successfully in public exhibitions, while most of their artistic output remained in private hands or in the possession of the artists themselves. By 1896, the unity of the group had already begun to break: The Homage to Cézanne, painted by Maurice Denis in 1900, recollects memories of a time already gone, before even the term Nabis had been revealed to the public. Meanwhile, most members of the group—Maurice Denis, Pierre Bonnard, Édouard Vuillard—could stand, artistically, on their own. Only Paul Sérusier had problems to overcome—though it was his Talisman, painted at the advice of Paul Gauguin, that had revealed to them the way to go.

  • Pierre Bonnard
  • Maurice Denis
  • Paul Serusier
  • Felix Vallotton
  • Edouard Vuillard

Newlyn School (UK)

The Newlyn School was an art colony of artists based in or near Newlyn, a fishing village adjacent to Penzance, Cornwall, from the 1880s until the early twentieth century. The establishment of the Newlyn School was reminiscent of the Barbizon School in France, where artists fled Paris to paint in a more pure setting emphasizing natural light. These schools along with a related California movement were also known as En plein air.
Newlyn had a number of things guaranteed to attract artists: fantastic light, cheap living, and the availability of inexpensive models. The artists were fascinated by the fishermen’s working life at sea and the everyday life in the harbour and nearby villages. Some paintings showed the hazards and tragedy of the community’s life, such as women anxiously looking out to sea as the boats go out, or a young woman crying on hearing news of a disaster. Lamorna Birch was the prime mover behind the colony and the work done there. The later Forbes School of Painting, founded by Stanhope Forbes and his wife Elizabeth in 1899, promoted the study of figure painting.
In the late nineteenth and early twentieth centuries, Lamorna, a nearby fishing village to the south, became popular with artists of the Newlyn School and is particularly associated with the artist S. J. “Lamorna” Birch who lived there from 1908.

  • Frank Bramley
  • Samuel John Lamorna Birch
  • Percy Robert Craft
  • Elizabeth Adela Forbes
  • Stanhope Alexander Forbes
  • Norman Garstin
  • Thomas Cooper Gotch
  • Edwin Harris
  • Harold Harvey
  • William Ayerst Ingram
  • Harold Knight
  • Laura Knight
  • Walter Langley
  • Alfred Munnings
  • Dod Procter
  • Ernest Procter
  • Henry Meynell Rheam
  • Albert Chevallier Tayler
  • Henry Herbert La Thangue
  • Henry Scott Tuke

The Ashcan School (USA)

The Ashcan School, also called the Ash Can School, was an artistic movement in the United States during the early twentieth century that is best known for works portraying scenes of daily life in New York, often in the city’s poorer neighborhoods. Some of the members of the Eight were also part of the Ashcan School.

  • Thomas Anshutz
  • Gifford Beal
  • George Bellows
  • William Glackens
  • John Grabach
  • Robert Henri
  • George Luks
  • Jerome Myers
  • Everett Shinn
  • John French Sloan

The Eight (USA)

  • Arthur Bowen Davies
  • William Glackens
  • Robert Henri
  • Ernest Lawson
  • George Benjamin Luks
  • Maurice Prendergast
  • Everett Shinn
  • John French Sloan

The Philadelphia Ten

  • Theresa Bernstein

Mir iskusstva (World of Art) (Russia)

Mir iskusstva (Russian: «Мир иску́сства», World of Art) was a Russian magazine and the artistic movement it inspired and embodied, which was a major influence on the Russians who helped revolutionize European art during the first decade of the 20th century. In fact, few Europeans outside Russia actually saw issues of the magazine itself.
From 1909, several of the miriskusniki (i.e., members of the movement) also participated in productions of Sergei Diaghilev’s Ballets Russes company based in Paris.

  • Yury Annenkov
  • Leon Samoilovitch Bakst
  • Alexandre Nikolayevich Benois
  • Mstislav Valerianovich Dobuzhinsky
  • Igor Grabar
  • Boris Grigoriev
  • Pyotr Konchalovsky
  • Boris Kustodiev
  • Filipp Malyavin
  • Eugene Lanceray
  • Ilya Mashkov
  • Anna Ostroumova-Lebedeva
  • Nicholas Roerich
  • Konstantin Somov
  • Serge Sudeykin

Cubism (France)

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux) during the 1910s and extending through the 1920s.
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne’s paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907.
In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from one viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context.
The impact of Cubism was far-reaching and wide-ranging. Cubism spread rapidly across the globe and in doing so evolved to greater or lesser extent. In essence, Cubism was the starting point of an evolutionary process that produced diversity; it was the antecedent of diverse art movements.
In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. In other countries Futurism, Suprematism, Dada, Constructivism and De Stijl developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso’s technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

  • Henryk Berlewi
  • Georges Braque
  • Roger de la Fresnaye
  • Albert Gleizes
  • Juan Gris
  • Auguste Herbin
  • Fernand Leger
  • Jean Metzinger
  • Pablo Picasso

De Stijl (Netherlands)

  • Burgoyne Diller
  • Theo van Doesburg
  • Jean Gorin
  • Vilmos Huszar
  • Piet Mondrian

Futurisme (Italy)

  • Giacomo Balla
  • Umberto Boccioni
  • Carlo Carra
  • Fortunato Depero
  • Luigi Russolo
  • Gino Severini

Rayonism (Russia)

  • Natalia Goncharova
  • Mikhail Larionov

The Berlin Secession (Germany)

The Berlin Secession (German: Berliner Secession) was an art association founded by Berlin artists in 1898 as an alternative to the conservative state-run Association of Berlin Artists. That year the official salon jury rejected a landscape by Walter Leistikow, who was a key figure amongst a group of young artists interested in modern developments in art. Sixty-five young artists formed the initial membership of the Secession.
Max Liebermann was the Berlin Secession’s first president, and he proposed to the Secession that Paul Cassirer and his cousin Bruno act as business managers.
In 1901 Bruno Cassirer resigned from the Secession, so that he could dedicate himself entirely to the Cassirer publishing firm. Paul took over the running of the Cassirer gallery, and supported various Secessionist artists including the sculptor Ernst Barlach and August Gaul, as well as promoting French Impressionism and Post-Impressionism.
The biggest conflict in the Berlin Secession was about the question if it should follow the new wave of Expressionism or not.

  • Hans Baluschek
  • Bruno Cassirer
  • Paul Cassirer
  • Lovis Corinth
  • Lyonel Feininger
  • August Gaul
  • Adolf Eduard Herstein
  • Kaethe Kollwitz
  • Walter Leistikow
  • Max Liebermann
  • Emil Nolde
  • Jacob Steinhardt
  • Hermann Struck
  • Wilhelm Truebner
  • Julie Wolfthorn

Vienna Secession (Austria)

The Vienna Secession (German: Wiener Secession; also known as the Union of Austrian Artists, or Vereinigung Bildender Künstler Österreichs) was formed in 1897 by a group of Austrian artists who had resigned from the Association of Austrian Artists, housed in the Vienna Künstlerhaus. This movement included painters, sculptors, and architects. The first president of the Secession was Gustav Klimt, and Rudolf von Alt was made honorary president. Its official magazine was called Ver Sacrum.

  • Josef Anton Engelhart
  • Gustav Klimt
  • Wojciech Weiss

Expressionism (Germany)

Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express meaning or emotional experience rather than physical reality.

Die Bruecke (The Bridge)

Die Bruecke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905.

  • Fritz Bleyl
  • Erich Heckel
  • Ernst Ludwig Kirchner
  • Karl Schmidt-Rottluff
  • Emil Nolde
  • Max Pechstein
  • Otto Mueller

Der Blaue Reiter (The Blue Rider)

Der Blaue Reiter (The Blue Rider) was a group of artists from the Neue Kuenstlervereinigung Muenchen in Munich, Germany.

  • Albert Bloch
  • David Burliuk
  • Heinrich Campendonk
  • Agnes Cleve
  • Clotilde von Derp
  • Lyonel Feininger
  • Natalia Goncharova
  • Alexej von Jawlensky
  • Wassily Kandinsky
  • Paul Klee
  • August Macke
  • Franz Marc
  • Gabriele Muenter
  • Arnold Schoenberg
  • Marianne von Werefkin

Other expressionist

  • Max Beckmann
  • Marc Chagall
  • Otto Dix
  • James Ensor
  • Lyonel Feininger
  • George Grosz
  • Shalva Kikodze
  • Oskar Kokoschka
  • Kaethe Kollwitz
  • Paula Modersohn-Becker
  • Edvard Munch
  • Georges Rouault
  • Egon Schiele
  • Jan Sluyters
  • Karl Sterrer
  • Wojciech Weiss

Fauvism (France)

Fauvism is the style of les Fauves (French for “the wild beasts”), a loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904 to “1908, and had three exhibitions.

  • Hermenegildo Anglada Camarasa
  • Charles Camoin
  • Emilie Charmy
  • Andre Derain
  • Kees van Dongen
  • Raoul Dufy
  • Henri Evenepoel
  • Othon Friesz
  • Henri Manguin
  • Maurice Marinot
  • Albert Marquet
  • Henri Matisse
  • Jean Puy
  • Georges Rouault
  • Louis Valtat
  • Maurice de Vlaminck

Dada (Europe)

Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. Dada in Zürich, Switzerland, began in 1916 at Cabaret Voltaire, spreading to Berlin shortly thereafter, but the height of New York Dada was the year before, in 1915. The term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 when he created his first readymades. Dada, in addition to being anti-war, had political affinities with the radical left and was also anti-bourgeois.

  • Theo van Doesburg
  • Marcel Duchamp
  • Max Ernst
  • Angelika Hoerle
  • Heinrich Hoerle
  • Francis Picabia
  • Christian Schad
  • Rudolf Schlichter
  • Franz Wilhelm Seiwert

New Objectivity (Germany)

The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub, the director of the Kunsthalle in Mannheim, who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a post-expressionist spirit. As these artists—who included Max Beckmann, Otto Dix, and George Grosz—rejected the self-involvement and romantic longings of the expressionists, Weimar intellectuals in general made a call to arms for public collaboration, engagement, and rejection of romantic idealism.
Although principally describing a tendency in German painting, the term took a life of its own, and came to characterize the attitude of public life in Weimar Germany as well as the art, literature, music, and architecture created to adapt to it. Rather than some goal of philosophical objectivity, it was meant to imply a turn towards practical engagement with the world—an all-business attitude, understood by Germans as intrinsically American.
The movement essentially ended in 1933 with the fall of the Weimar Republic and the rise of the Nazis to power.

  • Max Beckmann
  • Otto Dix
  • George Grosz
  • Heinrich Hoerle
  • Alexander Kanoldt
  • Anton Räederscheidt
  • Rudolf Schlichter
  • Georg Scholz
  • Georg Schrimpf
  • Franz Wilhelm Seiwert

Group of Seven (Canada)

The Group of Seven, also known as the Algonquin School, was a group of Canadian landscape painters from 1920 to 1933. Believing that a distinct Canadian art could be developed through direct contact with nature, The Group of Seven is most famous for its paintings inspired by the Canadian landscape, and initiated the first major Canadian national art movement.

  • A.J. Casson
  • Franklin Carmichael
  • Emily Carr
  • Lionel LeMoine FitzGerald
  • Lawren Harris
  • Edwin Holgate
  • A.Y. Jackson
  • Frank Johnston
  • Arthur Lismer
  • J. E. H. MacDonald
  • Tom Thomson
  • Frederick Varley

Surealism (Global)

Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to “resolve the previously contradictory conditions of dream and reality”. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.
Surrealist works feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement.
Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

  • Michael Cheval
  • Salvador Dali
  • Paul Delvaux
  • Max Ernst
  • Leonor Fini
  • Felix Labisse
  • Rene Magritte
  • Paul Nash
  • Felix Nussbaum
  • Francis Picabia
  • Felka Platek
  • Helene Schjerfbeck

Abstract expressionism

Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. The term abstract expressionism was first applied to American art in 1946 by the art critic Robert Coates.The movement’s name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles.

  • Arshile Gorky
  • Elaine de Kooning
  • Willem de Kooning
  • Lee Krasner
  • Barnett Newman
  • Jackson Pollock
  • Mark Rothko

A Paintrist can belong to more then one isme or be a isme on his one

This is a list in progress…