Art Style That Was Heavily Influenced by a Previous Art Style

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The plow of the 20th century was a time rife with change, chiefly in the way in which people began to perceive civilization equally a whole and its overall goal. The outbreak of Earth War I, or the supposed War to Terminate All Wars, and the unprecedented devastation that ensued challenged the foundations of many cultures' belief systems, which led to a corking bargain of experimentation and exploration by artists with morality and in defining what exactly Fine art should be and practice for a culture. What followed from this was a litany of creative movements that strived to find their places in an always-changing world.

Post-Impressionism

Georges Seurat: A Lord's day on La Grande Jatte—1884
A Sunday on La Grande Jatte—1884, oil on canvas by Georges Seurat, 1884–86; in the Art Institute of Chicago.
The Art Establish of Chicago, Helen Birch Bartlett Memorial Collection, reference no. 1926.224 (CC0)

Often idea of as a necessitous forerunner to the plentiful fine art movements formed under the Modernist umbrella, Post-Impressionism had its first in the waning years of the 19th century. It was made famous past the unforgettable works of Paul Cézanne, Georges Seurat, Vincent van Gogh, and others, every bit they focused on extending the limitations of the movement's predecessor, Impressionism, by investigating techniques that would allow them to proceeds a purer form of expression, while, in most cases, retaining Impressionism'southward use of bright and fantastic colors displayed with brusk brushstrokes. Mail-Impressionists, unlike many members of other art movements, mainly composed their artworks independently of others, thus, allowing them to experiment in varying directions, from intensified Impressionism, every bit characterized by van Gogh, to pointillism, equally seen in Seurat's most famous work Lord's day Afternoon on the Island of La Grande Jatte (1884–86).
Fauvism

This famous avant-garde movement is credited with being 1 of the first of its kind to prosper at the outset of the 20th century. Pioneered by Henri Matisse, Fauvism owed a meaning debt to Impressionism, as it exhibited vibrant colors in order to capture landscapes and still-lifes. Notwithstanding, it became its own movement as Fauvists, such as Matisse, instilled a heightened sense of emotionalism into their paintings, often utilizing crude and blatant brushstrokes and vivid colors directly from their tubes that at showtime appalled audiences. Information technology was the overly expressiveness of these raw and basic techniques that led art critic Louis Vauxcelles to christen such painters fauves ("wild beasts"). Other notable Fauvists include André Derain, Maurice de Vlaminck, and Georges Braque, the latter evolving from the unclad emotionalism of Fauvism to create the more than structured and logical focuses of Cubism, which is viewed every bit beingness a directly descendent of Fauvism.
Cubism

Possibly the best-known art movement of the Modernist era, Cubism has come to be associated with ane proper noun in particular, Pablo Picasso. However, information technology should be duly noted that Georges Braque was also a leader of the motility and that he and Picasso worked and then well off of one another that, at the height of Cubism'south reign, their paintings are practically indistinguishable from one some other. It'southward often noted that Cubism was ushered in a definitive motility with the revelation of Picasso'southward Les Demoiselles d'Avignon (1907), which shows nude women in a fractured perspective and which demonstrates a significant African influence. However, the movement did not receive its proper name until 1908, when, art critic Louis Vauxcelles (once again!) depicted Braque's Firm at Fifty'Estaque as being fashioned from cubes. The central aims of Cubists were to discard the conventions of the past to merely mimic nature and to start in a new vein to highlight the flat dimensionality of the canvas. This issue was achieved through the use of various conflicting vantage points the pigment pictures of common objects such as musical instruments, pitchers, bottles, and the homo figure. As they progressed in their piece of work, Braque and Picasso adopted the employ of a monochromatic calibration to emphasize their focus on the inherent structure of their works. Though commonly associated with painting, Cubism had lasting effects on many sculptors and architects of the fourth dimension.
Futurism

Umberto Boccioni: Unique Forms of Continuity in Space
Unique Forms of Continuity in Infinite, bronze sculpture by Umberto Boccioni, 1913; in the Metropolitan Museum of Art, New York City.
The Metropolitan Museum of Art, New York, Heritance of Lydia Winston Malbin, 1989, 1990.38.3, www.metmuseum.org

Maybe one of the most controversial movements of the Modernist era was Futurism, which, at a cursory glance, likened humans to machines and vice versa in gild to embrace change, speed, and innovation in society while discarding artistic and cultural forms and traditions of the past. However, at the middle of the Futurist platform was an endorsement of war and misogyny. Futurism—coined in a 1909 manifesto past Filippo Marinetti—was non limited to only i art course, merely in fact was embraced by sculptors, architects, painters, and writers. Paintings were typically of automobiles, trains, animals, dancers, and large crowds; and painters borrowed the fragmented and intersecting planes from Cubism in combination with the vibrant and expressive colors of Fauvism in order to glorify the virtues of speed and dynamic movement. Writers focused on ridding their poesy of what they saw as unnecessary elements such equally adjectives and adverbs and so that the accent could remainder on the activeness of infinitive verbs. This technique in conjunction with the integration of mathematical symbols immune them to make more than declarative statements with a great sense of brazenness. Although originally ardent in their affirmation of the virtues of war, the Futurists lost steam as the destruction of WWI became realized.
Vorticism

The 2d edition of Boom (1915), published by Wyndham Lewis.
Public Domain

A specifically English artistic movement, since its mouthpiece was the famed London-based magazine Blast, Vorticism followed in the same vein as Futurism in that information technology relished in the innovative advances of the machine age and embraced the possible virtues of dynamic change that were to follow. It was founded right earlier the first of WWI by the celebrated painter Wyndham Lewis and the ubiquitous poet of the Modernist menstruation Ezra Pound. All the same, whereas the Futurists originated in France and Italy and then sprawled out over the continent to Russia, Vorticism remained local in London. Vorticists prided themselves on being contained of similar movements. In their literature, they utilized bare-basic vocabulary that resonated in likeness to the mechanical forms found in English shipyards and factories, and, in their writings as well every bit their paintings, Vorticists espoused abstraction as the only fashion to sever ties with the dominant and suffocating Victorian past so that they could advance to a new era. However, Vorticism, like Futurism, struggled to cope with the incomprehensible destruction during WWI that was a result of the new machines which they then highly praised. As WWI came to an cease and valued Vorticists, namely T.Due east. Hulme and Gaudler-Brzeska, died in action, Vorticism shriveled to a small few by the beginning of the 1920s.
Constructivism

"Monument to the Tertiary International" model
"Monument to the Third International," model designed by Vladimir Tatlin, 1920, reconstruction by U. Linde and P.O. Ultvedt completed in 1968 by A. Holm, E. Nandorf, and H. Östberg; in the Mod Museum, Stockholm, The National Swedish Art Museums.
© Tatlin; photo © Moderna Museet, Stockholm

As Cubism and Futurism spread westward to Russia at the end of the 1910s, they were captivated into the utopian spirit of the October Revolution, thus creating a new fine art movement known every bit Constructivism, which embraced theory that art should exist "constructed" from modern industrial materials such as plastic, steel, and glass in order to serve a societal purpose instead of merely making an abstract statement. Often credited with serving as the impetus for the movement is Vladimir Tatlin, who in 1913, while studying in Paris, was highly influenced by the geometric constructions of Picasso. After migrating dorsum to Russia, he, along with Antoine Pevsner and Naum Gabo, published the Realist Manifesto in 1920, which, like the Futurists and Vorticists, declared an admiration of machines and technology also every bit their functionalism. Ane of the most iconic artworks of this movement is Tatlin'south Monument for the Third International (1919–20), a strangely spiral-shaped construction that was intended to serve as a government edifice. Nearly Constructivists, like Tatlin, idea painting to be a "dead" fine art form, unless information technology was to serve as a design for something to be physically congenital. Therefore, they worked mainly with ceramics, fashion pattern, graphics, and in compages. As Soviet opposition to their movement increased, many Constructivists fled from Russia and inspired the motility is Western countries such as Germany, France, and England, where they gained a great deal of significance.
Suprematism

Another uniquely Russian Modernist movement was Suprematism, started conjointly with Constructivism, though with a stronger emphasis and embracement of the abstraction capable by painting on a canvas. It is denoted as the starting time motion to utilize pure geometrical abstraction in painting. Kazimir Malevich is viewed as its founder, as he, forth with the input of many of his contemporaries, authored the Suprematist manifesto. The move's name originated from a quote of Malevich'southward, in which he stated that the movement would inspire the "supremacy of pure feeling or perception in the pictorial arts." His central goal was to break art downwardly to its bare bones, often employing basic shapes, such equally squares, triangles, and circles, as well as primary and neutral colors. As he progressed in his piece of work, Malevich included more than colors and shapes, but he epitomized the movement in his "White on White" paintings in which a faintly outlined foursquare is just barely visible. Suprematism was often imbued with spiritual and mystic undertones that added to its abstraction, and, as was the instance with Constructivism, the movement essentially came to complete cease as Soviet oppression increased.
De Stijl

"Card Players," oil painting by De Stijl artist Theo van Doesburg, 1917; in the collection of the Haags Gemeentemuseum, The Hague
Courtesy of the Haags Gemeentemuseum, The Hague

The proper noun De Stijl (Dutch for "The Fashion") adequately sums up this movement's aim while as well characterizing their intentions on how to achieve that aim: with a simple, direct approach. Founded past a accomplice of Dutch artists in Amsterdam that included Theo van Doesburg (who founded the group's periodical De Stijl), Piet Mondrian, and Jacobus Johannes Pieter Oud, De Stijl was infused with a great deal of mysticism resulting primarily from Mondrian's devotion to Theosophy. The movement besides had a great deal of influence from Parisian Cubism, though members of De Stijl felt that Picasso and Braque failed to go far enough into the realm of pure abstraction. They, like Suprematists, worked mainly in an abstract manner and with unadorned shapes—such as direct lines, intersecting airplane surfaces, and basic geometrical figures—and the primary colors and neutrals. With these techniques, they sought to investigate the laws of equilibrium apparent in both life and art. Although the move comprised painters, sculptors, typographers, poets, those in the decorative arts, information technology was the architects, most prominently Oud with his Worker'due south Housing Estate in Hoek van Holland (1924–27), who were able to best capture the austere and harmonic essences of the motion.
Dada

Perhaps best summed upwards by the famous Dadaist poet Hugo Ball, the Dadaist goal of art was not to have art exist "an end in itself, merely [to be] an opportunity for the truthful perception and criticism of the times we live in." And surely enough the times of Dadaism were filled with grief, destruction, and chaos, as they witnessed the rampant mass devastation of WWI. The movement was a loosely knit international network that was prominent in Zürich, Switzerland; New York City; Berlin, Cologne, and Hanover, Germany; and Paris. Dadaists were non continued by their styles, mediums, or techniques. Instead, they were continued past their uniform practices and beliefs. They saw themselves as crusaders confronting rational thought, which they believed to be responsible for the declination of social structures, the growth of corrupt and nationalist politics, and the spread of violence and state of war. They challenged and mocked the definition of art and its elitist establishment with such works every bit Marcel Duchamps Fountain (1917), which was a porcelain urinal, and they utilized photomontages, as well as a plethora other artistic mediums, in their public meetings to protest against the nascent Nazi party in Frg. Dadaists fought strongly across the globe against such repressive social institutions, though were written-off by some as just absurdist and inconsequential based on their plentiful antics and scattered network.
Surrealism

As i of the most famous fine art movements of the Modernist era, thanks mainly to the indelible work The Persistence of Memory (1931) past Salvador Dalí, Surrealism has come to be remembered for its production of visceral, eye-grabbing and artful images. Leaping off from the absurdist inclinations of the Dadaists and the psychoanalytical writings of Sigmund Freud, André Breton, a well-known poet and critic of his time, published "The Surrealist Manifesto" in 1924, in which he declared the group's intention to unite consciousness with unconsciousness then that the realms of dream and fancy could merge with everyday reality in an "accented reality, a surreality." Although they were best-remembered for the piece of work of their painters—such as Jean Arp, Max Ernst, and André Masson—Surrealists worked with a variety of mediums, including poetry, literature, sculpture, and the then-new medium of motion-picture show. Considering Breton was militant in the adherence to his manifesto by the members of the movement, many members splintered off into new art forms, though still incorporating techniques and motifs of Surrealism.