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What Kind of Art Was Popular in 1907 in the Us

Native American Art

Before Europeans colonized Northward America, rich, complex art traditions flourished amidst many indigenous tribes who had adult a highly stylized vocabulary that employed circuitous geometric patterns and used near abstracted forms that both evoked the natural world and symbolized ancestral and mythological stories. The objects were often utilitarian and, at the same fourth dimension, imbued with ritual significance. All the same, the newly arrived colonists in the Eastern United States primarily viewed those traditions as curiosities or arts and crafts, while aspiring to British fine art traditions and cultural values. Native American artists adapted the new materials and techniques brought past the colonists, including floral embroidery, chaplet, and silver smithing.

<i>Three Iroquois in Diverse Costumes</i> (c. 1827) by David Cusick adapts European realism to depict Native Americans.

At the aforementioned time, some ethnic artists developed a European style to depict native subjects. David Cusick, a Tuscarora artist, published his Sketches of Ancient History of the Six Nations in 1828, and, forth with his blood brother Dennis, a watercolorist, established the Iroquois Realist School. The first Native American art motility included over 25 Iroquois artists, who employed drawing, painting, and printmaking to realistically depict their tribe's beliefs, history, fashion, and lifestyle. Edmonia Lewis, of Mississauga Ojibwe and African-American descent, became internationally known for her Neoclassical sculpture, like The Expiry of Cleopatra (1876), exhibited at the Centennial Exposition in Philadelphia. In the early 1900s, Native American art began to receive national and international attending. The Kiowa Six, Spencer Asah, James Auchiah, Jack Hokeah, Stephen Mopope, Lois Smoky, and Monroe Tsatoke, were celebrated for their Ledger drawings that employed strong outlined, apartment areas of bold color. The group exhibited at the 1928 Commencement International Art Exposition in Prague and the Venice Biennale in 1932.

Folk Fine art

Harriet Powers' Bible Quilt (1885-86), a unique quilt that illustrates scenes from the bible.

Much American folk fine art is commonsensical in nature, as sculptures were primarily figureheads for ships, weathervanes, and carved gravestones, simply framed embroideries and velvet paintings were also made for wall decorations. Early American folk painters were called limners, from a term limning, meaning, "to outline in clear, sharp detail." Oftentimes cocky-taught, limners travelled from boondocks to town and made a living by offering to pigment anything, from signs for local merchants to farm implements and carriages. Every bit the colonies reflected the British cultural values that viewed portraiture as a sign of social standing, fine fine art portraitists similar the French born Henrietta Johnston, who emigrated to Charleston, Due south Carolina around 1705, gravitated to the cities, while limners made it possible for ordinary people in pocket-sized towns to have their portraits painted. Boldly colored and outlined without modeling or shading, folk art portrayals were often intimate, depicting the sitter with a few objects that were of personal significance. Kickoff his career as limner, Edward Hicks became famous for his The Peaceable Kingdom (1829-31), a piece of work that expressed his Quaker values in a dynamic folk fashion. Folk art also drew upon African American traditions; in the 1880s Harriet Powers, a erstwhile slave, began exhibiting her quilts, depicting powerful narratives in bold color and geometric forms and patterns.

American Architecture

Thomas Jefferson's home Monticello embodied the Neoclassical ideals of the young nation.

After the Revolutionary War, when the immature nation was edifice its identity, early on American architecture drew from British and Neoclassical architecture. Based on the work and theory of the Venetian Renaissance architect, Andrea Palladio, Neoclassicism was the dominant architectural way in 18th-century Europe. Thomas Jefferson, the 3rd president of the Usa, was as well an innovative builder, and his design for Monticello (1772-1809), his home in Virginia, exemplified the Neoclassical style, employing a Palladian portico with four colored columns. During his Presidency, his ideas as well informed Benjamin Henry Latrobe's designs of the U.S. Capitol building, launching what became known equally the Federal style, favored for official buildings.

Developing around 1830 within the context of Neoclassicism, Beaux-Arts architecture rejected Neoclassicism's formality to contain elements from Renaissance, Baroque, and Tardily Gothic architecture. In the United States, the Beaux-Arts style, led by Richard Morris Chase, became known as the "American Renaissance," or "American Classicism." Hunt actively promoted the pop fashion, which was employed in designs for private mansions and public buildings, including the Biltmore Firm (1889-95) built for the tycoon George Vanderbilt. In the 20thursday century, American Beaux-Arts architects returned to less ornamental and classical designs, exemplified by Henry Bacon and Daniel Chester French's Lincoln Monument (1914-22).

The Chrysler Building (1930) adapted Art Deco architecture, creating a streamlined, modern style.

First in 1890 and influenced past the British Craft motility and Japonism, the highly influential Art Nouveau movement featured organic, flowing, floral motifs. Art Nouveau architects viewed the building, its interior spaces, and details, every bit a unified whole. Louis Comfort Tiffany, Louis Sullivan, and Frank Lloyd Wright were influenced by Art Nouveau. Sullivan's Wainwright Building (1891) used a frieze with a decorative motif of celery-leafage leafage, decorative spandrels, and an elaborate archway door. Such architectural motifs became popular for skyscrapers and loftier rises, equally seen in New York'south Decker Edifice (1892). Later on, in the 20thursday century, Art Deco was adapted to Public Works projects and iconic buildings such as William Van Alen'southward Chrysler Building (1930).

Richard Neutra's Lovell Health House showcases the International Style's use of steel, glass, and concrete.

Beginning in 1914, the International Style emphasized the use of steel, glass, and concrete. Emerging during the backwash of Globe War I and viewed as reflecting the modern historic period, it was frequently used for postwar housing. Austrian architects Richard Neutra and R.K. Schindler introduced the style when they moved to America in the 1910 and worked with Frank Lloyd Wright. Though both men created notable International Way buildings, as seen by Neutra's Lovell Health House (1929), the artful did non truly flourish in the United States until after World War II, when economic expansion led to a smash in skyscraper construction. Leading architects, including Walter Gropius, Marcel Breuer, and Ludwig Mies van der Rohe, came to the U.s.a. in the mail service-war period and taught a new generation of American architects, while designing notable buildings. Mies for instance, congenital the Seagram Building (1954-58) in New York and the campus of the Illinois Establish of Applied science in Chicago (completed in 1956). The International Style, with its drinking glass curtains and industrial construction, was also used for fast-food restaurants and gas stations as America undertook structure of new interstates, connecting the country from coast to coast.

Beginning in 1950, Brutalism, likewise called New Brutalism, was a fashion of massive architecture that primarily employed unfinished, precast physical. The style became popular for university campus buildings, performance art venues, libraries, authorities buildings, and corporate offices throughout the United States. Paul Rudolph was a leading proponent of the style as seen in his Yale Fine art and Architecture Building (1958). Due to American enthusiasm for the manner, European architects adopted the manner in their major commissions; Le Corbusier with Oscar Niemeyer, Wallace Harrison, and Max Abramovitz designed the Un Headquarters (1948-52), and Marcel Breuer worked with a number of American architectural teams to blueprint Boston City Hall (1963-68). Breuer and Hamilton Smith's Breuer Edifice (1966), home to the Whitney Museum of American Art and later an expanded Metropolitan Museum, was also a trendsetting Brutalist blueprint.

Hudson River School (1826-lxx)

The Hudson River School, led by Thomas Cole, who was born in Britain but emigrated to the United States when he was seventeen, was the first recognized American fine art motility. Centered in upper New York land, which was so wilderness, the artists associated with the motion emphasized the sublime and unique dazzler of the American landscape. Influenced by Romanticism's concept of the sublime and Naturalism'due south emphasis on precise observed particular, Cole's landscapes like Kaaterskill Upper Fall, Catskill Mountains (1825) and Dunlap Lake with Expressionless Trees (Catskill) (1825) depicted American scenes to evoke the limitless possibilities of the new nation.

Albert Bierstadt'due south <i>Among the Sierra Nevada, California</i> (1868) is one of many paintings that helped shape the image of 19<sup>thursday-</sup>century America as a promised land.

Following Cole's decease in 1848, Asher B. Durand, influenced past the French Barbizon School, led the turn toward a more naturalistic painting. The artists Frederic Edwin Church building, Albert Bierstadt, John Frederick Kensett, George Inness, and Thomas Moran formed the second generation. Their works became enormously pop, every bit the exhibition of just one panoramic painting could draw thousands of visitors. In the 1860s, every bit Manifest Destiny with its phone call to go West became a dominant national strength, Bierstadt and Moran turned their attention to panoramas of the dramatic western landscape, and, along with William Keith and Thomas Hill, were sometimes called the Rocky Mount School. Their works also inspired and informed the movement to preserve America's natural wonders, including the Yellowstone and Grand Tetons Parks. Alternatively, the intimate scale and feeling of George Inness'southward works like The Delaware Valley (c.1863), and John Frederick Kensett'south depictions of light reflecting on bodies of water played a pioneering role in developing what later came to be chosen Luminism.

Luminism (1850-75)

<i>Lake George</i> (1869) is one of many scenes of the upstate New York lake that John Frederick Kensett favored.

The term Luminism was developed by art historians in the 1950s to identify a style that flourished from 1850-1870 among a number of American mural painters. They drew upon a number of influences, including the landscape painting of the Dutch Golden Historic period, photography, and the genre landscapes of George Harvey, William Sidney Mount, and George Caleb Bingham. John Frederick Kensett, who led the movement, emphasized the landscape itself, with very little, if whatever, human presence; he focused on the play of light and atmosphere upon a body of water, every bit seen in his View of the Shrewsbury River, New Jersey (1859). Rather than exploring new vistas and rugged landscapes, each of the Luminists was associated with a particular locale, as the artist returned to the same scenes, painting the changing lite and atmosphere from twenty-four hours to solar day or flavor to season. The Luminists, who included Kinsett, Fitz Henry Lane, Jasper Francis Cropsey, Sanford Robinson Gifford, and Martin Johnson Heade, preferred small-scale-scale intimate works that emphasized the private'south communion with nature, reflecting Ralph Waldo Emerson and Henry David Thoreau's philosophy of Transcendentalism, which held that spiritual truth was revealed in the contemplation of nature.

Tonalism (1870-1915)

James McNeill Whistler's <i>Nocturne in Black and Gilt: The Falling Rocket</i> was radical for its abstraction and caused much controversy when shown in London.

Tonalism emerged in the early on 1870s in James McNeill Whistler's series of Nocturnes that emphasized tonal harmonies, oftentimes in muted greens, blues, and dark colors, to depict landscapes at twilight. Of works like his famous and controversial Nocturne in Black and Gold: The Falling Rocket (c.1875), Whistler said, "A nocturne is an system of line, form and color first," but he also felt tonal harmonies were the visual equivalent of musical compositions. Born in America, Whistler lived almost of his life in Britain where he played a pioneering office in a number of movements, including Japonism, the Aesthetic Movement, and the Anglo-Japanese aesthetic. Tonalists George Inness and Albert Pinkham Ryder were as well influenced by the Barbizon School. Using gilt and brown tones to draw a landscape at sunrise or sunset, Inness emphasized spiritual expression in works like Sunrise (1887), while Ryder oft introduced a mythological narrative element into his mysterious landscapes that were precursors of Symbolism. In 1899 Henry Ward Ranger founded the Old Lyme Colony in Connecticut, seeing information technology as an "American Barbizon." A second generation of Tonalists, including Allen Butler Talcott, Henry Melt White, Bruce Crane, William Henry Howe, Louis Paul Dessar, and Jules Turcas, joined the artistic colony. In 1903 Childe Hassam joined the colony and briefly took upwards the manner before abandoning information technology in favor of American Impressionism.

American Impressionism (1880-1920)

Mary Cassatt oftentimes painted intimate domestic scenes in an Impressionist style, including <i>Lydia Crocheting in the Garden at Marly</i> (1880).

American Impressionism was primarily inspired and influenced by the French Impressionists, including Claude Monet, Pierre-Baronial Renoir, and Alfred Sisley amidst others, who starting time exhibited together in Paris in 1874. French Impressionism influenced both the expatriates John Singer Sargent and James McNeill Whistler, though neither fully embraced the motility. Mary Cassatt became America's get-go well-known Impressionist. Moving to Paris in 1866, she became close friends with Edgar Degas and associated and exhibited with many of the leading Impressionists. Her works, full of vibrant color, expressive brushstrokes, often portrayed intimate gatherings in relaxed bourgeois environments, as well as many depictions of a mother and child, and were enormously popular in the Us. In 1883, the first U.S. exhibition of the French Impressionists Monet, Renoir, Pissarro, and Manet influenced the artists William Merritt Chase, Childe Hassam, and Edmund C. Trabell. A number of thriving artist colonies devoted to American Impressionism developed throughout the country.

Ashcan School (1900-fifteen)

John Sloan elevates the workers and regulars in <i>McSorley'southward Bar</i> (1912) with his straightforward and generous depiction.

The Ashcan School was a group of artists including John Sloan, George Luks, Everett Shinn, and William James Glackens, all students of Robert Henri, then located in Philadelphia. Drawing upon earlier masters, including Diego Velázquez, Francisco de Goya, and the later Realists like Édouard Manet, the group employed classical methods to create realistic and gritty scenes of modern, working-grade life, or what Henri called "fine art for life's sake." After the group relocated to New York City, a 2nd generation of artists followed, including George Bellows, whose Disappointments of the Ash Can (1915) gave the movement its name. In 1908, Edwin Lawson, Arthur B. Davies, and Maurice Prendergast joined the core grouping, known every bit The Eight, equally they formed their own exhibition in opposition to the and so ascendant organization of juried exhibitions by the National University of Design. Using gestural brushwork and a dark color palette, the artists' unidealized subjects aligned them with an innovative modern sensibility, which influenced the later Social Realism move and the artists Edward Hopper and Ben Shahn. Sloan and Henri as well taught and influenced many of the artists of the Fourteenth Street Schoolhouse.

Photography: Pictorialism, Straight Photography, and Beyond (1902-Present)

Modern Photography, emerging out of scientific explorations of phytology, archaeology, and movement, incorporated a host of artistic styles. Pictorialism was an international photographic movement that used darkroom manipulations, composite images, posed and staged scenes, and blurred and soft focus to emphasize individual expression. Beginning in U.k. in the 1840s, by the mid-1880s Pictorialism had become a flourishing movement. In 1902 in New York, Alfred Stieglitz and Edward Steichen advocated for the importance of photography and launched the journal Camera Piece of work in 1903 and The Little Galleries of the Photo-Secession in 1905.

The composition of Paul Strand's <i>Porch Shadows</i> (1916) uses light, shadow, and line to create an almost-abstract photograph.

Straight Photography, emphasizing the engineering of the photographic camera itself, rejected Pictorialism in favor of sharply focused images that were rich in detail. In 1907, Stieglitz in his photographs like The Steerage began to explore the "straight" image without prior posing of the subject or subsequent employ of darkroom manipulations. He influenced a number of leading photographers and ardently promoted the works of Paul Strand in a 1917 issue of Camera Work. Many of these works employed close-up shots with tight cropping to emphasize near abstract patterns and class, every bit seen in Strand's Porch Shadows (1916). Straight Photography became a dominant tendency that continues to the present day.

The emphasis upon abstract pattern and form influenced the development of Abstruse Photography, which began in 1916 with Alvin Langdon Coburn's Vortographs (1916). Stieglitz chosen him the "youngest star" of the Photo-Secession group, and Coburn began exploring abstract images as early as 1912. Both Paul Strand and Stieglitz were to explore well-nigh abstraction too.

Ansel Adam's <i>Tetons and the Snake River</i> (1942) captures Group f/64's pure photography aesthetic in one of his signature landscapes.

In 1931, Edward Weston, Imogen Cunningham, Ansel Adams, and Willard Van Dyke formed Group f/64 in San Francisco. The move emphasized what Van Dyke described as "pure photography...defined as possessing no qualities of technic, composition or thought, derivative of any other art-form" and fabricated its public debut in a 1932 exhibition at the M.H. de Immature Museum. Though many of the photographers had begun their careers as Pictorialists, they now firmly rejected that move's emphasis on fuzzy "artistic" effects, equanimous scenes, and darkroom manipulations. Their subject thing was frequently ordinary and often taken from nature, as Cunningham became known for her series of Magnolia blossoms, Weston for his images of a single green pepper, Adams for his images of Yosemite Park. Group f/64, and in detail Weston and Adams, also revitalized Abstract Photography, which re-emerged in the 1940s in the works of Minor White and Aaron Siskind.

Synchromism (1912-24)

Morgan Russell, <i>Catholic Synchromy</i> (1913-14) manipulated color and form to create compositions he likened to musical scores.

Synchromism emphasized abstruse paintings that primarily employed the color scale to create a visual "symphony," or musical effect. Morgan Russell and Stanton Macdonald-Wright, both immature Americans living in Paris, founded America's showtime avant-garde movement in 1912. They adopted the color theories of Ernest Percyval-Tudor, a Canadian living in Paris, who believed that twelve colors of the spectrum corresponded to the twelve steps of the musical scale, and Russell coined the proper noun for the movement by combining "symphony" with "chrome." Russell'south Synchromy in Light-green (1913) launched the movement at the 1913 Salon des Indépendants in Paris, where it influenced Lee Simonson, a modernist theater set up designer, and John Edward Thompson who later became known equally the "dean of Colorado art" for introducing modern art to the surface area.

Harlem Renaissance (1920 - early 1940s)

Meta Vaux Warrick's <i>Ethiopia</i> Awakening (1921) captured Alain Locke's idea of the

The term Harlem Renaissance defines a period when music, literature, theater, painting and sculpture flourished within the rich and vibrant culture of New York's Harlem neighborhood. The motility, known for various styles, celebrated the "New Negro," a concept advanced past writer Alain Locke that emphasized a new African American sense of dignity, founded in equal rights and connected to the rich cultural traditions of Africa and Egypt. Following the Keen Migration that began around 1910 when many African Americans left the southern states for the greater opportunity and freedom of the north, vibrant communities developed in Harlem as well every bit Chicago and Philadelphia. Meta Vaux Warrick'southward sculpture Federal democratic republic of ethiopia (1921) was an early pioneering influence, and international success of the earlier African American artists Mary Edmonia Lewis and Henry Ossawa Tanner became a defining model. Working in a multifariousness of styles, artists including Aaron Douglas, Augusta Savage, Archibald J. Motley Jr. and the lensman James Van Der Zee became leading figures of the new movement. Their work and education afterwards informed a subsequent generation that included Jacob Lawrence, Beauford Delaney, and William H. Johnson.

Fourteenth Street Schoolhouse (1920-40)

In the 1950s, the term Fourteenth Street School was developed to ascertain the works of Kenneth Hayes Miller, Isabel Bishop, and Reginald Marsh made in the 1920s and 1930s. Their subjects were taken from the New York neighborhood around Union Foursquare and Fourteenth Street. The surface area, known every bit the "poor man's fifth Avenue," was a ascent mercantile center, featuring retail department stores, whose sales, featuring the latest mode at cheap prices, drew thousands of eye-class shoppers. Miller, a leader of the motility, began painting portrayals of the women shoppers in the 1920s. Teaching at the Fine art Heart League, he influenced Bishop and March, too as Raphael Soyer and Edward Laning, who as well became later members of the group. Influenced past the Renaissance and Bizarre masters, the grouping's figurative treatments often lent a kind of classical dignity to the portrayals of matronly shoppers, part girls, and career girls, who were seen equally the embodiment of the "New Woman" and progressive prosperity. Due to realistic treatment of modernistic life, the motion is frequently included under Social Realism, though it shared little of that movement's attack upon the status quo or interest in political content.

American Regionalism (1928-43)

John Steuart Back-scratch's <i>Baptism in Kansas</i> (1928) is typical of Regionalism's depiction of rural life in the Midwest.

American Regionalism was not a deliberately formed movement but a way and arroyo that adult organically in the works of Thomas Hart Benton, John Steuart Back-scratch, and Grant Wood. The three emphasized realistic depictions of rural life and ordinary situations, and each of them was associated with a particular region: Back-scratch with Kansas, Benton with Missouri, and Wood with Iowa. They drew upon a number of divergent influences: Wood was influenced by the Northern Renaissance artist Hans Memling, Benton had been part of the Synchromist movement, and Curry utilized his prior experience in analogy, merely their work consistently rejected modern European art and brainchild, in favor of a figurative arroyo to subjects that reflected what they saw as a uniquely American spirit. Wood's American Gothic (1930), when awarded a bronze medal at an Art Institute of Chicago competition, publicly launched the movement, as the work received national attention in newspapers and magazines. Past the end of the 1930s, every bit Fascism threatened Europe, the motility's identification with a nationalist art came under disquisitional burn, though other artists, including the well-known illustrator Norman Rockwell and the artist Andrew Wyeth continued to portray realistic scenes of ordinary American life, often connected to particular regions.

Social Realism (1929 - late 1950s)

In <i>Structure of a Dam</i> (1939) William Gropper emphasizes the role of labor in dynamically building the modern era.

Social Realism developed organically among artists who emphasized realistic depictions of the lower and working class, often within an urban environment, in order to radically transform society. Focusing on the plight of workers, the artists associated with the move were influenced by the murals of José Clemente Orozco, the rise of labor rights organizations, and the phone call to worker's rights from leftist organizations similar the John Reed Society. The move initially drew upon the optimism post-obit the Mexican and Russian revolutions and was further shaped by the global low that began in 1929 as well as the rise of Fascism in the 1930s. Rejecting European avant-garde movements for their isolation from social issues, artists similar William Gropper, Hugo Gellert, Max Weber, and Moses and Raphael Soyer viewed art equally a weapon to fight the backer exploitation of the working class. The artists Ben Shahn, Philip Evergood, and Antonio Berni were also important members of the movement, as were Aaron Douglas and Jacob Lawrence, both also part of the Harlem Renaissance. In the 1930s, WPA-sponsored documentary photographers, including Dorothea Lange and Walker Evans, were loosely associated with the movement as they depicted the rural poor and the devastating bear on of the Groovy Low, besides every bit the Dust Bowl that ravaged the agricultural Midwest.

Abstract Expressionism, Color Field Painting, Mail-Painterly and Hard-Edge Abstraction (1943-65)

An early on pioneer of Abstract Expressionism, Clyfford Even so's works, every bit shown in <i>1957-D No. i</i> (1957), also informed the development of Color Field Painting

Abstract Expressionism began in the early on 1940s, centered in New York and led by Jackson Pollock, Clyfford Still, Willem de Kooning, Mark Rothko, and Adolph Gottlieb. As the leading Surrealists fled Europe during World War Two for New York, the Abstract Expressionists were influenced past Surrealism's emphasis on automatism, an art that tapped into the unconscious. While the artists had begun their careers painting representational images, they moved toward increasing abstraction. Peggy Guggenheim's Art of This Century Gallery exhibited and supported the emerging motility, and she commissioned Pollock's awe-inspiring and innovative Mural (1943). The critic Clement Greenberg played a leading function in advocating for the move, emphasizing purely visual and abstract furnishings of the paintings. American's starting time international art movement, Abstract Expressionism also finer established New York as the center of the modernistic art globe and led to a number of other developments, including Color Field Painting, Action Painting, Post-painterly abstraction, and hard-edge painting.

Color Field Painting, which began in the late 1940s, led by Clyfford Still, Marking Rothko and Barnett Newman, emphasized color every bit a powerfully expressive object. Still'south canvases deployed bold colors in jagged forms; Rothko turned toward diaphanous rectangles of color, and Newman created "zippo" paintings, where vertical strips of colour intersected big horizontal fields of color. Greenberg championed Color Field Painting, with its emphasis on flatness and non-illusionistic space, as the way forward for advanced painting.

In 1952, influential fine art critic Harold Rosenberg in his essay "The American Activity Painters" focused on the act of the creative person in deciding to paint, thus coining the term Activeness Painting in favor of Abstract Expressionism. Franz Kline, Willem de Kooning, and Jackson Pollock were associated with the term, every bit Rosenberg saw their works every bit emphasizing the issue and process of painting itself. The spontaneous movements of the artist, random drips and splashes, and energetic gestures, resulted in a work that conveyed the action of the work'southward making.

In 1964, Greenberg curated the exhibition Mail service-Painterly Abstraction for the Los Angeles County Museum of Fine art. The bear witness included work by 31 artists, including Morris Louis and Helen Frankenthaler, as well every bit the West Coast artists Sam Francis and John Ferren. Ellsworth Kelly, Howard Mehring, Jules Olitski, and Kenneth Noland were also included. Greenberg wrote that these artists "have a tendency...to stress contrasts of pure hue rather than contrasts of light and night...In their reaction against the 'handwriting' and the 'gestures' of Painterly Abstraction, these artists besides favor a relatively anonymous execution." The Washington Colour School, led by Noland and included Factor Davis, Morris Louis, and Thomas Downing among others, emphasized abstract fine art where color was emphasized to create form.

Drawing from the Color Field Painters, hard-edge painting was a term that defined a tendency toward economic forms, impersonal execution, and clean lines. In the 1950s, Californian fine art critic Jules Langsner described the trend that used "forms [that] are finite, flat, rimmed by a hard, clean edge...They are autonomous shapes, sufficient unto themselves every bit shapes." In the 1960s the trend was also associated with Al Held, Ellsworth Kelly, Morris Louis, Frank Stella, Miriam Schapiro, and Kenneth Noland.

Effectually 1950 in the Bay Expanse of San Francisco, David Park, Richard Diebenkorn, and Elmer Bischoff rejected pure brainchild in favor of figurative subjects. The Bay Surface area Painters also included Manuel Neri, Nathan Oliveira, and Joan Brown. Many of the artists had begun their careers equally Abstract Expressionists and retained elements of that movement in their landscapes and portraits, while at the aforementioned time jubilant local culture and landscape.

Also, by the mid-1950s a number of Second Generation of Abstract Expressionists, including Jack Beal, Jane Freilicher, and Nell Blaine, rejected the motility and turned toward figurative art. Including Fairfield Porter, Alex Katz, and Lois Dodd, the loose clan of New York artists spearheaded a new accent on realism that became known as Contemporary Realism.

Neo-Dada (1952-lxx)

Robert Rauschenberg combined found objects and images from newspapers and magazines to create <i>Monogram</i> (1955-59)

Beginning in 1952, Neo-Dada developed, every bit Jasper Johns, Allan Kaprow, and Robert Rauschenberg, began to employ "readymades," mass media, and performances. The artists rejected the existentialist heroics continued with Abstruse Expressionism in favor of mundane subjects and blurred the traditional boundaries between media. Influenced by Marcel Duchamp and Dada, the movement had its start at Black Mountain Higher in North Carolina in 1952 and included Rauschenberg, the choreographer Merce Cunningham, and the composer John Cage. Cage's Theatre Piece No. 1 (1952) exemplified the grouping'due south emphasis on audition interaction, multiple media, and the role of take a chance.

Allan Kaprow created "environments," using sculptural collages to create installation pieces and later, after taking Cage'southward class, added aural components. He developed the term "happenings" to describe the quasi-theatrical events where, influenced by Futurism'due south concept of the outcome as overwhelming all boundaries and Dada'due south emphasis on the role of chance, the boundary betwixt event and audience was broken.

Many Fluxus artists, including George Brecht, Robert Whitman, and Robert Watts, were interested in Neo-Dada and happenings. Fluxus, described as an "anti-art" motility, had utopian goals of wanting to alter one's relation to art and to underscore the artfulness of everyday objects and deportment. Leading members of the group Dick Higgins, Jackson Mac Low, and Al Hans met in Cage's 1959 class at the New School. Fluxus artists often used humour to undercut and dismiss high art. George Maciunas, the founder of Fluxus, described Fluxus equally "a fusion of Spike Jones, gags, games, Vaudeville, Muzzle, and Duchamp." Fluxus was an international movement that besides included Yoko Ono, Nam June Paik, and Joseph Beuys. Paik pioneered the development of Video Fine art, when he presented his video footage of the Pope's visit to New York as a serious artwork in 1965.

Pop Art and Photorealism (mid 1950s-1970s)

Pop Art was an international movement that had begun in Britain in 1952, led past the Independent Group, including Richard Hamilton, Eduardo Paolozzi, and the architects Alison and Peter Smithson, just the American version became the trendsetting and ascendant form. Led by Andy Warhol, Roy Lichtenstein, Claes Oldenburg, and James Rosenquist, the artists used images taken from mass media and popular culture to challenge the distinction betwixt "loftier" and "low" art and to critique and gloat consumer culture. Warhol, Rosenquist, and Ed Ruscha were influenced past their early work as graphic designers and illustrators.

Photorealism, also called Hyperrealism, painted photographic images projected onto a large canvas, oft with an airbrush, to resemble a finished photo. Richard Estes, Chuck Close, Robert Bechtle, Ralph Goings, and Audrey Flack drew upon unlike influences, including Pop Art and Minimalism, and employed a diversity of techniques, as they worked independently of 1 another. They oft depicted objects from consumer civilisation, as in Ralph Goings' McDonalds Pickup (1970) or Richard Estes's Supreme Hardware Store (1970).

Minimalism and Post-Minimalism (1960 - Present)

Tony Smith's <i>Gratis Ride</i> (1962) is fabricated from steel to create a minimal composition.

In New York in the early 1960s, Minimalist artists such as Donald Judd, Carl Andre, Sol LeWitt, and Robert Morris created works from industrial materials while employing a cool and anonymous approach. Influenced past Russian Constructivism, Minimalists emphasized the materiality of the medium every bit perceived by the viewer and preferred industrial materials and fabrication. Rejecting Greenberg's formalist conception of painting, they emphasized an approach that, using a minimum of shape, color, and other elements, was also chosen "Systemic Painting," or "Reductive Art." Frank Stella, Tony Smith, Richard Serra, Ronald Bladen, and Dan Flavin were associated with the motion that quickly became dominant in America and internationally, while informing other developments, including Postal service-Minimalism and the Low-cal and Space movement.

Post-Minimalism included a number of trends, including Process Art, Performance and Torso Fine art, Site-Specific Art, and some aspects of Conceptual Art. Art critic Lucy Lippard curated Eccentric Abstraction in 1968, an exhibition that included work by Louise Conservative, Eva Hesse, and Bruce Nauman, whose pieces were made of soft or pliable materials. Some artists associated with Mail service-Minimalism extended the Minimalist interest in anonymous and abstract objects into other areas, while others reacted against Minimalism's cool bearding approach in favor of emotional expression. Lynda Benglis, Eva Hesse, and Louise Bourgeois used resins and latex, while Nancy Graves used materials to simulate beast hides, and the resulting works created an organic expressive event. Sol LeWitt, Richard Serra, and Vito Acconci were also included amongst the Post-Minimalists.

Based in California and influenced by Minimalism, Robert Irwin began creating large installations using light sources in 1969 and pioneered what became known as the Light and Infinite movement. Larry Bell, James Turrell, John McCracken and Helen Pashgian were all associated with the movement that used industrial materials, including neon and argon lights, cast acrylic, and polyester resins to create perceptual experiences. Drawing upon new scientific research and technologies, they created works that emphasized the interaction of light and space.

Earth Fine art and Environmental Art (1960s - Present)

<i>Sun Tunnels</i> (1973-76) by Earth artist Nancy Holt installed in Great Basin Desert, Utah

Also called Country Art or Digging, Earth Art was an outgrowth of Minimalism, as the earth itself became both the material object and the site specific to fine art, and artists used the site'due south bachelor natural materials, such equally mud, earth, and stone, to design big-calibration projects that were keyed to the site's significance. Often including some chemical element of functioning, World Art shared certain trends with Mail-Minimalism, including Performance Fine art, process art, and Installation Fine art. The 1969 World Art exhibition at Cornell University, which including the works of Robert Smithson, Walter de Maria, Michael Heizer, Robert Morris, Dennis Oppenheim, and Hans Haacke, launched the movement. The artists, like Smithson, were often inspired by aboriginal sites, including Stonehenge or the Native American Serpent Mound, and saw their works every bit subject field to irresolute conditions and entropy, the devolution of a organisation over fourth dimension. Nancy Holt, Richard Long, Agnes Denes, and Andy Goldsworthy were as well leading Earth Work artists.

The motility influenced the development of Environmental Art, as well known as ecological fine art. Emphasizing a non-invasive arroyo, Environmental artists saw themselves every bit collaborating with the environment and exploring man interaction with natural environments. Betty Beaumont, Andy Goldsworthy, Agnes Denes, Meg Webster, Olafur Eliasson, herman de vries, Nils Udo, and Chris Jordan are the leading artists of the movement. They employed a variety of approaches; Beaumont transformed power found waste into an underwater reef in her Ocean Landmark (1978-fourscore), while Goldsworthy, over a catamenia of four years, working, every bit he said, "in collaboration with nature," arranged pieces of limestone from fields where he worked as a gardener to create his Pinfold Cones (1981-85).

The Multinational Flavors of Postmodernism (1960s - Present)

Sculpture <i>Another Twister (João)</i> by American sculptor Alice Aycock, installed in front the entrance of Sprengel Museum Hannover, Germany.

In the 1960s, a exciting atmosphere of experimentation reigned, leading to the development of Conceptual Art, Feminist Art, Body Art, and Performance Art. Though these fine art movements were international, American artists played a significant role in their development, and their subsequent expansion into a number of trends.

Influenced past Minimalism'south reductive simplicity, Conceptual fine art emphasized that the concept of a work was more than important than its form or even completion. Sol LeWitt's "Paragraphs on Conceptual Art" (1967) became the de facto manifesto of the movement; he wrote that the artwork "no matter what form it may finally have it must begin with an idea." Walter de Maria, Ed Ruscha, Marina Abramović, Dan Graham, and the High german artist Joseph Beuys were only a few of the leading artists who became part of the motility. In the temper of experimentation, new trends developed, including Institutional Critique, led by an international array of artists, including Hans Haacke, Michael Asher, Daniel Buren, and Marcel Broodthaers, and The Pictures Generation, including Sherrie Levine, Cindy Sherman, Robert Longo, Barbara Kruger, and Richard Prince. A number of Conceptual artists created installation pieces, as Installation Art became a main tendency, employed in a number of movements. Additionally conceptual practices informed Neo-Geo, or Neo-Geometric Conceptualism, a term that divers the works of Peter Halley, Ashley Bickerton, Jeff Koons, and Meyer Vaisman following their 1986 exhibition in New York. Using appropriative strategies, the group used geometric course to ironically distance itself from abstract painting, while also using previous works as readymades that could be appropriated.

Judy Chicago's <i>The Dinner Party</i> (1974-79) combines installation, craft, and feminist ideas to create an arresting and controversial work.

Out of the Civil Rights movement, the emerging Gay Pride movement, and anti-war fervor, Feminist Art adult in the tardily 1960s. Women's fine art organizations similar the Art Worker's Coalition and Women Artists in Revolution were formed to address gender inequity and other feminist issues inside the art community. Judy Chicago and Miriam Schapiro founded the California Establish of the Art'southward Feminist Art Project and Womanhouse, a projection where women artists could collaborate and create major installations. Mary Beth Edelson, Lynda Benglis, Martha Rosler, Carolee Schneemann, Suzanne Lacy, Leslie Labowitz, Bia Lowe, Barbara Kruger, and the Guerilla Girls were leading feminist artists, as the motility explored diverse approaches, and the artists involved became associated with several movements simultaneously. Judy Chicago became famous for her Dinner Party (1974-79), an iconic example of both Feminist Fine art and Installation Fine art, while Carolee Schneemann's performances were pioneering in the Feminist, Trunk Art, and Functioning movements. Feminist Art actively supported and inspired the development of Queer Fine art, focused on queer identity and continued to the Gay Pride motility and the AIDS crisis, and ushered in an era of Identity Art and Identity Politics that focused on the experience of marginalized groups and the inequities they faced.

In the 1960s, Performance art emphasized live events where the artist, sometimes with collaborators or performers, erased all boundaries between the artist and the artwork. The international move drew upon a number of early on avant-garde trends, including Dada, Futurism, and Surrealism, but was more recently sourced in the 1950s works of John Cage, Fluxus artists, and Allan Kaprow's happenings. Staging what were sometimes called "deportment," operation artists often confronted the audience. The movement was closely linked to the development of Body Art, as American artists, including Chris Brunt, Carolee Schneemann, and Hannah Wilke, employed their own trunk equally the medium.

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Source: https://www.theartstory.org/definition/american-art/history-and-concepts/