Post-Impressionism

Predominantly French art movement, 1886–1905

Post-Impressionism

From top to bottom:
Henri Rousseau, The Centenary of Independence, 1892, Getty Center, Los Angeles
Paul Cézanne, Les Joueurs de cartes, Metropolitan Museum of Art, New York

Additional media
Years active| 1886 - 1905
Location| France
Major figures| Émile Bernard, Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri Rousseau, Georges Seurat
Influences| Impressionism
Influenced| Fauvism,Expressionism

Post-Impressionism (also spelled Postimpressionism) was 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. Its broad emphasis on abstract qualities or symbolic content means Post-Impressionism encompasses Les Nabis, Neo-Impressionism, Symbolism, Cloisonnism, the Pont-Aven School, and Synthetism, along with some later Impressionists' work. The movement's principal artists were Paul Cézanne (known as the father of Post-Impressionism), Paul Gauguin, Vincent van Gogh and Georges Seurat.[1]

The term Post-Impressionism was first used by art critic Roger Fry in 1906.[2][3] Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a "post-impressionist leader"; there was also an advert for the show The Post-Impressionists of France.[4] Three weeks later, Roger Fry used the term again when he organised the 1910 exhibition Manet and the Post-Impressionists, defining it as the development of French art since Édouard Manet.

Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, sometimes using impasto (thick application of paint) and painting from life, but were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or modified colour.

## Overview

[edit]

The Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with pointillism, the systematic use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums".[5] He achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s. Discontented with what he referred to as romantic Impressionism, he investigated pointillism, which he called scientific Impressionism, before returning to a purer Impressionism in the last decade of his life.[6] Vincent van Gogh often used vibrant colour and conspicuous brushstrokes to convey his feelings and his state of mind.

Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement. Yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a meticulously scientific approach to colour and composition.[7]

## Defining Post-Impressionism

[edit]

Poster of the 1889 Exhibition of Paintings by the Impressionist and Synthetist Group, at Café des Arts, known as The Volpini Exhibition, 1889 Henri de Toulouse-Lautrec, Portrait of Émile Bernard, 1886, Tate Gallery London

The term was used in 1906,[2][3] and again in 1910 by Roger Fry in the title of an exhibition of modern French painters: Manet and the Post-Impressionists, organized by Fry for the Grafton Galleries in London.[7][8] Three weeks before Fry's show, art critic Frank Rutter had put the term Post-Impressionist in print in Art News of 15 October 1910, during a review of the Salon d'Automne, where he described Othon Friesz as a "post-impressionist leader"; there was also an advert in the journal for the show The Post-Impressionists of France.[4]

Most of the artists in Fry's exhibition were younger than the Impressionists. Fry later explained: "For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement."[9] John Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism: From Van Gogh to Gauguin (1956). Rewald considered this a continuation of his 1946 study, History of Impressionism, and pointed out that a "subsequent volume dedicated to the second half of the post-impressionist period":[10] Post-Impressionism: From Gauguin to Matisse, was to follow. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th and early 20th centuries. Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. He explored their relationships as well as the artistic circles they frequented (or were in opposition to), including:

* Neo-Impressionism: ridiculed by contemporary art critics as well as artists as Pointillism; Seurat and Signac would have preferred other terms: Divisionism for example
* Cloisonnism: a short-lived term introduced in 1888 by the art critic Édouard Dujardin, was to promote the work of Louis Anquetin, and was later also applied to contemporary works of his friend Émile Bernard
* Synthetism: another short-lived term coined in 1889 to distinguish recent works of Gauguin and Bernard from that of more traditional Impressionists exhibiting with them at the Café Volpini.
* Pont-Aven School: implying little more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany.
* Symbolism: a term highly welcomed by vanguard critics in 1891, when Gauguin dropped Synthetism as soon as he was acclaimed to be the leader of Symbolism in painting.

Furthermore, in his introduction to Post-Impressionism, Rewald opted for a second volume featuring Toulouse-Lautrec, Henri Rousseau "le Douanier", Les Nabis and Cézanne as well as the Fauves, the young Picasso and Gauguin's last trip to the South Seas; it was to expand the period covered at least into the first decade of the 20th century—yet this second volume remained unfinished.

Camille Pissarro, Haying at Eragny, 1889, Private Collection

### Reviews and adjustments

[edit]

Rewald wrote that "the term 'Post-Impressionism' is not a very precise one, though a very convenient one"; convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886. Rewald's approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to "let the sources speak for themselves."[10]

Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, and they expanded to other countries.

* Modernism, thus, is now considered to be the central movement within international western civilization with its original roots in France, going back beyond the French Revolution to the Age of Enlightenment.
* Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach. Local national traditions as well as individual settings therefore could stand side by side, and from the very beginning a broad variety of artists practicing some kind of symbolic imagery, ranged between extreme positions: The Nabis for example united to find synthesis of tradition and brand new form, while others kept to traditional, more or less academic forms, when they were looking for fresh contents: Symbolism is therefore often linked to fantastic, esoteric, erotic and other non-realist subject matter.

To meet the recent discussion, the connotations of the term 'Post-Impressionism' were challenged again: Alan Bowness and his collaborators expanded the period covered forward to 1914 and the beginning of World War I, but limited their approach widely on the 1890s to France. Other European countries are pushed back to standard connotations, and Eastern Europe is completely excluded.

In Germany, it was Paul Baum and Carl Schmitz-Pleis who, in retrospect, provided the decisive impetus.[11]

So, while a split may be seen between classical 'Impressionism' and 'Post-Impressionism' in 1886, the end and the extent of 'Post-Impressionism' remains under discussion. For Bowness and his contributors as well as for Rewald, 'Cubism' was an absolutely fresh start, and so Cubism has been seen in France since the beginning, and later in England. Meanwhile, Eastern European artists, however, did not care so much for western traditions, and proceeded to manners of painting called abstract and suprematic—terms expanding far into the 20th century.

According to the present state of discussion, Post-Impressionism is a term best used within Rewald's definition in a strictly historical manner, concentrating on French art between 1886 and 1914, and re-considering the altered positions of impressionist painters like Claude Monet, Camille Pissarro, Auguste Renoir, and others—as well as all new schools and movements at the turn of the century: from Cloisonnism to Cubism. The declarations of war, in July/August 1914, indicate probably far more than the beginning of a World War—they signal a major break in European cultural history, too.

Along with general art history information given about "Post-Impressionism" works, there are many museums that offer additional history, information and gallery works, both online and in house, that can help viewers understand a deeper meaning of "Post-Impressionism" in terms of fine art and traditional art applications.

## Post-Impression in specific countries

[edit]

The Advent of Modernism: Post-impressionism and North American Art, 1900-1918 by Peter Morrin, Judith Zilczer, and William C. Agee, the catalogue for an exhibition at the High Museum of Art, Atlanta in 1986, gave a major overview of Post-Impressionism in North America.

### Canada

[edit]

Canadian Post-Impressionism is an offshoot of Post-Impressionism.[12] In 1913, the Art Association of Montreal's Spring show included the work of Randolph Hewton, A. Y. Jackson and John Lyman: it was reviewed with sharp criticism by the Montreal Daily Witness and the Montreal Daily Star.[13] Post-Impressionism was extended to include a painting by Lyman, who had studied with Matisse.[14][15] Lyman wrote in defence of the term and defined it. He referred to the British show which he described as a great exhibition of modern art.[16]

#### Canadian artists and exhibitions

[edit]

A wide and diverse variety of artists are called by this name in Canada. Among them are James Wilson Morrice,[17] John Lyman,[18] David Milne,[19] and Tom Thomson,[20] members of the Group of Seven,[21] and Emily Carr.[22] In 2001, the Robert McLaughlin Gallery in Oshawa organized the travelling exhibition The Birth of the Modern: Post-Impressionism in Canada, 1900-1920.

## Gallery of major Post-Impressionist artists

[edit]

* Odilon Redon (1840–1916)

* Henri Rousseau (1844–1910)

* Paul Gauguin (1848–1903)

* Vincent van Gogh (1853–1890)

* Charles Angrand (1854–1926)

* Henri-Edmond Cross (1856–1910)

* Maximilien Luce (1858–1941)

* Georges Seurat (1859–1891)

* Eugène Chigot (1860-1923)

* René Schützenberger (1860–1916)

* Marius Borgeaud (1861–1924)

* Charles Laval (1862–1894)

* Théo van Rysselberghe (1862–1926)

* Paul Signac (1863–1935)

* Henri de Toulouse-Lautrec (1864–1901)

* Paul Sérusier (1864–1927)

* Robert Deborne (1870–1944)

* Paul Ranson (1864–1909)

* Georges Lemmen (1865–1916)

* Félix Vallotton (1865–1925)

* Pierre Bonnard (1867–1947)

* Édouard Vuillard (1868–1940)

* Émile Bernard (1868–1941)

* Maurice Denis (1870–1943)

* Carl-Schmitz-Pleis (1877– 1943)

* Robert Antoine Pinchon (1886–1943)

## See also

[edit]

* Periods in Western art history
* Cubism
* Kapists
* Neo-impressionism
* Expressionism
* Fauvism
* History of painting
* Western painting

## References and sources

[edit]

### References

[edit]

1. ^ Metropolitan Museum of Art Timeline, Post-Impressionism
2. ^ a b Brettell, Richard R.; Brettell, Richard (March 31, 1999). Modern Art, 1851-1929: Capitalism and Representation. Oxford University Press. ISBN 9780192842206 - via Google Books.
3. ^ a b Peter Morrin, Judith Zilczer, William C. Agee, The Advent of Modernism. Post-Impressionism and North American Art, 1900-1918, High Museum of Art, 1986
4. ^ a b Bullen, J. B. Post-impressionists in England, p.37. Routledge, 1988. ISBN 0-415-00216-8, ISBN 978-0-415-00216-5
5. ^ Huyghe, Rene: Impressionism. (1973). Secaucus, N.J.: Chartwell Books Inc., p. 222. OCLC 153804642
6. ^ Cogniat, Raymond (1975). Pissarro. New York: Crown, pp. 69–72. ISBN 0-517-52477-5.
7. ^ a b "The Collection | MoMA". The Museum of Modern Art.
8. ^ Grafton Galleries, London (March 31, 1910). "Manet and the post-impressionists; Nov. 8th to Jan. 15th, 1910-11... (under revision)". London : Ballantyne - via Internet Archive.
9. ^ Gowing, Lawrence (2005). Facts on File Encyclopedia of Art: 5. New York: Facts on File, p. 804. ISBN 0-8160-5802-4
10. ^ a b Rewald, John: Post-Impressionism: From Van Gogh to Gauguin, revised edition: Secker & Warburg, London, 1978, p. 9.
11. ^ Christie's Review of the Season. 1986, p. 11.
12. ^ Murray, Joan (2001). The Birth of the Modern: Post-Impressionism in Canadian Art. Oshawa: Robert McLaughlin Gallery. p. 16. Retrieved 25 July 2022.
13. ^ Murray 2001, pp. 15–16.
14. ^ Lyman, John. "Adieux, Matisse". Canadian Art. 12 (2 (Winter 1955)): 44–46. Retrieved 2021-01-29.
15. ^ Murray 2001, pp. 143–144.
16. ^ Murray 2001, p. 16.
17. ^ Murray 2001, p. 117ff.
18. ^ Murray 2001, pp. 83–84, 143–144.
19. ^ Murray 2001, p. 111ff.
20. ^ Murray 2001, p. 133ff.
21. ^ Murray 2001, pp. 61ff, 78ff, 81ff etc..
22. ^ Murray 2001, p. 50ff.

### Sources

[edit]

* Bowness, Alan, et alt.: Post-Impressionism. Cross-Currents in European Painting, Royal Academy of Arts & Weidenfeld and Nicolson, London 1979 ISBN 0-297-77713-0

## Further reading

[edit]

* Manet and the Post-Impressionists (exh. cat. by R. Fry and D. MacCarthy, London, Grafton Gals, 1910–11)
* The Second Post-Impressionist Exhibition (exh. cat. by R. Fry, London, Grafton Gals, 1912)
* J. Rewald. Post-Impressionism: From Van Gogh to Gauguin (New York, 1956, rev. 3/1978)
* F. Elgar. The Post-Impressionists (Oxford, 1977)
* Post-Impressionism: Cross-currents in European Painting (exh. cat., ed. J. House and M. A. Stevens; London, RA, 1979–80)
* B. Thomson. The Post-Impressionists (Oxford and New York, 1983, rev. 2/1990)
* J. Rewald. Studies in Post-Impressionism (London, 1986)
* Beyond Impressionism, exhibit at Columbus Museum of Art, October 21, 2017 – January 21, 2018 Beyond Impressionism Exhibition at Columbus Museum of Art

## External links

[edit]

Wikimedia Commons has media related to Post-Impressionism.

* "Post-Impressionists", Walter Sickert's review in The Fortnightly Review of the "Manet and the Post-Impressionists" exhibition at the Grafton Galleries
* "Post-Impressionism", Roger Fry's lecture on the closing of the "Manet and the Post-Impressionists" exhibition at the Grafton Galleries, as published in The Fortnightly Review
* Georges Seurat, 1859–1891, a full text exhibition catalog from The Metropolitan Museum of Art
* Toulouse-Lautrec in the Metropolitan Museum of Art, a full text exhibition catalog from The Metropolitan Museum of Art
* "Roger Fry, Walter Sickert and Post-Impressionism at the Grafton Galleries", a reflection by Marnin Young on the 1910–1911 exhibition

* v
* t
* e

Post-Impressionism

19th-century
movements|

* Neo-Impressionism
* Divisionism
* Pointillism
* Cloisonnism
* Les Nabis
* Synthetism
* Symbolism
* Art Nouveau

Artists|

* Cuno Amiet
* Charles Angrand
* Émile Bernard
* Edvard Munch
* Pierre Bonnard
* Marius Borgeaud
* Paul Cézanne
* Henri-Edmond Cross
* Maurice Denis
* Georges Dufrénoy
* Paul Gauguin
* Hippolyte Petitjean
* Paul Ranson
* Odilon Redon
* Henri Rousseau
* René Schützenberger
* Paul Sérusier
* Georges Seurat
* Paul Signac
* Henri de Toulouse-Lautrec
* Charles Laval
* Georges Lemmen
* Maximilien Luce
* Vincent van Gogh
* Théo van Rysselberghe
* Félix Vallotton
* Édouard Vuillard

20th-century
movements|

* Fauvism
* Die Brücke
* Der Blaue Reiter
* Expressionism
* Cubism

Artists|

* Georges Braque
* Charles Camoin
* André Derain
* Raoul Dufy
* Henri Matisse
* Albert Gleizes
* Ernst Ludwig Kirchner
* Karl Schmidt-Rottluff
* Wassily Kandinsky
* Sonia Lewitska
* Franz Marc
* Jean Metzinger
* Henry Ottmann
* Francis Picabia
* Pablo Picasso
* Robert Antoine Pinchon
* Henriette Tirman
* Jean Marchand
* Othon Friesz

Exhibitions|

* Artistes Indépendants
* Les XX
* Volpini Exhibition
* Le Barc de Boutteville
* La Libre Esthétique
* Ambroise Vollard
* Salon d'Automne
* Salon des Indépendants
* Salon des Cent
* Salon des Tuileries

Critics|

* Félix Fénéon
* Albert Aurier

Related|

* Impressionism
* Modernism
* Modern art
* Secessionism

* v
* t
* e

Impressionism

Originators|

* Frédéric Bazille
* Eugène Boudin
* Gustave Caillebotte
* Mary Cassatt
* Paul Cézanne
* Edgar Degas
* Armand Guillaumin
* Johan Jongkind
* Édouard Manet
* Claude Monet
* Berthe Morisot
* Camille Pissarro
* Pierre-Auguste Renoir
* Alfred Sisley

Patrons|

* Gustave Caillebotte
* Victor Chocquet
* Henry O. Havemeyer
* Ernest Hoschedé

Dealers|

* Paul Durand-Ruel
* Georges Petit
* Ambroise Vollard

Exhibitions|

* First Impressionist Exhibition

American
artists|

* William Merritt Chase
* Frederick Carl Frieseke
* Childe Hassam
* Alphonse Maureau
* Willard Metcalf
* Lilla Cabot Perry
* Theodore Robinson
* Walter Elmer Schofield
* John Henry Twachtman
* Robert Vonnoh
* J. Alden Weir

Australian
artists|

* Charles Conder
* E. Phillips Fox
* Elioth Gruner
* Frederick McCubbin
* Tom Roberts
* John Russell
* Arthur Streeton
* Walter Withers

Canadian
artists|

* Henri Beau
* William Blair Bruce
* William Brymner
* Marc-Aurèle de Foy Suzor-Coté
* Maurice Cullen
* Helen Galloway McNicoll
* James Wilson Morrice
* Laura Muntz Lyall
* Robert Wakeham Pilot

Other
artists|

* Eugène Baudouin
* Olga Boznańska
* Marie Bracquemond
* Giovanni Battista Ciolina
* Lovis Corinth
* Eva Gonzalès
* Antoine Guillemet
* Nazmi Ziya Güran
* Dominique Lang
* Max Liebermann
* Konstantin Korovin
* Martín Malharro
* Henry Moret
* Francisco Oller
* Nadežda Petrović
* Władysław Podkowiński
* Valentin Serov
* Max Slevogt
* Joaquín Sorolla
* Philip Wilson Steer
* Eliseu Visconti

Other media|

* Music
* Literature
* French impressionist cinema

See also|

* Amsterdam Impressionism
* Boston School
* California Impressionism
* Decorative Impressionism
* Neo-Impressionism
* Pennsylvania Impressionism
* Post-Impressionism
* Synthetic impressionism
* The Ten

Related|

* Wilfrid de Glehn
* The Impressionists (2006 TV series)
* Louis Leroy
* Nadar
* Pays des Impressionnistes

* v
* t
* e

Nabis

Painters|

* Pierre Bonnard
* Maurice Denis
* Maxime Dethomas
* Meijer de Haan
* Hermann-Paul
* Henri-Gabriel Ibels
* Georges Lacombe
* Aristide Maillol
* Paul Ranson
* Ker-Xavier Roussel
* Paul Sérusier
* Félix Vallotton
* Jan Verkade
* Édouard Vuillard

Paintings|

* The Talisman (1888)
* The Seamstress (1893)
* Toulouse-Lautrec Cooking (1898)
* Homage to Cézanne (1900)

Related|

* L'Estampe originale
* Intimism
* Lugné-Poe
* Post-Impressionism

* v
* t
* e

Premodern, Modern and Contemporary art movements

List of art movements/periods

Premodern
(Western)|

| Ancient|

* Thracian
* Dacian
* Nuragic
* Aegean
* Cycladic
* Minoan
* Minyan ware
* Mycenaean
* Greek
* Sub-Mycenaean
* Protogeometric
* Geometric
* Orientalizing
* Archaic
* Black-figure
* Red-figure
* Severe style
* Classical
* Kerch style
* Hellenistic
* "Baroque"
* Indo-Greek
* Greco-Buddhist
* Neo-Attic
* Etruscan
* Scythian
* Iberian
* Gaulish
* Roman
* Republican
* Gallo-Roman
* Julio-Claudian
* Pompeian Styles
* Trajanic
* Severan

|

Medieval|

* Late antique
* Early Christian
* Coptic
* Ethiopian
* Migration Period
* Anglo-Saxon
* Hunnic
* Insular
* Lombard
* Visigothic
* Donor portrait
* Pictish
* Mozarabic
* Repoblación
* Viking
* Byzantine
* Iconoclast
* Macedonian
* Palaeologan
* Italo-Byzantine
* Frankish
* Merovingian
* Carolingian
* Pre-Romanesque
* Ottonian
* Romanesque
* Mosan
* Spanish
* Norman
* Norman-Sicilian
* Opus Anglicanum
* Gothic
* Gothic art in Milan
* International Gothic
* International Gothic art in Italy
* Lucchese school
* Crusades
* Moscow school
* Novgorod school
* Vladimir-Suzdal school
* Duecento
* Sienese school
* Mudéjar
* Medieval cartography
* Italian school
* Majorcan school
* Mappa mundi

Renaissance|

* Italian Renaissance
* Trecento
* Proto-Renaissance
* Florentine school
* Pittura infamante
* Quattrocento
* Ferrarese school
* Forlivese school
* Venetian school
* Cinquecento
* High Renaissance
* Bolognese school
* Mannerism
* Counter-Maniera
* Northern Renaissance
* Early Netherlandish
* World landscape
* Ghent–Bruges school
* Northern Mannerism
* German Renaissance
* Cologne school
* Danube school
* Dutch and Flemish Renaissance
* Antwerp Mannerism
* Romanism
* Still life
* English Renaissance
* Tudor court
* Cretan school
* Turquerie
* Fontainebleau school
* Art of the late 16th century in Milan

17th century|

* Baroque
* Baroque in Milan
* Flemish Baroque
* Caravaggisti
* in Utrecht
* Tenebrism
* Louis XIII style
* Lutheran Baroque
* Stroganov school
* Animal painting
* Guild of Romanists
* Dutch Golden Age
* Delft school
* Capriccio
* Heptanese school
* Classicism
* Louis XIV style
* Poussinists and Rubenists

18th century|

* Rococo
* Rocaille
* Louis XV style
* Frederician
* Chinoiserie
* Fête galante
* Neoclassicism
* Goût grec
* Louis XVI style
* Adam style
* Directoire style
* Neoclassical architecture in Milan
* Picturesque

Colonial art|

* Art of the African diaspora
* African-American
* Caribbean
* Haitian
* Colonial Asian art
* Arts in the Philippines
* Letras y figuras
* Tipos del País
* Colonial Asian Baroque
* Company style
* Latin American art
* Casta painting
* Indochristian art
* Chilote school
* Cuzco school
* Quito school
* Latin American Baroque

Art borrowing
Western elements|

* Islamic
* Moorish
* Manichaean
* Mughal
* Qajar
* Qing handicrafts
* Western influence in Japan
* Akita ranga
* Uki-e

Transition
to modern
(c. 1770 – 1862)|

* Romanticism
* Fairy painting
* Danish Golden Age
* Troubadour style
* Nazarene movement
* Purismo
* Shoreham Ancients
* Düsseldorf school
* Pre-Raphaelites
* Hudson River School
* American luminism
* Orientalism
* Norwich school
* Empire style
* Historicism
* Revivalism
* Biedermeier
* Realism
* Barbizon school
* Costumbrismo
* Verismo
* Macchiaioli
* Academic art
* Munich school
* in Greece
* Neo-Grec
* Etching revival

Modern
(1863–1944)|

| 1863–1899|

* Neo-romanticism
* National romanticism
* Yōga
* Nihonga
* Japonisme
* Anglo-Japanese style
* Beuron school
* Hague school
* Peredvizhniki
* Impressionism
* American
* Hoosier Group
* Boston school
* Amsterdam
* Canadian
* Heidelberg school
* Aestheticism
* Arts and Crafts
* Art pottery
* Tonalism
* Decadent movement
* Symbolism
* Romanian
* Russian
* Volcano school
* Incoherents
* Post-Impressionism
* Neo-Impressionism
* Luminism
* Divisionism
* Pointillism
* Pont-Aven School
* Cloisonnism
* Synthetism
* Les Nabis
* American Barbizon school
* California tonalism
* Costumbrismo

|

1900–1914|

* Art Nouveau
* Art Nouveau in Milan
* Primitivism
* California Impressionism
* Secessionism
* School of Paris
* Munich Secession
* Vienna Secession
* Berlin Secession
* Sonderbund
* Pennsylvania Impressionism
* Mir iskusstva
* Ten American Painters
* Fauvism
* Expressionism
* Die Brücke
* Der Blaue Reiter
* Noucentisme
* Deutscher Werkbund
* American Realism
* Ashcan school
* Cubism
* Proto-Cubism
* Orphism
* A Nyolcak
* Neue Künstlervereinigung München
* Futurism
* Cubo-Futurism
* Art Deco
* Metaphysical
* Rayonism
* Productivism
* Synchromism
* Vorticism

1915–1944|

* Sosaku-hanga
* Suprematism
* School of Paris
* Crystal Cubism
* Constructivism
* Latin American
* Universal Constructivism
* Dada
* Shin-hanga
* Neoplasticism
* De Stijl
* Purism
* Return to order
* Novecento Italiano
* Figurative Constructivism
* Stupid
* Cologne Progressives
* Arbeitsrat für Kunst
* November Group
* Australian tonalism
* Dresden Secession
* Social realism
* Functionalism
* Bauhaus
* Kinetic art
* Anthropophagy
* Mingei
* Group of Seven
* New Objectivity
* Grosvenor school
* Neues Sehen
* Surrealism
* Iranian
* Latin American
* Mexican muralism
* Neo-Fauvism
* Precisionism
* Aeropittura
* Asso
* Scuola Romana
* Cercle et Carré
* The Group
* Harlem Renaissance
* Kapists
* Regionalism
* California Scene Painting
* Heroic realism
* Socialist realism
* Nazi art
* Streamline Moderne
* Concrete art
* Abstraction-Création
* Tiki
* The Ten
* Dimensionism
* Boston Expressionism
* Leningrad school

Contemporary
and Postmodern
(1945–present)|

| 1945–1959|

* International Typographic Style
* Abstract expressionism
* Washington Color School
* Visionary art
* Vienna School of Fantastic Realism
* Spatialism
* Color field
* Lyrical abstraction
* Tachisme
* Arte Informale
* COBRA
* Nuagisme
* Generación de la Ruptura
* Jikken Kōbō
* Metcalf Chateau
* Mono-ha
* Nanyang Style
* Action painting
* American Figurative Expressionism
* in New York
* New media art
* New York school
* Hard-edge painting
* Bay Area Figurative Movement
* Les Plasticiens
* Gutai Art Association
* Gendai Bijutsu Kondankai
* Pop art
* Situationist International
* Soviet Nonconformist
* Ukrainian underground
* Lettrism
* Letterist International
* Ultra-Lettrist
* Florida Highwaymen
* Cybernetic art
* Antipodeans

|

1960–1969|

* Otra Figuración
* Afrofuturism
* Nueva Presencia
* ZERO
* Happening
* Neo-Dada
* Neo-Dada Organizers
* Op art
* Nouveau réalisme
* Nouvelle tendance
* Capitalist realism
* Art & Language
* Arte Povera
* Black Arts Movement
* The Caribbean Artists Movement
* Chicano art movement
* Conceptual art
* Land art
* Systems art
* Video art
* Minimalism
* Fluxus
* Generative art
* Post-painterly abstraction
* Intermedia
* Psychedelic art
* Nut Art
* Photorealism
* Environmental art
* Performance art
* Process art
* Institutional critique
* Light and Space
* Street art
* Feminist art movement
* in the US
* Saqqakhaneh movement
* The Stars Art Group
* Tropicália
* Yoru no Kai
* Artificial intelligence visual art

1970–1999|

* Post-conceptual art
* Installation art
* Artscene
* Postminimalism
* Endurance art
* Sots Art
* Moscow Conceptualists
* Pattern and Decoration
* Pliontanism
* Punk art
* Neo-expressionism
* Transavantgarde
* Saint Soleil school
* Guerrilla art
* Lowbrow art
* Telematic art
* Appropriation art
* Neo-conceptual art
* New European Painting
* Tunisian collaborative painting
* Memphis Group
* Cyberdelic
* Neue Slowenische Kunst
* Scratch video
* Transgressive
* Retrofuturism
* Young British Artists
* Superfiction
* Taring Padi
* Superflat
* New Leipzig school
* Artist-run initiative
* Artivism
* The Designers Republic
* Grunge design
* Verdadism
* Chinese Apartment Art

2000–
present|

* Amazonian pop art
* Altermodern
* Art for art
* Art game
* Art intervention
* Brandalism
* Classical Realism
* Contemporary African art
* Africanfuturism
* Contemporary Indigenous Australian art
* Crypto art
* Cyborg art
* Excessivism
* Fictive art
* Flat design
* Corporate Memphis
* Hypermodernism
* Hyperrealism
* Idea art
* Internet art
* Post-Internet
* iPhone art
* Kitsch movement
* Lightpainting
* Massurrealism
* Modern European ink painting
* Neo-futurism
* Neomodern
* Neosymbolism
* Passionism
* Post-YBAs
* Relational art
* Skeuomorphism
* Software art
* Sound art
* Stuckism
* Superflat
* SoFlo Superflat
* Superstroke
* Toyism
* Unilalianism
* Vaporwave
* Walking Artists Network

Related topics|

* History of art
* Abstract art
* Asemic writing
* Anti-art
* Avant-garde
* Ballets Russes
* Christian art
* Art in the Protestant Reformation and Counter-Reformation
* Catholic art
* Icon
* Lutheran art
* Digital art
* Fantastic art
* Folk art
* Hierarchy of genres
* Genre painting
* History painting
* Illuminated manuscript
* Illustration
* Interactive art
* Jewish art
* Kitsch
* Landscape painting
* Modernism
* Modern sculpture
* Late modernism
* Naïve art
* Outsider art
* Portrait
* Prehistoric European art
* Queer art
* Realism
* Shock art
* Trompe-l'œil
* Western painting

* Category

* v
* t
* e

Avant-garde movements

Visual art|

* Abstract expressionism
* Art Nouveau
* Art & Language
* Conceptual art
* Constructivism
* Proto-Cubism
* Cubism
* Functionalism
* Bauhaus
* Grosvenor School
* Devětsil
* Divisionism
* Fauvism
* Impressionism
* Neo-Impressionism
* Post-Impressionism
* Color Field
* Incoherents
* Lyrical Abstraction
* Mail art
* Minimalism
* Mir iskusstva
* Multidimensional art
* Neoplasticism
* De Stijl
* Neue Slowenische Kunst
* Nonconformism
* Nouveau réalisme
* Orphism
* Performance art
* Pop art
* Process art
* Purism
* Rayonism
* Suprematism
* Temporary art
* Vorticism

Literature
and poetry|

* Acmeism
* Angry Penguins
* Asemic writing
* Conceptual poetry
* Cyberpunk
* Ego-Futurism
* Experimental literature
* Flarf poetry
* Hungry generation
* Imaginism
* Imagism
* Language poets
* Neoavanguardia
* Neoteric
* Nouveau roman
* Oberiu
* Oulipo
* Slam poetry
* Ultraísmo
* Visual poetry
* Zaum

Music|

| By style|

* Funk
* Jazz
* Free funk
* Yass
* Pop
* Rock
* Prog
* Punk
* Metal

|

Others|

* Aleatoric music
* Ars nova
* Ars subtilior
* Atonal music
* Electroacoustic music
* Electronic music
* Industrial music
* Experimental pop
* Free jazz
* Free improvisation
* Futurism
* Microtonal music
* Minimal music
* Drone music
* Music theatre
* Musique concrète
* New Complexity
* No wave
* Noise music
* Post-rock
* Rock in Opposition
* Second Viennese School
* Serialism
* Spectral music
* Stochastic music
* Textural music
* Totalism
* Twelve-tone technique

Cinema
and theatre|

* Cinéma pur
* Dogme 95
* Drop Art
* Epic theatre
* Experimental film
* Experimental theatre
* Modernist film
* Poetic realism
* Postdramatic theatre
* Remodernist film
* Structural film
* Theatre of the Absurd
* Theatre of Cruelty

General|

* Constructivism
* Dada
* Expressionism
* Fluxus
* Futurism
* Russian Futurism
* Cubo-Futurism
* Lettrism
* Modernism
* Minimalism
* Postminimalism
* Neo-minimalism
* Neo-Dada
* Neoism
* Postmodernism
* Postmodernist film
* Late modernism
* Primitivism
* Situationist International
* Social realism
* Socialist realism
* Surrealism
* Symbolism
* Russian symbolism

Authority control databases

National|

* Germany
* United States
* France
* BnF data
* Czech Republic
* Spain
* Israel

Other|

* Yale LUX

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