Essential Art Movements and Styles

Essential Art Movements and Styles All about essential arts.

Styles
Abstract Expressionism
Art Deco
Art Nouveau
Avant-garde
Baroque
Bauhaus
Classicism
CoBrA
Color Field Painting
Conceptual Art
Constructivism
Cubism
Dada / Dadaism
Digital Art
Expressionism
Fauvism
Futurism
Harlem Renaissance
Impressionism
Installation Art
Land Art
Minimalism
Neo-Impressionism
Neoclassicism
Neon Art
Op Art
Performance Art
Pop Art
Post-Impressionism
Precisionism
Rococo
Street Art
Surrealism
Suprematism
Symbolism
Zero Group

(Gemini ♊️)Georges-Henri Rouault (French: 27 May 1871, Paris - 13 February 1958, Paris) was a French painter, draughtsma...
27/05/2025

(Gemini ♊️)
Georges-Henri Rouault (French: 27 May 1871, Paris - 13 February 1958, Paris) was a French painter, draughtsman, and printmaker, whose work is often associated with Fauvism and Expressionism.

Op art in modern architecture as a mosaic, painting with enamel paint on steel by Stefan Knapp in University of Toruń in...
23/05/2025

Op art in modern architecture as a mosaic, painting with enamel paint on steel by Stefan Knapp in University of Toruń in Poland (1972).

An optical illusion by the Hungarian-born artist Victor Vasarely in Pécs (1977).
23/05/2025

An optical illusion by the Hungarian-born artist Victor Vasarely in Pécs (1977).

Celebrating my 3rd year on Facebook. Thank you for your continuing support. I could never have made it without you. 🙏🤗🎉
15/05/2025

Celebrating my 3rd year on Facebook. Thank you for your continuing support. I could never have made it without you. 🙏🤗🎉

Soft Construction with Boiled Beans (Premonition of Civil War) (1936) is a painting by the Spanish surrealist artist Sal...
08/05/2025

Soft Construction with Boiled Beans (Premonition of Civil War) (1936) is a painting by the Spanish surrealist artist Salvador Dalí. Dalí created the piece to represent the horrors of the Spanish Civil War, having painted it only six months before the conflict began. He subsequently claimed that he was aware the war was going to occur long before it began, and cited his work as evidence of "the prophetic power of his subconscious mind." However, some have speculated that Dalí may have changed the name of the painting after the war to emphasize his prophetic assertions, although it is not entirely certain.

Artist: Salvador Dalí
Artwork: Soft Construction with Boiled Beans (Premonition of Civil War), 1936
Artist: Salvador Dalí
Movement styles: Dada, Surrealism
Nationality: Spanish 🇪🇸
Created: 1936
Period style: Surrealism
Medium and techniques: Oil on canvas
Dimensions: 100 cm × 99 cm
Location: Philadelphia Museum of Art, Philadelphia
Owner: The Louise and Walter Arensberg Collection

The art historian Robert Hughes commented on Dalí's painting in his biography of Goya, stating: "Salvador Dalí appropriated the horizontal thigh of Goya's crouching Saturn for the hybrid monster in the painting Soft Construction with Boiled Beans, ... which—rather than Picasso's Guernica—is the finest single work of visual art inspired by the Spanish Civil War."
Wikipedia

James Ensor (♈️)Nationality: BelgianEducation: Académie Royale des Beaux-Arts, Brussels (Belgium)Known for: Painting, gr...
13/04/2025

James Ensor (♈️)
Nationality: Belgian
Education: Académie Royale des Beaux-Arts, Brussels (Belgium)
Known for: Painting, graphic arts

About
Born: 13 April 1860, Ostend, Belgium
Died: 19 November 1949 (age 89 years), Ostend, Belgium
Periods: Modern art, Expressionism, Symbolism, Surrealism, Modernism
Known for: Painting, graphic arts
Parents: James Frederic Ensor, Maria Catherina Haegheman
Education: Académie Royale des Beaux-Arts, Brussels (Belgium)

Self-Portrait of James Ensor at his Easel, 1890
James Ensor (1860–1949)
circa 1890
Oil on canvas
58.5 cm (23 in); 40.5 cm (15.9 in
Royal Museum of Fine Arts Antwerp

James Sidney Edouard, Baron Ensor (13 April 1860 – 19 November 1949)[1] was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for most of his life. He was associated with the artistic group Les XX.

02/04/2025

The False Mirror
René Magritte (Belgian painter) 1898 - 1967
1928
oil on canvas
54 x 81 cm
The Museum of Modern Art, New York, U.S.A
Source: The Museum of Modern Art

Le Faux Miroir presents an enormous lashless eye with a luminous cloud-swept blue sky filling the iris and an opaque, dead-black disc for a pupil. The allusive title, provided by the Belgian Surrealist writer Paul Nougé, seems to insinuate limits to the authority of optical vision: a mirror provides a mechanical reflection, but the eye is selective and subjective. Magritte’s single eye functions on multiple enigmatic levels: the viewer both looks through it, as through a window, and is looked at by it, thus seeing and being seen simultaneously.

02/04/2025

from Out of the shadows - The Celebrated Line of Women Artists
Artwork: La Musicienne
Artist: Tamara de Lempicka (1898-1980)
Description: signed, dated and inscribed 'DE LEMPICKA. 29 PARIS.' (lower right)
Medium and support: oil on canvas
Dimensions: 45 5/8 x 28 ¾ in. (115.8 x 73 cm.)
Painted in Paris, 1929
Genre: Portrait
Period: Art Deco

LITERATURE
T. de Lempicka, Annotated photo album, Lempicka Archives, Houston, 1923-1933, no. 93
L'Art Vivant, Paris, 1930, p. 466.
Mobilier et Décoration, Paris, 1930.
Die Dame, Berlin, April 1930 (illustrated in color on the cover).
F. Vallon, "Chez Tamara de Lempicka" in La R***e de Médecin, May 1930, p. 33 (illustrated).
Marseilles Soir, May 1933 (illustrated).
W. Sauré, "Tamara de Lempicka stellt in Paris aus" in Die Weltkunst, 1 September 1972, vol. XLII, no. 17, p. 1190 (illustrated).
“L’éternel feminin” in Nouvelles Littéraires, June-July 1972.
Revista de Arte, November-December 1972, p. 177.
G. Marmoni, Tamara de Lempicka, Milan, 1977, p. 88 (illustrated in color, p. 89).
G. Marmoni, Tamara de Lempicka: Les oeuvres majeures de Tamara de Lempicka, Florence, 1978, p. 75 (illustrated in color, p. 64).
T. Masuda, E. Ishioka, Tamara de Lempicka, Tokyo, 1980 (illustrated in color, pl. 34).
F. Gilot, "Tamara" in Arts and Antiques, 1986, p. 67 (illustrated).
G. Nèret, Tamara de Lempicka, Cologne, 1992, p. 29 (illustrated in color; titled Lady in Blue with Guitar).
V. Arwas, Art Deco, New York, 1992, p. 2 (illustrated in color).
E. Thormann, Tamara de Lempicka, Kunstkritik und Künstlerinnen in Paris, Berlin, 1993, p. 220, no. 54 (illustrated, no. 44; titled La Musicienne or Femme bleue à la guitare or Portrait Iraperrod or Die Lauterspielerin).
R. Barbolini, "Vate, io dipingo non vengo a letto" in Panorama, 28 January 1994 (illustrated).
G. Mori, Tamara de Lempicka, Parigi 1920-1938, Florence, 1994, pp. 79, 161 and 225, no. 62 (illustrated in color, p. 161; titled Femme bleue à la guitare ou La musicienne).
A. Blondel, Tamara de Lempicka: Catalogue raisonné, 1921-1979, Lausanne, 1999, p. 200, no. B.117 (illustrated in color).
L. Claridge, Tamara: A Life of Deco and Decadence, New York, 1999, pp. 339-340.
E. Ansenk, Schilder van een andere Werkelijkheid in de Collectie van het Scheringa Museum voor Realisme, Zwolle, 2006, p. 82 (illustrated in color, p. 83; detail illustrated in color on the cover).
P. Bade, Tamara de Lempicka, New York, 2006, p. 70 (illustrated in color, p. 71).

EXHIBITED

Paris, Grand Palais des Champs-Elysées, 41me exposition: société des artistes indépendants, January-March 1930, no. 2544, (titled Portrait de Mme Ira Perrot).
Paris, Galerie Colette Weill, 1930.
Marseilles, Les modernistes, 1933.
New York, Julien Levy Gallery, Tamara de Lempicka, (Baroness de Kuffner), April 1941, no. 19 (titled Femme avec guitarre and dated 1928).
Paris, Galerie Rol-Volmar, T. de Lempicka, oeuvres récentes et anciennes, 1930-1960, 1961.
Paris, Galerie du Luxembourg, Tamara de Lempicka de 1925-1935, June-July 1972, p. 13, no. 34 (illustrated in color on the cover).
Tokyo, Seibu Department Store and Osaka, Galerie Parco View, Tamara de Lempicka, 1980, no. 34 (illustrated; titled Femme bleue à la guitare).
New York, Andrew Crispo Gallery, A Selection of European and American Paintings, Drawings and Sculpture, 1983 (titled Femme bleue à la guitare).
New York, Barry Friedman, Ltd., Tamara de Lempicka, 1983 (titled Femme bleue à la guitare).
New York, Andrew Crispo Gallery, The 19th and 20th Centuries: Paintings by American and European Masters, 1984 (titled Femme bleue à la guitare).
New York, Andrew Crispo Gallery, Paris and New York 1925-1935: Art and Design, 1985 (titled Femme bleue à la guitare).
Washington, D.C., National Museum of Women in the Arts, Voices of Freedom: Polish Women Artists and The Avant-Garde, 1880-1990, 1991-1992, pp. 26 and 42 (illustrated in color; titled Femme bleue à la guitare).
Washington, D.C., National Museum of Women in the Arts (on extended loan 1992-1993).
Rome, Accademia di Francia Villa Medici and Montreal Museum of Fine Arts, Tamara de Lempicka: Tra eleganza e trasgressione, February-October 1994, pp. 69 and 102, no. 28 (illustrated in color, p. 69; illustrated again, p. 102; titled Femme bleue à la guitare).
New York, Barry Friedman, Ltd., Tamara de Lempicka, October-November 1996 (illustrated in color).
London, Royal Academy of Arts and Vienna, Kunstforum, Tamara de Lempicka: Art Deco Icon, May 2004-January 2005, p. 97, no. 31 (illustrated in color; detail illustrated in color, p. 5).
Source: christies.com

The Artist’s Studio | Jan Vermeer | c.1665-66 | oil on canvas | 47 ¼ × 39 ⅜ in / 120 x 100 cm | Jan Vermeer's (1632-75)...
28/02/2024

The Artist’s Studio | Jan Vermeer |
c.1665-66 | oil on canvas | 47 ¼ × 39 ⅜ in / 120 x 100 cm |

Jan Vermeer's (1632-75) Woman Holding a Balance uses potent symbolism, but in this work he goes further and creates a full-blown allegory, commenting it seems on the painter's art and role in society. This allegorical approach, and the fact that it is one of his largest paintings, makes it an unusual piece for Vermeer. What is not unusual are the light effects and the detailed compositional planning. His passion for optical effects and aids may well have led him to use a camera obscura to plot the pictures main lines.
Viewers look through a tantalizingly parted curtain to a brightly lit studio beyond. An artist sits at his easel with his back to us. Could this be Vermeer himself?
The artist's model would have been readily recognizable to Vermeer's contemporaries as Clio, the muse of History, because she wears a laurel crown and carries a book and trumpet.
On a table lie a sketch book, treatises on painting, and a mask (a symbol of imitation). A wall map shows the provinces of the Low Countries prior to 1581. This painting seems to say that history inspires the artist, provides art's most worthy subject matter, and confers status on artists who choose it as their subject. However, as Vermeers work appears to go against that trend, others suggest that the painting refers to the ways in which artists use skillful illusion to turn fleeting effects into something eternal. This picture is often said to be Vermeer's finest and his family kept it, despite the fact that, when Vermeer died, his wife Catherina and their eleven children were left bankrupt. AK
1001 Before You Die Collection Masterpieces of Western Art and Architecture

Artwork: Femme à l'éventail (Woman with a Fan 🪭)Artist: Jean Metzinger (French, 1883 - 1956)About: 1912Medium: Oil on ca...
08/01/2024

Artwork: Femme à l'éventail (Woman with a Fan 🪭)
Artist: Jean Metzinger (French, 1883 - 1956)
About: 1912
Medium: Oil on canvas
Dimensions: 907 mm x 642 mm
Location: Solomon R. Guggenheim Museum, New York, USA 🇺🇸

Jean Dominique Antony Metzinger (French: [mɛtsɛ̃ʒe]; 24 June 1883 – 3 November 1956) was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote the first theoretical work on Cubism.[1][2][3][4] His earliest works, from 1900 to 1904, were influenced by the neo-Impressionism of Georges Seurat and Henri-Edmond Cross. Between 1904 and 1907, Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works.
Wikipedia

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