The main directions of painting at the end of the XIX – first half of the XX century. (traits and representatives)

Directions Character traits Representatives
Symbolism Symbol is the main means of artistic knowledge, a combination of the real and the mysterious, allegory O. Beardsley , G. Klimt (The Kiss), Puvis de Chavannes , A. Böcklin
Modern Stylized natural forms (whimsically curved flowing lines – “blow of the whip”) A. Fly (“Dance”)
Impressionism The desire to convey elusive changes in nature with fractional strokes, writing with pure colors E. Manet, E. Degas, O. Renoir, C. Pissaro , C. Monet (“Impression . Rising Sun”)
Post-impressionism The desire to freely and generally convey the materiality of the world, decorative stylization V. Van Gogh , P. Cezanne, P. Gauguin (“The Yellow Christ”)
Cubism Image of the world in the form of geometric signs and compositional structures P. Picasso (“Factory in the Horta de Ebro “), J. Braque
Expressionism The desire not so much to reproduce reality, but to express the emotional state of the author E. Nolde , E. Munch (“The Scream”)
Neo-primitivism Interest in children’s creativity, self-taught art, ancient rock painting, i.e. primitive art forms A. Russo (“The Sleeping Gypsy”), N. Pirosmanashvili , M. F. Larionov
Abstract expressionism Refusal (abstraction) from the image of real objects and the creation of an image based on the self-sufficient expressiveness of color, lines, shapes V. V. Kandinsky (“Red Square”)
Suprematism Geometric abstraction, combinations of multi-colored planes of the simplest geometric outlines, creating balanced asymmetric compositions permeated with internal movement K. Malevich (“Black Square”)
Dadaism Using collage techniques, creating absurd pieces from random objects M. Duchamp (“The Fountain”)
Surrealism Turning to dreams, the subconscious, giving absurd objects the illusion of reality, combining the real and the unreal S. Dali (“Premonition of the Civil War”), J. Miro, I. Tanguy


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