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Modern Art / 1900-1970

Henri Matisse, André Derain, Maurice de Vlaminck. They paint a face green, a sky pink, a tree red — not to describe the world, but to express it.

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Henri Matisse, André Derain, Maurice de Vlaminck. They paint a face green, a sky pink, a tree red — not to describe the world, but to express it. Key sections include: COLOR, OFF THE LEASH.; MULTIPLE VIEW- POINTS, ONE PLANE.; SPEED. MACHINE. WAR.; ANTI-ART AS ART.; THE UNCONSCIOUS, RENDERED.; ART FOR THE REVOLUTION.; ART + CRAFT = LIFE.; PAINTING AS ARENA.; SOUP. COMICS. STARS.; "WHAT YOU SEE IS WHAT YOU SEE.".

Key sections

01COLOR, OFF THE LEASH.
02MULTIPLE VIEW- POINTS, ONE PLANE.
03SPEED. MACHINE. WAR.
04ANTI-ART AS ART.
05THE UNCONSCIOUS, RENDERED.
06ART FOR THE REVOLUTION.
07ART + CRAFT = LIFE.
08PAINTING AS ARENA.
09SOUP. COMICS. STARS.
10"WHAT YOU SEE IS WHAT YOU SEE."
11From depicting the world to interrogating the act of depiction itself.
12REFERENCES

Topics covered

catalog art modern movements

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Slide outline

01COLOR, OFF THE LEASH.
02MULTIPLE VIEW- POINTS, ONE PLANE.
03SPEED. MACHINE. WAR.
04ANTI-ART AS ART.
05THE UNCONSCIOUS, RENDERED.
06ART FOR THE REVOLUTION.
07ART + CRAFT = LIFE.
08PAINTING AS ARENA.
09SOUP. COMICS. STARS.
10"WHAT YOU SEE IS WHAT YOU SEE."
11From depicting the world to interrogating the act of depiction itself.
12REFERENCES

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Slide 01

Slide 1

MODERN ART DECK
I / XIII
A 13-slide primer
MODERN
ART
/ 1900—1970
Color
liberated
Form
broken
Concept > Technique
Eleven movements. Seven decades. One shift in how we see.
Bauhaus / Mondrian inspired
Press → to begin

Slide 02

COLOR, OFF THE LEASH.

02 / FAUVISM · 1905
The Wild Beasts
Fauvism, 1905-1908
Henri Matisse, André Derain, Maurice de Vlaminck. They paint a face green, a sky pink, a tree red — not to describe the world, but to express it.
arbitrary color
flat planes
gestural brush
Why "wild beasts"?
Critic Louis Vauxcelles, Salon d'Automne 1905: a Donatello sculpture surrounded by Matisse's blazing canvases — "Donatello among the wild beasts" (les fauves).
Key works
Matisse, Woman with a Hat (1905)
Derain, Charing Cross Bridge (1906)
Matisse, The Joy of Life (1906)
FAUVISM02 / 13

Slide 03

MULTIPLE VIEW- POINTS, ONE PLANE.

03 / CUBISM · 1907+
Picasso & Braque
1907-1914
A face, a guitar, a bottle — sliced, rotated, reassembled. Painting is no longer a window. It is a construction.
CUBISM — ANALYTIC → SYNTHETIC03 / 13

Slide 04

SPEED. MACHINE. WAR.

04 / FUTURISM · 1909
Italy / Marinetti
Manifesto, Le Figaro, 1909
"A roaring car is more beautiful than the Winged Victory of Samothrace." — F.T. Marinetti
Painters of velocity
Umberto Boccioni — Unique Forms of Continuity in Space (1913)
Giacomo Balla — Dynamism of a Dog on a Leash (1912)
Carlo Carrà, Gino Severini, Luigi Russolo
The dark side
Glorified war as "the world's only hygiene." Many futurists embraced fascism. The movement collapsed into the catastrophe it celebrated.
FUTURISM04 / 13

Slide 05

ANTI-ART AS ART.

05 / DADA · 1916
Zürich / Cabaret Voltaire
Born of WWI disgust
If reason produced the trenches, then art must be unreasonable. Nonsense poems. Found objects. Chance. The readymade.
Hugo Ball
Tristan Tzara
Hannah Höch
Marcel Duchamp
Fountain, 1917
Duchamp signs a urinal "R. Mutt" and submits it as sculpture. Rejected. Photographed. Lost. Re-made. The most influential art object of the 20th century — because it asks: who decides what art is?
DADA05 / 13

Slide 06

THE UNCONSCIOUS, RENDERED.

06 / SURREALISM · 1924+
Paris / André Breton
Manifesto, 1924
Born of Dada and Freud. Dreams are not nonsense — they are data. Painting becomes a window onto the irrational.
Dalí
Photo-real dream-objects. The Persistence of Memory (1931): time melts.
Magritte
The image and the word at war. The Treachery of Images: "Ceci n'est pas une pipe."
Ernst, Miró, Tanguy, Carrington, Kahlo
Frottage, automatism, biomorphic forms — new techniques to bypass the rational mind.
SURREALISM06 / 13

Slide 07

ART FOR THE REVOLUTION.

07 / CONSTRUCTIVISM · 1917+
Russia / USSR
Post-Revolution, 1917
Down with bourgeois easel painting. Art must be useful: posters, textiles, furniture, architecture. The artist as engineer.
Tatlin's Tower (1919)
Designed monument to the Third International — 400m of iron, glass, and rotating chambers. Never built. Forever iconic.
Rodchenko, Stepanova, El Lissitzky
Photomontage, typography, geometric abstraction. Diagonal compositions. Red wedges beat white circles.
CONSTRUCTIVISM07 / 13

Slide 08

ART + CRAFT = LIFE.

08 / BAUHAUS · 1919-33
Weimar / Dessau / Berlin
Walter Gropius, founder
A school. A philosophy. A factory. Erase the line between fine art, design, and industry. Train the artist of the modern world.
Klee
Kandinsky
Albers
Moholy-Nagy
Breuer
BAUHAUS — CLOSED BY THE NAZIS, 193308 / 13

Slide 09

PAINTING AS ARENA.

09 / AB-EX · 1940s-50s
New York
The Center Shifts
Critic Harold Rosenberg called it "action painting." The canvas is no longer where the artist depicts something — it is where the artist does something.
Pollock
Drips, pours, flings. Canvas on the floor. The whole body becomes the brush.
Rothko
Color fields. Floating rectangles. Painting that aspires to the condition of the sublime.
de Kooning · Newman · Krasner · Frankenthaler09 / 13

Slide 10

SOUP. COMICS. STARS.

10 / POP ART · 1960s
NY / London
Mass culture eats high art
If Ab-Ex was heroic and inward, Pop is cool and outward. Subject matter: the supermarket, the screen, the celebrity.
Andy Warhol
Campbell's Soup Cans (1962). Marilyn diptych. Silkscreens of disasters. Mechanical reproduction as medium.
Lichtenstein, Hamilton, Rosenquist, Oldenburg
Comic-book Ben-Day dots. Billboard scale. Soft sculptures of hamburgers. Irony made visible.
POP ART10 / 13

Slide 11

"WHAT YOU SEE IS WHAT YOU SEE."

11 / MINIMALISM · 1960s
Object > Image
Frank Stella, 1964
No symbol. No metaphor. No story. A box is a box. A line of fluorescent tubes is a line of fluorescent tubes. The work refuses to point elsewhere.
Donald Judd
Stacks. Boxes. Industrial fabrication. Objects that are neither painting nor sculpture.
Frank Stella
Shaped canvases. Black paintings. Pattern as the only content.
Dan Flavin
Fluorescent tubes from the hardware store. Light as material. Space made luminous.
MINIMALISM11 / 13

Slide 12

Autonomy

12 / WHY IT MATTERS
The 70-year arc
Art stops serving the church, the state, the patron. It serves only itself — and the question of what it can be.
The shift, in one sentence
From depicting the world to interrogating the act of depiction itself.
By 1970, "is it art?" is no longer a question of skill or beauty. It is a question of concept, context, and frame. Every movement in this deck pushed that frame outward.
Concept > Technique
The idea, the gesture, the choice — these become the artwork. Skill is not abandoned; it is repositioned.
WHY IT MATTERS12 / 13

Slide 13

REFERENCES

13 / GO DEEPER
References & video
Reading list
Robert Hughes — The Shock of the New (1980)
Rosalind Krauss — The Originality of the Avant-Garde (1986)
Hal Foster et al. — Art Since 1900 (2004)
Clement Greenberg — Art and Culture (1961)
Linda Nochlin — Why Have There Been No Great Women Artists? (1971)
MoMA online collection — moma.org/collection
Watch · Cubism
Picasso, Braque, and the dismantling of the picture plane.
youtube.com / picasso cubism →
Watch · Pollock
Drip technique on film — Hans Namuth's 1950 footage and after.
youtube.com / jackson pollock drip painting →
END — THANK YOU13 / 13

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