# Modern Art / 1900-1970 Canonical URL: https://shipslides.com/d/catalog-art-modern-movements Raw viewer URL: https://content.shipslides.com/d/catalog-art-modern-movements/raw Category: Art Slides: 13 Updated: 2026-05-17T20:56:04.489Z Tags: catalog, art, modern, movements ## Summary 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.". ## Slide Outline 1. COLOR, OFF THE LEASH. 2. MULTIPLE VIEW- POINTS, ONE PLANE. 3. SPEED. MACHINE. WAR. 4. ANTI-ART AS ART. 5. THE UNCONSCIOUS, RENDERED. 6. ART FOR THE REVOLUTION. 7. ART + CRAFT = LIFE. 8. PAINTING AS ARENA. 9. SOUP. COMICS. STARS. 10. "WHAT YOU SEE IS WHAT YOU SEE." 11. From depicting the world to interrogating the act of depiction itself. 12. REFERENCES ## Slide Transcript ### Slide 1: 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 2: 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 3: 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 4: 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 5: 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 6: 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 7: 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 8: 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 9: 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 ## Related Decks - [Design / 130 Years of Movements](https://shipslides.com/d/catalog-art-design-movements) - [Modern Art Movements](https://shipslides.com/d/art-modern-movements) - [Architecture / a brief structural history](https://shipslides.com/d/catalog-art-architecture) - [CINEMA — 125 Years of Moving Images](https://shipslides.com/d/catalog-art-cinema)