De Stijl (1917-31)

De Stijl (Dutch for "the style,") was the name of a group of artists (and the art, design and aesthetics journal they published, which was one of the most influential avant-garde magazines of the 1920s). Founded in the Netherlands during World War I, by Theo van Doesburg, the older Piet Mondrian, architect Gerrit Rietveld, and Bart Van der Leck, it advocated a geometrical type of abstract art, (later called concrete art, by Van Doesburg), based on universal laws of harmony that would be equally applicable to life and art. The movement had its greatest impact on architecture. Although Piet Mondrian seceded from the group in 1923, he remained faithful to its themes until the end of his life by which time he had become one of the most famous of all abstract painters. By comparison, the more restless Van Doesburg abandoned one of the basic tenets of De Stijl in 1924 when he substituted diagonals for verticals and horizontals in search of greater dynamism.

Neo-Plasticism (fl.1918-26)

Term used to describe the style of painting invented by Piet Mondrian. It comes from the Dutch words "Nieuwe Beelding", used by Mondrian in his articles in De Stijl magazine (1917-19), and in his book "Neo-Plasticisme" from 1921 onwards to describe his own type of abstract art. Essentially it means "new art", since sculpture and certain types of painting are considered 'plastic arts'. However the German version "Neue Gestaltung" (new forming) captures Mondrian's meaning best. He used the name to advocate a 'new forming' in the widest sense, as well as his own ideas and images. In his long essay "Neo-Plasticism in Pictorial Art", Mondrian wrote: "The new plastic idea ... should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour". Thus in a sense Neo-Plasticism was an ideal form of painting, which used only pure colour, line and form. In addition to insisting only on primary colours (or non-colours), it advocated solely squares, rectangles, and straight horizontal or vertical lines. Despite his disagreement with Van Doesburg over the latter's launch of Elementarism, in 1924, Mondrian's theories exercised had a huge impact on later painting, and he is now regarded as one of the greatest of all modern artists.

Bauhaus School (Germany, 1919-1933)

Founded in 1919 by the innovative modern architect Walter Gropius at Weimar in Germany, the Bauhaus Design School was a revolutionary school of art upon which so many others have been modelled. Its name, derived from the two German words "bau" for building and "haus" for house, together with its artist-community system, hints at the the idea of a fraternity working on the construction of a new society. Highly influential in both architecture and design, its teachers included Josef Albers, Lyonel Feininger, Paul Klee, Wassily Kandinsky, Oskar Schlemmer, Laszlo Moholy-Nagy, Anni Albers and Johannes Itten. Its stated goal was to bring art into contact with everyday life, hence design was accorded as much weight as fine art. Among the leading principles taught at The Bauhaus were the virtues of simple, clean design; abstraction; massproduction; the ethical and practical advantages of a well-designed environment, as well as democracy and worker participation. In 1925, The Bauhaus moved into a new building in Dessau in 1925-6, and in 1932 relocated to Berlin where it was eventually closed by the Nazis in 1933. Its teachers then dispersed, with several moving to America: Moholy-Nagy went to Chicago where he established the New Bauhaus in 1937, while Albers took Bauhaus methods with him to Black Mountain College in North Carolina and later to Yale University.

Purism (Early, mid-1920s)

Fashionable 1920s Parisian Movement founded by Edouard Jeanneret (better known as Le Corbusier) and Amedee Ozenfant, based on theories outlined in their 1918 book Aprs le Cubisme (After Cubism). Disagreeing with Cubist fragmentation, they produced figurative art (mostly still lifes) basic forms stripped of detail and supposedly pure in colour, form and design. Other artists loosely associated with the movement which peaked at the International Exposition of Decorative and Industrial Arts in Paris in 1925, were Fernand Leger, Juan Gris and the Russian-Lithuanian sculptor Jacques Lipchitz.

Precisionism (Cubist-Realism) (fl.1920s)

An important influence on modern art painting in the United States, Precisionism was an American movement (also referred to as Cubist Realism) whose focus was modern industry and urban landscapes, characterized by the realistic depiction of objects but in a manner which also highlighted their geometric form. An idealized, almost Romantic style, it was exemplified in works by Charles Demuth and Charles Sheeler, while the urban pictures of Georgia O'Keeffe also fall into the Precisionist genre. See also Charles Sheeler's photographs of Ford's River Rouge Car Factory.

Surrealist Movement (1924 onwards)

Rooted in the Metaphysical Painting of Giorgio de Chirico (1888-1978), the revolutionary painterly ideas of Cubism, the subversive art of Dada and the psychoanalysis ideas of Sigmund Freud and Carl Jung, Surrealism was the most influential avant-garde art movement of the inter-war years. Its goal, according to its founding father, the French writer Andre Breton - in his 1924 Manifesto of Surrealism - was to fuse the unconscious (the part of the human mind where memories and instincts are stored) with the conscious, to create a new "super-reality" - a surralisme. A broad intellectual movement, Surrealism encompassed a diverse range of styles from abstraction to expressionism and full-blown realism, characteristically punctuated with weird, hallucinatory or fundamentally 'unreal' imagery. Leading surrealist artists included Salvador Dali (1904-89), Max Ernst (1891-1976), Rene Magritte (1898-1967), Andre Masson (1896-1987), Yves Tanguy (1900-55), Joan Miro (1893-1983), Jean Arp (1886-1966), and Man Ray (1890-1976). Their immediate impact was seen in Germany in the Magic Realism of Franz Roh, and later in Britain, where British Surrealism was founded in 1936 by the writer Herbert Read, together with the artists David Gascoyne, Paul Nash, and Roland Penrose. The First International Surrealist Exhibition opened in London in 1936 and sparked enormous interest, not least because of the talk given by the flamboyant self-publicist Salvador Dali from inside a deep-sea diving suit. Surrealism had a huge influence on Europe, and few European artists of the 1930s were unaffected by the movement. It continues to have a significant influence on art, literature and cinematography.

Art Deco (c.1925-40)

A popular and fashionable style of decorative design and architecture in the inter-war years (much beloved by cinema and hotel architects), Art Deco designs also extended to furniture, ceramics, textile fabrics, jewellery, and glass. Showcased in 1925 at the International Exhibition of Modern Decorative and Industrial Arts held in Paris, Art Deco was essentially a reaction against Art Nouveau: replacing the latter's flowing curvilinear shapes with Cubist and Precisionist-inspired geometric forms. Classic examples of Art Deco design include the New York Chrysler Building and the Empire State Building. Art Deco also drew inspiration from the modern architectural designs of The Bauhaus. Famous artists associated with Art Deco include the Polish-Russian society portraitist Tamara de Lempicka, glass artist Rene Lalique and graphic designer Adolphe Mouron.

Ecole de Paris (Paris School)

For half a century (1890-1940) Paris remained the centre of world art, culminating in the dazzling works of Impressionism, Post-Impressionism, Fauvism, Cubism, Dada and Surrealism. The Paris School is a term used by art historians to denote the community of artists, both French and foreign, working in the city during the first half of the 20th century, rather than a strictly defined style, school or movement. For many reasons, Paris was exceptionally attractive to artists. It was free of political repression, it was home to a number of influential 20th century painters (eg. Pablo Picasso, Georges Braque, Georges Rouault, Henri Matisse, Fernand Leger, Amedeo Modigliani, Piet Mondrian, Marc Chagall, Cham Soutine, Mikhail Larionov, Wassily Kandinsky, Constantin Brancusi, to name but a few), and it boasted a booming art world with galleries, collectors and critics to support artists with talent. The twin leaders (chefs d'cole) were Picasso and Matisse.

Neue Sachlichkeit (Germany, c.1925-35)

Die Neue Sachlichkeit - a German term, meaning "New Objectivity" - was the name given to a group of Expressionist artists in Germany during the 1920s, derived from their 1925 Neue Sachlichkeit show in Mannheim. It was the third phase of the Expressionist movement in Germany, after Die Brucke (The Bridge) and Der Blaue Reiter (The Blue Rider). Key members included Otto Dix, George Grosz, Christian Schad and to a lesser extent Georg Schrimpf and Max Beckmann. Although the exhibition curator, GF Hartlaub, described its paintings as "new realism bearing a socialist flavour", the style was vividly expressionist in its satirical portrayal of corruption and decadence in post-war Weimar Germany.

Magic Realism (1925-40)

Although influenced by Surrealism, Magic Realism was actually part of the 'return to order' trend which occured in post-World War I Europe in the 1920s. The name derives from a 1925 book by German art historian and critic Franz Roh called "Nach Expressionismus: Magischer Realismus" (After Expressionism: Magic Realism). Members included Giorgio de Chirico, Alberto Savinio, Alexander Kanoldt and Adolf Ziegler.

Socialist Realism (1928-80)

Socialist Realism was a form of heroic political propaganda employed by dictator Joseph Stalin in Russia, from 1929 onwards, to buttress his program of accelerated industrial development. Formally announced by his artistic stooge Maxim Gorky, at the Soviet Writers Congress of 1934, the style or direction involved the creation of bold optimistic imagery to evangelize the achievements of the Soviet State and inspire workers to Stakhanovite feats of labour. The most ubiquitous media used by Socialist Realist artists was the poster, although painting and sculpture was also produced, typically on a monumental scale, showing fearless individuals and groups in idealistic and heroic poses.

Social Realism (America) (1930-45)

A general category describing works of art which focus on relatively low-brow subjects to do with eveyday life, as opposed to the 'ideal' or romantic settings employed by artists up until the 19th century. It embraces American Scene Painting and Regionalism.

Social Realism denotes the socially-aware painters of the Depression era, such as Ben Shahn, Reginald Marsh, Moses Soyer, Raphael Soyer, William Gropper, Jack Levine, Jacob Lawrence and Isabel Bishop. They took their inspiration from the traditions of the earlier New York Ashcan School. Photographers like Dorothea Lange (1895-1965) and Walker Evans (1903-75) also contributed to the movement with their portraits of migrant workers from the Depression.

Mexican Murals/Muralism describes the national wall painting campaign, conceived by the education minister Jose Vasconcelos Calderon (1882-1959). The Mexican painters involved included Diego Rivera, Jose Clemente Orozco and David Alfaro Siqueiros, as well as Alfredo Martinez (1871-1946), Roberto Nervo (1885-1968), Amado de la Cueva (1891-1926), Ramon Alva de la Canal (1892-1985), Pedro Nel Gomez (18991984), Rufino Tamayo (1899-1991), Fermin Revueltas Sanchez (1901-1935), Federico Heraclio Cantu Garza (1907-89), Jorge Gonzalez Camarena (1908-80), and Alfredo Zalce Torres (1908-2003), to name but a few.

American Scene Painting was a sort of patriotic reaction to avant-garde European abstract art. Artists turned their back on European hypermodernism and looked for truth in specifically American imagery. Regionalism was the midwest variant of American Scene Painting, which relied on the realistic nostalgic setting of rural and small-town America.

Degenerate Art (Entartete Kunst) (1933-45, Germany)

Coined by Adolf Hitler, the term "Entartete Kunst" meaning degenerate art, expresses the Nazi idea that any art which did not conform to the ideal of well-crafted figurative images depicting heroic acts or comfortable day-to-day living, was the product of degenerate people. Not surprisingly most modern art was labelled degenerate, which meant that most modern artists in Germany (from 1933 onwards) could not show or sell their works. In 1937, the Nazis removed all modern works from German art museums. A selection was then exhibited in Munich to demonstrate how repulsive they were, but the plan backfired and introduced modern art to huge crowds.

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Modern Art Movements (1870-1970)