Representative figures and works of western art schools? World artist rankings?

1, "post-impressionism white" (post-impressionism)

"Post-impressionism" refers to those painters who once followed impressionism and later strongly opposed the shackles of Taoist impressionism, thus forming a unique artistic style, among which Cezanne, Van Gogh, Gauguin and Lautrec are outstanding. In fact, post-impressionism is not a community or faction, nor does it have the same aesthetic program and declaration, and the artistic styles of painters are quite different. It is called "post-impressionism" mainly because art historians clearly distinguish it from impressionism in style.

Post-impressionism dislikes the overly objective scientific attitude adopted by Impressionism in describing the fleeting effects of natural light and color changes. They believe that the artistic image should be different from the objective image and full of the artist's subjective feelings. Cezanne thinks: "painting-does not mean blindly copying reality;" It means seeking the harmony of various relationships. " His concern is to form a neat and orderly structure through clear shapes in painting. Van Gogh and Gauguin pay attention to the expression of spirituality and emotion, and their works are permeated with some internal expressive force and thought-provoking symbolic connotation.

Post-impressionist painting deviated from the western artistic tradition of objective expression, and enlightened two modernist artistic trends of thought, namely, abstract art that emphasized structural order (such as cubism and stylism) and expressionism that emphasized subjective feelings (such as brutalism and German expressionism). Therefore, in the history of art, post-impressionism is called the origin of western modern art.

Representative figures and representative works:

Paul Cézanne (1839— 1906), Self-portrait in a hat, Mount St. Victor;

Van Gogh (Vincent Van Gogh, 1853— 1890), self-portrait; Sunflowers;

Gauguin (paul gauguin, 1848— 1903), a self-portrait with a halo; The Yellow Christ;

2. "Cubism" (Cubism)

Cubism is a movement and painting school with great influence in modern western art, and his artistic pursuit is directly related to Cezanne's artistic view. Cubist painter himself claimed that "whoever understands Cezanne will understand cubism" (Hades Osborne's Abstraction and Skills in 20th Century Art, Sichuan Fine Arts Publishing House, 1978, p. 87). Cubist painters, inspired by Cezanne's thought of "dealing with nature with cylinders, spheres and cones", tried to create structural beauty in their paintings. They try to reduce the descriptive and expressive elements of their works and try to organize a geometric structure. Although their works still maintain a certain degree of concreteness, fundamentally speaking, their goals are quite different from objective reproduction. They developed a painting language called "simultaneous vision" from Cezanne, which combined different visions of objects from multiple angles on the same image in painting. For example, in Picasso's Maiden of avignon, the front face is painted with a side nose, and the side face is painted with a front eye. Generally speaking, The Maiden of avignon is the first cubist work, and the cubist movement can usually be divided into two stages. One stage is the so-called analytical cubism before 19 12. Painters inherited Cezanne's tradition of rational analysis of painting structure, trying to form a painting space and body structure by decomposing and reconstructing space and objects. After 19 12, the cubist movement entered the second stage, usually called comprehensive cubism. At this time, color has played a powerful role in painting, but the shape is still fragmented, just bigger and more decorative. The painter created a new artistic technique and language, collaged the picture with objects, further strengthened the texture change of the picture, and put forward the question of what is real and what is unreal between nature and painting. Cubism is a painting style, but it also has a far-reaching impact on sculpture and architecture in the 20th century.

On behalf of:

Pablo Picasso (1881-1973), a young girl in avignon; Guernica;

Georges braque (1882— 1963), Estaque family;

Three Women by Fernand Leger (1885-1955);

Juan gris's guitar and music score (1887-1927);

3. "Fauvism" or Fauvism.

The trend of modern painting prevailing in France from 1898 to 1908. Although there is no clear theory and program, it is the result of a certain number of painters' active activities in a certain period, so it can also be regarded as a painting school. Fauvism painters are keen on using bright and heavy colors, and often use pigments directly extruded from paint tubes to create strong picture effects with straightforward and extensive brushstrokes, which fully shows the expressionist tendency of pursuing emotional expression. Fauvism was named after 1905 Paris Autumn Salon Exhibition. At that time, the works of a group of avant-garde artists headed by Matisse were exhibited in the same room, which caused an uproar. Some people vividly call these paintings "a can of paint in front of the public." Louis wasser, a reporter of Jill Brass magazine who later coined the name Cubism, suddenly came up with the right name. He found a small bronze statue of Renaissance style made by Ma Erkai in the center of the noisy exhibition hall of the stabbed object, and could not help but exclaim: "Donatello is locked in a beast cage!" Donatello was an outstanding sculptor in the Italian Renaissance: author's note. Soon, this one-liner was published in Jill Brass magazine, and the name of "Fauvism" was widely recognized. The following year, when they built a nest, the "beast" in this "cage" held one amazing exhibition after another, and the influence of bestiality increased greatly, and the momentum was high. At first, the ironic name gradually lost its derogatory meaning.

Representative figures and representative works:

Henri matisse (1869— 1954) Portrait of Madame Matisse with green stripes; Red harmony;

Flack (Vlaminck Wharf, 1876— 1958), a quarry by the Seine;

The Bridge of Westminster by Andre Deland (1880—1954);

4. Xenophobia.

Expressionism was first adopted by the German art critic Willem Worringer in an article published in the August issue of 19 1 1. He associated the word with the art of Cezanne, Van Gogh and Matisse. 19 12 The exhibition "Young Knight" held by Kuangbiao Art Museum was once again named this semester. Since then, this word has become the name of many tendencies in German art that tend to express emotions. In a broad sense, expressionism can be applied to all painters who emphasize "self-expression" with color and formal elements, but its specific meaning is based on the three major artistic movements in Germany in the early 20th century, namely "Die Brucke", "Der Blaue Reiter" and "Die Neue Sachlichkeit".

Qiaoshe was founded in Dresden in 1905, and disintegrated in 19 13. Its members include Kirchner, Heickell, Schmidt-Roslof, Blair, Perstan and Nold. The word "Bridge Society" was quoted by Schmidt-Roslof from Nietzsche's famous work "Charles Torasey said so". As the name of an art society aimed at opening up new art and lifestyle, it means "connecting all revolutionary and positive elements and leading to the future." 1905, Qiao she issued a declaration saying: "Anyone who feels that he must express his inner beliefs spontaneously and sincerely is one of us." 1907, Qiaoshe wrote to Nold: "One of the purposes of Qiaoshe, as its name implies, is to accommodate all revolutionary factors that are gestating now." The paintings of Norwegian painter Monk have the greatest influence on bridge artists, which are full of strong tragic feelings. The artists of Qiaoshe are extremely concerned about social issues, and their works strongly reflect the extremely dull, disturbing and desperate side of contemporary life, reflecting the "anxiety of northern art". "The painters of this genre are morbidly sensitive and uneasy, and are tortured by religious, sexual, political and spiritual troubles." Raymond, Konya and Xu Qingping. A Dictionary of Modern Painting. People's Fine Arts Publishing House, p. 46. Although the Bridge School painters were influenced by the French Fauvism painters, their work styles were obviously different from those of Fauvism. Even the wildest works of Fauvism always maintain the harmony of composition, color decoration and lyricism, and bridge painters have long forgotten all this. In their works, distorted shapes and strong colors reflect some vague creative impulses and disgust with the existing painting order. Kirchner once wrote in 19 13: "We believe that all colors directly or indirectly reproduce the pure creative impulse." Therefore, bridge painting often presents a rough and stormy momentum, which is not available in the more classical French temperament.

The Young Knights Club, named after a painting by Kandinsky in 1903, was separated from the Munich New Artists Association in 19 1. Its members are Russian Kandinsky, Yavlenski, German Mark, Mike, M and Swiss Klee. Generally speaking, the painters of the Young Knights Club do not pay attention to the expression of contemporary life difficulties, but pay attention to the spiritual world and artistic form behind natural phenomena. In the exhibition catalogue announcing the establishment of the school, the following simple statement representing the purpose of the school is written: "We want to confirm a fixed form; The purpose is to show artists how to express their inner inspiration in various ways in the changeable reproduction form. " August Mack also wrote: "The purpose of art is not to scientifically imitate and examine the organic factors in natural forms, but to create a shortened form through appropriate symbols." (Encyclopedia of World Art I, Shanghai People's Fine Arts Publishing House, p. 73).

New objectivism appeared in 1923. Strictly speaking, it is not the name of the painting school, but the name of an exhibition. This name was put forward by C, F, Hartlaub, curator of Manhan Art Museum in Germany. He organized a new realism exhibition in 1923, entitled "New Objectivism, German Painting since Expressionism". The painters who participated in the exhibition mainly included Gross, Dix and Beckman. This is a group of artists who are dissatisfied with reality. Most of them were born around 1890, and their youth coincided with the political turmoil in Germany after World War I and World War II. Therefore, unlike their expressionist predecessors, they only care about the form and spirit, but are keen to express their reality with art and reveal the decay and darkness of society. In the following statement, Pehrstein clearly expressed the thoughts of neo-objectivist painters: "We painters and poets must keep close contact with the poor in the sacred unity. Many of us know the pain and humiliation of hunger. We feel more comfortable in a proletarian society. In the asset stage, we don't want to rely on the whimsy of collectors ... We must be real socialists and must arouse the noblest socialist virtues-all brothers in the four seas. " (Selected translation of Encyclopedia of World Art, Shanghai People's Fine Arts Publishing House, p. 74) Neo-objectivism painters were influenced by painters from Bridge Society and Young Knights Society. However, they did not decompose and distort the objective reality extremely, but often paid attention to the true description of details. At the same time, they also use abstract painting language to truly reveal the objective reality.

Representative figures and representative works:

Edvard munch (1863— 1944), screaming;

Jamsenser (1860—1949), 1889 Christ entered Brussels;

Karl Schmidt-Rottluff (1884- 1976), taking a selfie with single glasses;

5. Futurism

Futurism was originally a literary movement, which was first concocted by Italian poet marinetti (1878- 1944). 1909 On February 20th, in the le figaro, marinetti launched the Futurism Manifesto with grandiose and sensational words, calling for sweeping away all traditional arts and creating a new art form that can keep up with the pace of life in the machine age. Futurism was born and quickly spread from the literary world to the fields of art, music, drama, film and photography. With the strong support of a series of various declarations and statements, it was once huge and far-reaching.

Futurism enthusiastically eulogizes modern machines, technology and even war and violence. They are obsessed with sports and speed, demanding "destroying all museums, libraries and academies of science", cutting off history and creating new art from scratch. In their view, "the world has become more magnificent because of a new aesthetic feeling, which is the beauty of speed." ..... A car as fast as a machine gun is more beautiful than a winged victory statue in Pisa. "(1909, futurism declaration) How to show this picture described in words on canvas and make it a real visual form-painting? This is what the painters gathered around marinetti are trying to explore. The backbone of Futurism School is five Italians: Bochuni, Cara, Barra, Sevini and Rusolo. 1910 February 1 1 day, The Manifesto of Futurist Painters was published and publicly announced in a theater in Turin on March 3rd. On April 1 1, the declaration of futuristic painting techniques was released again. All five painters signed the declaration to show their eagerness. 19 12 In February, the first exhibition of futurist paintings was held in the famous Bernheim Jean Gallery, which meant that the futurist school was formally established. Subsequently, many futuristic art exhibitions were held in London, Berlin, Brussels, Vienna, Chicago, Amsterdam, The Hague and Munich. In this way, futurism gradually went abroad and became an important part of the world modernism movement.

Futurism painting is dedicated to expressing "the whirlpool of modern life-a life of steel, fanaticism, pride and galloping." (19 10, Declaration of Futurism Painting) The painters tried to explain the process of movement, speed and change on the canvas. Space no longer exists, objects will never stand still, they will never stop moving and penetrate each other, just as those painters described, "Our bodies penetrate the sofa where we are sitting, and the sofa also penetrates our bodies." In the process of putting theory into practice, futurism is deeply influenced by new impressionism and cubism. It draws lessons from neo-impressionism's stippling technique, and the colors are mostly strong, such as being decomposed by prisms, showing some special flicker fluctuations. It also draws lessons from many cubist formal languages, and, like cubism, is committed to conveying the aesthetic concept of modern industrial society. But the difference between them is also obvious: Cubism is a static geometric composition, which expresses the static beauty of machinery through decomposition and reconstruction, while Futurism pursues movement and change. Those dazzling and colorful scenes tell the artist's enthusiasm and passion for industrial civilization. 19 14 The war that broke out meant the disintegration of the futurist school. With the unexpected death of Bochuni, an important figure of the painting school, in 19 16, it is impossible for this group to reorganize. But its influence did not disappear with it.

Representative figures and representative works:

Ciacombolla (1871-1958), Running State of the Tied Dog;

Umberto Boccioni (1882— 19 16), the rise of the city;

Gino severini (gino severini, 1883— 1966) has dynamic hieroglyphics in Tabarin ballroom;