Editing Modern art (section)

=== Early 20th century ===
[[File:Les Demoiselles d'Avignon.jpg|thumb|left|[[Pablo Picasso]], ''[[Les Demoiselles d'Avignon]]'' 1907, [[Museum of Modern Art]], [[New York City|New York]]]]
[[File:La danse (I) by Matisse.jpg|thumb|left|[[Henri Matisse]], ''[[Dance (Matisse)|The Dance I]]'', 1909, [[Museum of Modern Art]], [[New York City|New York]]]]
[[File:Franz Marc 020.jpg|thumb|left|[[Franz Marc]], ''Rehe im Walde'' (''Deer in Woods''), 1914, [[Kunsthalle Karlsruhe]]]]

Among the movements that flowered in the first decade of the 20th century were [[Fauvism]], [[Cubism]], [[Expressionism]], and [[futurism (art)|Futurism]].

In 1905, a group of four German artists, led by [[Ernst Ludwig Kirchner]], formed [[Die Brücke]] (The Bridge) in the city of [[Dresden]].<ref>{{Cite web |title=Die Brücke (The Bridge) |url=https://www.moma.org/collection/terms/die-brucke-the-bridge |access-date=2025-01-06 |website=The Museum of Modern Art |language=en}}</ref> This was arguably the founding organization for the [[German Expressionist]] movement, though they did not use the word itself. A few years later, in 1911, a like-minded group of young artists formed [[Der Blaue Reiter]] (The Blue Rider) in Munich.<ref>{{Cite web |date=2020-09-04 |title=Shows That Made Contemporary Art History |url=https://magazine.artland.com/the-shows-that-made-contemporary-art-history-the-first-exhibition-of-der-blaue-reiter/ |access-date=2025-01-06 |website=Artland Magazine |language=en-US}}</ref> The name came from [[Wassily Kandinsky]]'s ''Der Blaue Reiter'' painting of 1903. Among their members were [[Wassily Kandinsky|Kandinsky]], [[Franz Marc]], [[Paul Klee]], and [[August Macke]]. However, the term "Expressionism" did not firmly establish itself until 1913.<ref name=Sheppard/>{{rp|page=274}}

Futurism took off in Italy a couple years before [[World War I]] with the publication of [[Filippo Tommaso Marinetti]]'s ''[[Manifesto of Futurism|Futurist Manifesto]]''.<ref>{{Cite web |title=Khan Academy |url=https://www.khanacademy.org/humanities/art-1010/xdc974a79:italian-art-before-world-war-i/art-great-war/a/italian-futurism-an-introduction#:~:text=Marinetti%20launched%20Futurism%20in%201909,museums,%20libraries,%20and%20feminism. |access-date=2025-01-06 |website=www.khanacademy.org |language=en}}</ref> [[Benedetta Cappa|Benedetta Cappa Marinetti]], wife of Filippo Tommaso Marinetti, created the second wave of the artistic movement started by her husband. "Largely thanks to Benedetta, her husband F.T. Marinetti re orchestrated the shifting ideologies of Futurism to embrace feminine elements of intuition, spirituality, and the mystical forces of the earth."<ref>{{Cite journal |last=Conaty |first=Siobhan M. |date=2009 |title=Benedetta Cappa Marinetti and the Second Phase of Futurism |jstor=i40026522 |journal=Woman's Art Journal |volume=30 |issue=1 |pages=19–28 }}</ref> She painted up until his death and spent the rest of her days tending to the spread and growth of this period in Italian art, which celebrated technology, speed and all things new.<ref>{{Cite web |title=Benedetta Cappa Marinetti |url=https://artsandculture.google.com/story/benedetta-cappa-marinetti/9gICBKcaODaiIQ |access-date=2025-01-06 |website=Google Arts & Culture |language=en}}</ref>

During the years between 1910 and the end of [[World War I]] and after the heyday of [[cubism]], several movements emerged in Paris. [[Giorgio de Chirico]] moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as [[Alberto Savinio]]).<ref>{{Cite book |last=James |first=Thrall Soby |url=https://www.moma.org/documents/moma_catalogue_1967_300298679.pdf |title=Giorgio de Chirico |publisher=Simon and Schuste |year=1955 |location=New York }}</ref> Through his brother, he met Pierre Laprade, a member of the jury at the [[Salon d'Automne]] where he exhibited three of his dreamlike works: ''Enigma of the Oracle'', ''Enigma of an Afternoon'' and ''Self-Portrait''. In 1913 he exhibited his work at the [[Salon des Indépendants]] and Salon d'Automne, and his work was noticed by [[Pablo Picasso]], [[Guillaume Apollinaire]], and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of [[Surrealism]]. ''[[The Song of Love (Giorgio de Chirico)|Song of Love]]'' (1914) is one of the most famous works by de Chirico and is an early example of the [[Surrealism|surrealist]] style, though it was painted ten years before the movement was "founded" by [[André Breton]] in 1924. The [[School of Paris]], centered in [[Montparnasse]] flourished between the two world wars.

World War I brought an end to this phase but indicated the beginning of many [[anti-art]] movements, such as the in [[Dada#Zürich|Zürich]] and [[Dada#Berlin|Berlin]] emerging [[Dada]], including the work of [[Emmy Hennings]], [[Hannah Höch]], [[Hugo Ball]] and [[Marcel Duchamp]], and of [[Surrealism]].<ref>{{Cite journal |date=March 27, 1968 |title=Dada, Surrealism, and Their Heritage |url=https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/4009/releases/MOMA_1968_Jan-June_0026_26.pdf |journal=The Museum of Modern Art}}</ref> Artist groups like [[de Stijl]] and [[Bauhaus]] developed new ideas about the interrelation of the arts, architecture, design, and art education.<ref>{{Cite book |last=Bayer |first=Herbert |url=https://www.moma.org/documents/moma_catalogue_2735_300190238.pdf |title=Bauhaus, 1919–1928 |date=1938 |publisher=The Museum of Modern Art: Distributed by New York Graphic Society|isbn=0870702408 |location=New York }}</ref>

Modern art was introduced to the United States with the [[Armory Show]] in 1913 and through European artists who moved to the U.S. during [[World War I]].<ref>{{Cite book|last=Martinez |first=Andrew |date=1933 |title=One Hundred Years at the Art Institute: A Centennial Celebration |url=https://publications.artic.edu/gauguin/sites/default/files/file_assets/61_Gau_MuseumStudies_Martinez19.1Centennial.pdf |publisher=Art Institute of Chicago Museum |chapter=A Mixed Reception for Modernism: The 1913 Armory Show at the Art Institute of Chicago |volume=19 |issue=1 |pages=30–57+102–105 |JSTOR=}}</ref>