The story of modern art in six paintings
- Untold Sketcher
- 2 days ago
- 6 min read
Updated: 2 hours ago
If you’re anything like me going to a modern art museum can feel overwhelming. What do I look at first? Where do I start? Oh look that’s interesting, what does it mean?… By the time you’re done, you’ve walked what feels like six miles and you slump into the nearest cafe. You feel confused or bemused by what you’ve just experienced and none the wiser.
Modern art often takes a lot of concentrated time to read but it’s worth the effort. Some simple planning and choosing five or six pieces of work to focus on makes for a great experience. With this in mind, I’ve picked six paintings at Tate Modern in London to see. The reason? These paintings tell you the story of modern art.
All six are on level two in the main Natalie Bell building - In The Studio – Display. When you’re finished, Cafe Modern Two is on the same floor.
Let’s start with George Braque.
1. George, Braque, Clarinet and a bottle of rum on a mantel piece (1911).
Why does our story start here?
This painting is a seminal example of Analytical Cubism. The work can be seen as part of the catalyst for many later abstract styles. This phase of Cubism from around 1907 / 1908 to 1912 emphasises the deconstruction of subject matter into geometric forms. Drawing attention to representations of the subject from multiple perspectives, George Braque and Pablo Picasso were pioneers of this movement. The works were often represented with a limited pallet of browns, greys and blacks. As with many of the works, the painting can be difficult to read. It’s abstracted and geometric composition beckons the viewer to pick out shapes and forms that can be constructed into recognisable objects from their material world.
In the centre of the work, a clarinet is placed horizontally on a mantelpiece. In front stands a bottle with the letters RHU. Rhum is the French word for rum. The work was notably created in Provence. Braque and Picasso’s revolutionary approach to representing reality paved the way for future art movements such as Constructivism and Neo-plasticism. It’s also interesting to note that Cubism is a prerequisite to Pop-Art. Just like the Cubists, Pop artists often used collage, fragmented imagery and bold lines.
2. Paul Cezanne, The Gardener Vallier (1906).
How does this fit so well with revolutionary approaches to deconstructed images?
Cezanne’s use of form, colour and altered perspective in this painting strongly influenced Cubism as we know it today. The painting was completed five years prior to Braque’s and sits somewhere between Impressionism and Cubism. Although Cezanne wouldn’t have considered himself an Impressionist, his interest in overlapping brushstrokes that capture light and shade bear some resemblance to the Impressionist movement.
However, there’s more focus on the structural elements that mirror the techniques used by Braque and Picasso. He was primarily interested in emphasising the underlying structure of things. He achieved this by altering the conventional approach to perspective by focusing on colour modulation. He also used a subdued and earthy palette which connects the sitter to his surroundings in a way that’s distinct and yet also merges the two together. All of the marks overlap in a way that gives life, harmony, form and structure to the painting.
3. Christian Schad, Agosta Pigeon Chested Man and Rasha, The Black Dove
Where does Christian Schad;s work fit into all this?
Christian Schad’s work, Neue Sachlichkeit (New Objectivity), can be seen as a reaction against many things, including Cubism. This movement emphasised a return to realistic representation. Its aim? To depict the harsh realities of post-World War I. A key element of this painting is Schad’s social critique of German society during this period. The artist portrays his subjects in an objective and uncompromising way, which makes the viewer feel uneasy. The large and life-sized perspective also adds to this unease.
This is especially poignant when we connect with the lived experiences of the sitters. Both were displayed at a funfair in north Berlin. As part of the performance, Agosta displayed his chest, referred to as pigeon chest. Rasha, who was from Madagascar, is referred to as black dove and appeared with a large snake wrapped around her. Both are named after birds and singled out as ‘othered’ curiosities. In light of this, art historian Matthais Eberle suggested in his book A Brief History that the artist was in some ways ‘ennobling them with his style’.
4. Max Ernst, The Elephant Celebes (1921).
Surrealist dreams or nightmares?
Max Ernst showcases his leap into the world of Surrealism where dreams, nightmares and reality come together as one. The large figure that dominates appears as a hybrid elephant / machine. The horned like head can be attributed to African art influences, specifically Sudanese. Many modern artists at the time, notably Picasso, were heavily influenced by African art and artefacts. The main body formation in the painting looks remarkably like a Konkombwa and or bomb. Ernst spoke openly about how the horrors of his time spent at war deeply affected him. To the right of the image is a plume of smoke perhaps also a vivid reminder of his time spent in service. Look closely at the sky on the left and you will also see fish seemingly swimming which gives a dreamlike energy to the piece. It also creates unease and disorientation. The headless mannequin and the other irrational imagery create an unsettling and enigmatic atmosphere. The Surrealist movement was fascinated with the human subconscious mind and imagination. This work is an early piece and at this time Sigmund Freud’s research into the human psychology was of particular interest to followers of the movement.
With a backdrop of the horrors of war where next for the story of modern art?
5. Jackson Pollock, Yellow Island (1952).
A chaotic mess or something deeper?
Jackson Pollock was a leading figure and pioneer of the post-World War II Abstract Expressionist movement. How can an artist express the inexpressible? After the horrors of war, Pollock and his peers looked inwards for answers. He was primarily interested in the exploration of raw unfiltered emotions and movement as can be seen here in his work Yellow Island.
Just like the Surrealists, Pollock had a continued fascination with the unconscious mind. What do you see when you look at this painting? A chaotic mess or something deeper pointing to the complex nature of the human experience? Perhaps the first question should be how does it make us feel as a viewer? This kind of work is all about emersion, expression and feeling. In part, this can be attributed to the scale of the painting which creates a powerful visual impact. If we bypass our logical sides the power and raw energy of the work is undeniable.
6. Gerhard Richter, Cage (1) (2006).
Where next for the story of modern art?
This large abstract by Gerhard Richter is part of his works titled Cage (1-6).
The artist was inspired by a piece of music called 4.’33’’ by the musician John Cage. The music was composed in 1952. The score instructs the performers not to play any music throughout the first three movements, in total four minutes and thirty three seconds. When he first preformed the piece crowds filed the concert hall and continued to chatter waiting for the music to start, unawares that they themselves and their chatter were part of the performance.
The piece is marked by silence except for ambient sound. This has a Duchampian feel to it. The composer certainly identified with the Avant-garde. Cage said: ‘ I have nothing to say and I’m saying it’ and ‘[the Cage paintings] are Richter’s beautiful way of saying nothing, and as such, of once more declaring his uncompromising independence,’ says Robert Storr. What do you see when you look at this work? Some people liken it to Monet’s Water Lilies, this is subjective of course. Read Mark Rothko and Gerhart Richter- good neighbours for more on this.
To wrap up
If you do go to Tate Modern - here are a few hints and tips. Try and keep an open mind and research the art / artist before you choose the work(s). Just choose a limited number to really get under the skin of them. Bear in mind the purpose / meaning of the work(s) isn’t immediately easy to understand. Modern art often takes time especially when it comes to understanding the artist’s intentions. Be adventurous. Give artists that are new to you a chance. For those with mobility issues there are accessible toilets on all levels. There are general lifts and dedicated radar key operated lifts in the Natalie Bell building and the newer Blavatnik building. I would advise planning your trip, the building was once the Bankside Power Station and is huge! Most of all enjoy!
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