Top 100 - Essential paintings of the 20th century
The 100 essential paintings of the 20th century
A cultural, visual and slightly mischievous classification to cross essential paintings of the 20th century without losing your way in the golden frames.
These hundred paintings span the 20th century from 1900 to 1999, from the last Secessions to the post-war period. They follow the metamorphoses of color, figure and space between Paris, Vienna, Munich, Berlin, Moscow, New York, Mexico and many other homes.
The century when painting changed rules several times
One hundred paintings between free color, abstraction and the modern world
At the beginning of the century, painting still had the frames of portrait, landscape, historical scene and great decor. Klimt, Matisse, Rousseau, Bonnard and Schiele nevertheless transformed them from the inside by giving color, line and ornament a new autonomy.
In the 20th century, painting abandoned perspective, found it, cut it out, flattened it and sometimes asked it to wait in the corridor. No other century has so transformed its own rules while stubbornly continuing to create images.Switch to images
Classification in images
Klimt, Matisse, Malevich, Kandinsky, Mondrian, Hopper, Kahlo and Pollock open the route with works that have become universal landmarks.
#1
The kiss
Two lovers wrap themselves in a golden rectangle whose motifs discreetly oppose their two bodies. Klimt completed Le Baiser in 1909, at the height of his "golden period", by combining metal foil, ornament and carnal modeling. The flowery meadow holds the couple at the edge of an almost depthless space, as if the embrace also suspended the ordinary laws of decor. The painting thus unites the intimacy of a gesture with the monumental presence of an icon.
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#2
The dance
Five naked figures rotate on a green hill between earth and sky, without decoration capable of slowing down their circle. Matisse simplifies bodies, colors and space so that movement flows from one hand to the other. Painted in 1909-1910 for the collector Sergei Shchukin, Dance gives color an autonomy as powerful as the subject. The apparent evidence of the scene, however, rests on a very precise balance between collective momentum, central void and rupture of the circle.
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#3
Black square
A black quadrilateral, slightly irregular, floats on a white background which preserves the trace of the brush and time. Presented in 1915 in the exhibition "0.10", Black Square then occupies the upper corner of the room, the traditional location of the icon in the Russian house. Malevich does not offer a simple geometric exercise: he seeks a starting point freed from the representation of objects. Painting becomes a threshold, radical in its ambition and surprisingly material when observed closely.
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#4
Composition VII
Kandinsky brings together lines, arcs, colored masses and signs in a surface of which no figure permanently governs the reading. Composition VII was painted in Munich in November 1913 after a long preparation in drawings, watercolors and studies. The themes of resurrection, flood and judgment remain there in the form of tensions rather than recognizable stories. The work demonstrates that abstraction can produce monumental intensity without renouncing the memory of images.
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#5
Broadway Boogie Woogie
Mondrian transforms the New York grid into a vibrant network of yellow, red, blue and gray bands. Begun in 1942 and completed in 1943, Broadway Boogie Woogie replaces the large black lines of his earlier compositions with a pulsation of small colored rectangles. The title directly associates this structure with the plan of Manhattan and the syncopated rhythm of boogie-woogie. The modern city is not represented by its buildings: it becomes cadence, circulation and electric light.
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#6
Nighthawks
Four people occupy a nighttime dinner whose bay window exposes the interior light to an almost empty street. Hopper painted Nighthawks in 1942, in an America that had recently entered the war, without transforming the scene into an explicit political anecdote. The triangular counter brings the figures together while emphasizing their isolation, because no visible door really connects the viewer to the place. The fame of the painting is due to this lasting contradiction: everything is offered to the eye, but nothing allows entry.
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#7
American Gothic
A farmer holds his pitchfork in front of a neo-Gothic house, accompanied by a woman whose gaze turns slightly away. Grant Wood painted American Gothic in 1930 after noticing an Iowa mansion and asked his sister and dentist to pose. The shapes of the fork are repeated in the seams, windows and silhouette of the characters, giving the image its almost heraldic rigor. Depending on the look, the couple appears austere, dignified or satirical: American painting had just won a national enigma.
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#8
The Broken Column
Frida Kahlo represents herself with her torso open, supported by a corset and crossed by a broken ionic column in place of the vertebra. The nails scattered on the skin make visible chronic pain that the desert landscape prolongs without looking away. Painted in 1944 after a new medical intervention, The Broken Column transforms the portrait into symbolic anatomy. Tears, however, do not cancel the frontality of the model: vulnerability and resistance occupy exactly the same body.
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#9
Convergence
Black, white, red, yellow and blue filaments intersect on an immense surface, no center of which stabilizes the reading. Pollock created Convergence in 1952 by pouring and projecting the painting around a canvas placed on the ground. The successive layers record the painter's movements without being reduced to the trace of a single gesture. The successive layers record the painter's movements without being reduced to the trace of a single gesture. The work makes the composition a continuous field: the gaze no longer contemplates a scene, it is measured by an energy which seems to go beyond the edges.
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#10
Portrait of Adèle Bloch-Bauer I
Adèle Bloch-Bauer appears in a gold surface where the armchair, the dress and the background tend to merge. Klimt painted the portrait in 1907 by mixing facial observation, geometric patterns, symbols and precious materials. The clenched hands preserve the singularity of the model while the ornament transforms her body into an almost liturgical appearance. The eventful history of the canvas, despoiled under Nazism then returned to the heirs, has further strengthened its place in the memory of the century.
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#11
The Red Workshop
Matisse almost entirely covers his studio in a continuous Venetian red, leaving furniture and objects only with thin colored reserves. Painted in the fall of 1911, L'Atelier rouge brings together in the image several works actually present in his work space. Perspective is not suppressed but made unstable by color, which advances in front of objects while containing them. This shadowless piece has deeply marked the history of modern painting by making the background the main event of the painting.
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#12
The dream
A naked woman rests on a sofa in the middle of a jungle where lions, birds, flowers and snakes emerge in compact vegetation. Rousseau painted Le Rêve in 1910, without having traveled to the tropics, from the greenhouses, gardens and images available in Paris. The figure of Yadwigha seems simultaneously installed in a living room and transported to the forest she imagines. The figure of Yadwigha seems simultaneously installed in a living room and transported to the forest she imagines. The work thus carries the logic of dreams even in its construction: the impossible becomes perfectly calm.
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#13
Composition VIII
Circles, diagonals, checkerboards, angles and wavy lines are organized on a light background with almost musical precision. Kandinsky painted Composition VIII in July 1923, shortly after his arrival at the Bauhaus, where his reflection on the relationships between shape and color became more systematic. The image remains dynamic without seeking the tumult of Composition VII ten years earlier. Geometry does not mean coldness: on the contrary, it allows you to vary weight, speed, distance and visual sound.
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#14
Five women in the street
Five women dressed in Berlin fashion stand on a street compressed by sharp angles and acidic colors. Kirchner painted Five Women in the Street in 1913, when his urban scenes described the metropolis as a theater of speed, desire and alienation. The elegant silhouettes resemble each other without becoming anonymous, each slightly shifting the rhythm of the group. The modern city hardly appears around them: it is already inscribed in their sharp postures.
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#15
Death and Young Girl
A man clings to a young woman whose body collapses into a white sheet, in the middle of a dark and almost naked landscape. Schiele painted Death and Maiden in 1915, shortly before his military service and his marriage to Edith Harms. The two figures take up the traditional theme of Death and the Maiden, shortly before his military service and his marriage to Edith Harms. The two figures here take up the traditional theme of Death and the girl, but the painter here gives the allegory the tension of a personal farewell. The embrace protects as much as it encloses, leaving the painting with its deep emotional ambiguity.
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#16
Senecio
A circular face is constructed in flat red, yellow, white and brown areas, between mask, portrait and sign. Klee painted Senecio in 1922 on gauze mounted on cardboard, a support which contributes to its matte and slightly irregular surface. The offset eyes and geometric divisions prevent the head from settling into a single expression. The work fits into this very modern balance: a few elementary shapes are enough to produce a human presence that is both familiar and unstable.
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#17
Udnie
Picabia deploys in Udnie a mechanism of curved planes, colored fragments and shapes which seem to simultaneously rotate and collide. Painted in 1913, the canvas is linked to the impressions of the artist's trip to the United States and to the memory of a dancer seen during a crossing. Its enigmatic title, however, refuses to reduce abstraction to an identifiable scene. With its three-meter format, the work gives modern movement the scale of a large setting.
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#18
Proun 19D
Lissitzky assembles squares, diagonals, circles, textures and inclined planes in a space that appears to be able to pivot out of the wall. Proun 19D, dated 1920 or 1921, belongs to a series whose name designates a "project for the affirmation of the new". The artist brings together painting, typography and architecture using materials as diverse as wood, paper, sand and metal foil. The artist brings together painting, typography and architecture using materials as diverse as wood, paper, sand and metal foil. The surface becomes less of a window than an experimental site for a space to be built.
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#19
Dada composition (Flat head)
Sophie Taeuber-Arp transposes the frontal structure of her famous Dada heads onto a rectangle, between face, grid and decorative pattern. Created in 1920, Composition dada combines geometric flat areas, eye signs and plant fragments without hierarchy between fine and applied arts. The canvas glued to cardboard retains the precision of a construction while playing with very bright colors. This deliberately indocile synthesis makes the work a major milestone between Dada and constructivist abstraction.
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#20
The ten greatest, n° 2, Childhood
Spirals, flowers, letters and organic shapes unfold on a sheet of more than three meters, in luminous roses, blues, yellows and oranges. Hilma af Klint painted The Ten Greatest, n° 2, Childhood in 1907 within the cycle of Paintings for the Temple. The series evokes the ages of life through an elaborate symbolic language before abstraction publicly took hold in Europe. Its scale transforms painting into an environment: childhood is no longer an illustrated subject, but a chromatic world to cross.
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#21
Woman in hat
"Woman in the Hat" organizes the surface as a field of forces where each color modifies the weight of its neighbors. In "Woman in the Hat", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1905, this painting places Henri Matisse's invention in the concrete chronology of the century. For "Woman in the Hat", the work reminds us that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#22
Luxury, calm and voluptuousness
"Luxury, calm and voluptuousness" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. For "Luxury, calm and voluptuousness", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1904, this painting places the invention of Henri Matisse in the concrete chronology of the century. For "Luxury, calm and voluptuousness", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#23
The happiness of living
"Le Bonheur de vivre" combines simplification of forms and very concrete attention to materials. For "Le Bonheur de vivre", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1905-1906, this painting places the invention of Henri Matisse in the concrete chronology of the century. For "Le Bonheur de vivre", this painting places the invention of Henri Matisse in the concrete chronology of the century. For "Le Bonheur de vivre", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#24
The Red Trolley
"La Desserte rouge" leads the eye through diagonals, repetitions and rhythm deviations. For "La Desserte rouge", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1908, this painting places Henri Matisse's invention in the concrete chronology of the century. For "La Desserte rouge", the painting thus places a question of its time in the concrete chronology of the century. For "La Desserte rouge", the painting thus brings a question of its time into a much longer history of painting.
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#25
Goldfish
"Goldfish" transforms a recognizable pattern into an autonomous experience of color and space. In "Goldfish", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1912, this painting places Henri Matisse's invention in the concrete chronology of the century. For "Goldfish", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
Discover →Fauvism, expressionism, Nabis and primitivism transform landscape, portrait and interior into experiences of color.
#26
French window in Collioure
"Window door in Collioure" brings tension, stability of composition and sensation of movement. With "Window door in Collioure", modern space becomes a network of speeds, encounters, work or conflict. Dated 1914, this painting places Henri Matisse's invention in the concrete chronology of the century. For "Window door in Collioure", the result summarizes a historical break without losing the very concrete singularity of its author.
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#27
The Snake Charmer
"The Snake Charm" uses contrasts to make an emotion visible without enclosing it in a story. In "The Snake Charm", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1907, this painting places Henri Rousseau's invention in the concrete chronology of the century. For "The Snake Charm", its strength finally comes from the fact that it transforms formal research into an experience accessible to the spectator.
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#28
The lion, hungry, throws himself at the antelope
"The lion, being hungry, throws itself on the antelope" brings the detail observed into dialogue with a larger and almost architectural construction. In "The lion, being hungry, throws itself on the antelope", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1905, this painting places Henri Rousseau's invention in the concrete chronology of the century. For "The lion, being hungry, throws himself on the antelope", its place in this journey is due to the way in which it makes a lasting transformation of the gaze perceptible.
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#29
The Lion's Supper
"The Lion's Meal" dismisses the traditional perspective in order to give more authority to the plan of the painting. In "The Lion's Meal", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1907, this painting places Henri Rousseau's invention in the concrete chronology of the century. For "The Lion's Meal", the fame of the image should not mask the precision with which its device was constructed.
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#30
Naked in the bath
"Nude in the bath" brings together gesture, geometry and memory of reality in an immediately identifiable image. In "Nude in the Bath", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1936, this painting places Pierre Bonnard's invention in the concrete chronology of the century. For "Nude in the Bath", the image shows how a work can be immediately readable while resisting a unique interpretation.
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#31
Lunch
"Le Déjeuner" organizes the surface as a field of forces where each color modifies the weight of its neighbors. For "Le Déjeuner", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1923, this painting places Pierre Bonnard's invention in the concrete chronology of the century. For "Le Déjeuner", the work recalls that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#32
Countryside dining room
"Dining room in the countryside" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. In "Dining room in the countryside", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1913, this painting places Pierre Bonnard's invention in the concrete chronology of the century. For "Dining room in the countryside", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#33
The Mimosa Workshop
"L’Atelier au mimosa" combines simplification of shapes and very concrete attention to materials. In "L’Atelier au mimosa", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1939-1946, this painting places Pierre Bonnard’s invention in the concrete chronology of the century. For "L’Atelier au mimosa", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#34
Composition VI
"Composition VI" leads the eye through diagonals, repetitions and rhythm deviations. For "Composition VI", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated 1913, this painting places Wassily Kandinsky's invention in the concrete chronology of the century. For "Composition VI", this painting places Wassily Kandinsky's invention in the concrete chronology of the century. For "Composition VI", the painting thus brings a question of its time into a much longer history of painting.
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#35
Composition X
"Composition X" transforms a recognizable pattern into an autonomous experience of color and space. For "Composition X", abstraction does not remove meaning: it redistributes it between rhythm, color, material and balance. Dated 1939, this painting places Wassily Kandinsky's invention in the concrete chronology of the century. For "Composition X", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
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#36
Some Circles
"Some Circles" brings together the stability of the composition and the sensation of movement. For "Some Circles", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1926, this painting places Wassily Kandinsky's invention in the concrete chronology of the century. For "Some Circles", the result summarizes a historical break without losing the very concrete singularity of its author.
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#37
Yellow-red-blue
"Yellow-red-blue" uses contrasts to make an emotion visible without enclosing it in a story. For "Yellow-red-blue", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1925, this painting places Kandinsky's invention in the concrete chronology of the century. For "Yellow-red-blue", its strength finally comes from the fact that it transforms formal research into an experience accessible to the spectator.
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#38
Sky blue
"Bleu de ciel" brings the observed detail into dialogue with a larger and almost architectural construction. For "Bleu de ciel", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1940, this painting places Kandinsky's invention in the concrete chronology of the century. For "Bleu de ciel", its place in this journey is due to the way in which it makes a lasting transformation of the gaze perceptible.
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#39
Red square: pictorial realism of a peasant woman in two dimensions
"Red square: pictorial realism of a peasant woman in two dimensions" dismisses the traditional perspective in order to give more authority to the plan of the painting. For "Red square: pictorial realism of a peasant woman in two dimensions", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1915, this painting places Kazimir Malevich's invention in the concrete chronology of the century. For "Red square: pictorial realism of a peasant woman in two dimensions", the abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1915, this painting places Kazimir Malevich's invention in the concrete chronology of the century. For "Red square: pictorial realism of a peasant woman in two dimensions", this painting places Kazimir Malevich's invention in the concrete chronology of the century. For "Red square: pictorial realism of a peasant woman in two dimensions", the fame of the image should not mask the precision with which his device was constructed.
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#40
Composition with red, blue and yellow
"Composition with red, blue and yellow" brings together gesture, geometry and memory of reality in an immediately identifiable image. For "Composition with red, blue and yellow", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1930, this painting places Piet Mondrian's invention in the concrete chronology of the century. For "Composition with red, blue and yellow", this painting places Piet Mondrian's invention in the concrete chronology of the century. For "Composition with red, blue and yellow", the image shows how a work can be immediately readable while resisting a unique interpretation.
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#41
New York City I
"New York City I" organizes the surface as a field of forces where each color modifies the weight of its neighbors. For "New York City I", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1942, this painting places Piet Mondrian's invention in the concrete chronology of the century. For "New York City I", the work recalls that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#42
Chirping machine
"Chirping machine" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. For "Chirping Machine", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1922, this painting places Paul Klee's invention in the concrete chronology of the century. For "Chirping Machine", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#43
Ad Parnassum
"Ad Parnassum" combines simplification of forms and very concrete attention to materials. For "Ad Parnassum", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1932, this painting places Paul Klee's invention in the concrete chronology of the century. For "Ad Parnassum", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#44
Angelus Novus
"Angelus Novus" leads the eye through diagonals, repetitions and rhythm deviations. For "Angelus Novus", abstraction does not remove meaning: it redistributes it between rhythm, color, material and balance. Dated from 1920, this painting places Paul Klee's invention in the concrete chronology of the century. For "Angelus Novus", this painting places Paul Klee's invention in the concrete chronology of the century. For "Angelus Novus", the painting thus brings a question of its time into a much longer history of painting.
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#45
Magic of fish
"Magic of Fish" transforms a recognizable pattern into an autonomous experience of color and space. For "Magic of Fish", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated 1925, this painting places Paul Klee's invention in the concrete chronology of the century. For "Magic of Fish", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
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#46
Blue horse I
"Blue Horse I" brings tension, stability of composition and sensation of movement. In "Blue Horse I", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1911, this painting places Franz Marc's invention in the concrete chronology of the century. For "Blue Horse I", the result summarizes a historical break without losing the very concrete singularity of its author.
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#47
The Yellow Cow
"The Yellow Cow" uses contrasts to make an emotion visible without enclosing it in a story. In "The Yellow Cow", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1911, this painting places Franz Marc's invention in the concrete chronology of the century. For "The Yellow Cow", its strength finally comes from the fact that it transforms formal research into an experience accessible to the spectator.
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#48
Woman in green jacket
"Woman in the Green Jacket" brings the observed detail into dialogue with a larger and almost architectural construction. In "Woman in the Green Jacket", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1913, this painting places August Macke's invention in the concrete chronology of the century. For "Woman in the Green Jacket", its place in this journey is due to the way in which it makes a lasting transformation of the gaze noticeable.
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#49
Walk
"Promenade" dismisses the traditional perspective in order to give more authority to the plan of the painting. With "Promenade", modern space becomes a network of speeds, encounters, work or conflict. Dated 1913, this painting places August Macke's invention in the concrete chronology of the century. For "Promenade", the fame of the image should not mask the precision with which its device was constructed.
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#50
Street in Berlin
"Street in Berlin" brings together gesture, geometry and memory of reality in an immediately identifiable image. With "Street in Berlin", modern space becomes a network of speeds, encounters, work or conflict. Dated 1913, this painting places the invention of Ernst Ludwig Kirchner in the concrete chronology of the century. For "Street in Berlin", the image shows how a work can be immediately readable while resisting a unique interpretation.
Discover →Cubism, Orphism, Futurism, Dada and Constructivism fragment space, celebrate the machine or organize an entirely new language.
#51
Self-portrait as a soldier
"Self-portrait as a soldier" organizes the surface as a field of forces where each color modifies the weight of its neighbors. In "Self-portrait as a soldier", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1915, this painting places the invention of Ernst Ludwig Kirchner in the concrete chronology of the century. For "Self-portrait as a soldier", the work recalls that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#52
Portrait of Wally
"Portrait of Wally" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. In "Portrait of Wally", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1912, this painting places the invention of Egon Schiele in the concrete chronology of the century. For "Portrait of Wally", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#53
Self-portrait with Physalis
"Self-portrait with Physalis" combines simplification of forms and very concrete attention to materials. In "Self-portrait with Physalis", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1912, this painting places Egon Schiele's invention in the concrete chronology of the century. For "Self-portrait with Physalis", this painting places Egon Schiele's invention in the concrete chronology of the century. For "Self-portrait with Physalis", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#54
The night
"Night" leads the eye through diagonals, repetitions and rhythm deviations. In "Night", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1918-1919, this painting places Max Beckmann's invention in the concrete chronology of the century. For "La Nuit", the painting thus brings a question of its time into a much longer history of painting.
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#55
The departure
"Le Départ" transforms a recognizable pattern into an autonomous experience of color and space. For "Le Départ", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1932-1935, this painting places Max Beckmann's invention in the concrete chronology of the century. For "Le Départ", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
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#56
The Swan Princess
"The Swan Princess" brings together the stability of the composition and the sensation of movement. In "The Swan Princess", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1900, this painting places Mikhail Vrubel's invention in the concrete chronology of the century. For "The Swan Princess", the result summarizes a historical break without losing the very concrete singularity of its author.
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#57
The Turtle Trainer
"The Turtle Trainer" uses contrasts to make an emotion visible without enclosing it in a story. For "The Turtle Trainer", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1906, this painting places the invention of Osman Hamdi Bey in the concrete chronology of the century. For "The Turtle Trainer", its strength finally comes from the fact that it transforms formal research into an experience accessible to the viewer.
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#58
The Eye cacodylate
"The Cacodylate Eye" brings the observed detail into dialogue with a larger and almost architectural construction. For "The Cacodylate Eye", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1921, this painting places Francis Picabia's invention in the concrete chronology of the century. For "The Cacodylate Eye", its place in this journey is due to the way in which it makes a lasting transformation of the gaze perceptible.
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#59
Spanish night
"The Spanish Night" dismisses the traditional perspective in order to give more authority to the plan of the painting. In "The Spanish Night", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1922, this painting places Francis Picabia's invention in the concrete chronology of the century. For "The Spanish Night", the fame of the image should not mask the precision with which its device was constructed.
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#60
Tribute to Blériot
"Homage to Blériot" brings together gesture, geometry and memory of reality in an immediately identifiable image. For "Homage to Blériot", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1914, this painting places Robert Delaunay's invention in the concrete chronology of the century. For "Homage to Blériot", the image shows how a work can be immediately readable while resisting a unique interpretation.
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#61
The City of Paris
"The City of Paris" organizes the surface as a field of forces where each color modifies the weight of its neighbors. With "The City of Paris", modern space becomes a network of speeds, encounters, work or conflict. Dated from 1910-1912, this painting places Robert Delaunay's invention in the concrete chronology of the century. For "The City of Paris", the work reminds us that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#62
Simultaneous windows n°2
"Simultaneous Windows n°2" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. For "Simultaneous Windows n°2", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1912, this painting places Robert Delaunay's invention in the concrete chronology of the century. For "Simultaneous Windows n°2", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#63
Simultaneous disk
"Simultaneous Disc" combines simplification of shapes and very concrete attention to materials. For "Simultaneous Disc", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated 1913, this painting places Robert Delaunay's invention in the concrete chronology of the century. For "Simultaneous Disc", this painting places Robert Delaunay's invention in the concrete chronology of the century. For "Simultaneous Disc", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#64
Contrasts of forms
"Contrasts of shapes" leads the eye through diagonals, repetitions and rhythm deviations. For "Contrasts of Shapes", abstraction does not remove meaning: it redistributes it between rhythm, color, material and balance. Dated 1913, this painting places Fernand Léger's invention in the concrete chronology of the century. For "Contrasts of Shapes", the painting thus places a question of its time in the concrete chronology of the century. For "Contrasts of Shapes", the painting thus brings a question of its time into a much longer history of painting.
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#65
The Woman in Blue
"The Woman in Blue" transforms a recognizable pattern into an autonomous experience of color and space. In "The Woman in Blue", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1912, this painting places Fernand Léger's invention in the concrete chronology of the century. For "The Woman in Blue", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
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#66
The city
"The City" puts the stability of the composition and the sensation of movement in tension. With "The City", modern space becomes a network of speeds, encounters, work or conflict. Dated 1919, this painting places Fernand Léger's invention in the concrete chronology of the century. For "La Ville", the result summarizes a historical break without losing the very concrete singularity of its author.
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#67
The Discs in the City
"Discs in the City" uses contrasts to make an emotion visible without locking it into a story. With "Discs in the City", modern space becomes a network of speeds, encounters, work or conflict. Dated 1920, this painting places Fernand Léger's invention in the concrete chronology of the century. For "Discs in the City", its strength finally comes from the fact that it transforms formal research into an experience accessible to the viewer.
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#68
Still life with checkered tablecloth
"Still life with a checkered tablecloth" brings the observed detail into dialogue with a larger and almost architectural construction. For "Still life with a checkered tablecloth", the painter reformulates an inherited subject in order to give it to the new tensions of his time. Dated 1915, this painting places the invention of Juan Gris in the concrete chronology of the century. For "Still life with a checkered tablecloth", its place in this journey is due to the way in which it makes a lasting transformation of the gaze noticeable.
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#69
Breakfast
"Le Petit Déjeuner" dismisses the traditional perspective in order to give more authority to the plan of the painting. For "Le Petit Déjeuner", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1915, this painting places the invention of Juan Gris in the concrete chronology of the century. For "Le Petit Déjeuner", the celebrity of the image should not mask the precision with which its device was constructed.
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#70
Portrait of Pablo Picasso
"Portrait of Pablo Picasso" brings together gesture, geometry and memory of reality in an immediately identifiable image. In "Portrait of Pablo Picasso", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1912, this painting places the invention of Juan Gris in the concrete chronology of the century. For "Portrait of Pablo Picasso", the image shows how a work can be immediately readable while resisting a unique interpretation.
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#71
The Man in the Hammock
"The Man in the Hammock" organizes the surface as a field of forces where each color modifies the weight of its neighbors. For "The Man in the Hammock", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1909, this painting places the invention of Albert Gleizes in the concrete chronology of the century. For "The Man in the Hammock", the work recalls that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#72
The Woman with Phloxes
"The Woman with Phloxes" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. In "The Woman with Phloxes", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1910, this painting places the invention of Albert Gleizes in the concrete chronology of the century. For "The Woman with Phloxes", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#73
Portrait of Jacques Nayral
"Portrait of Jacques Nayral" combines simplification of forms and very concrete attention to materials. In "Portrait of Jacques Nayral", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1911, this painting places the invention of Albert Gleizes in the concrete chronology of the century. For "Portrait of Jacques Nayral", this painting places the invention of Albert Gleizes in the concrete chronology of the century. For "Portrait of Jacques Nayral", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#74
Football Players
"Football Players" leads the eye through diagonals, repetitions and rhythm deviations. With "Football Players", modern space becomes a network of speeds, encounters, work or conflict. Dated 1912-1913, this painting places the invention of Albert Gleizes in the concrete chronology of the century. For "The Football Players", the painting thus brings a question of its time into a much longer history of painting.
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#75
Battle of Lights, Coney Island
"Battle of Lights, Coney Island" transforms a recognizable pattern into a self-contained experience of color and space. For "Battle of Lights, Coney Island", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1913-1914, this painting places Joseph Stella's invention in the concrete chronology of the century. For "Battle of Lights, Coney Island", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
Discover →War, city, identity, modern life and post-war abstraction show a century as attentive to the world as to the autonomy of painting.
#76
Brooklyn Bridge
"Brooklyn Bridge" brings tension, stability of composition and sensation of movement. With "Brooklyn Bridge", modern space becomes a network of speeds, encounters, work or conflict. Dated 1919-1920, this painting places Joseph Stella's invention in the concrete chronology of the century. For "Brooklyn Bridge", the result summarizes a historical break without losing the very concrete singularity of its author.
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#77
Naked lying
"Nude lying down" uses contrasts to make an emotion visible without locking it into a story. In "Nude lying down", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1917, this painting places the invention of Amedeo Modigliani in the concrete chronology of the century. For "Nude lying down", its strength finally comes from the fact that it transforms formal research into an experience accessible to the spectator.
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#78
The Wounded Angel
"The Wounded Angel" brings the observed detail into dialogue with a larger and almost architectural construction. In "The Wounded Angel", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1903, this painting places Hugo Simberg's invention in the concrete chronology of the century. For "The Wounded Angel", its place in this journey is due to the way in which it makes a lasting transformation of the gaze perceptible.
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#79
The Sun
"The Sun" dismisses the traditional perspective in order to give more authority to the plan of the painting. In "The Sun", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1910-1911, this painting places Edvard Munch's invention in the concrete chronology of the century. For "The Sun", the fame of the image should not mask the precision with which its device was constructed.
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#80
Young girls on a bridge
"Young girls on a bridge" brings together gesture, geometry and memory of reality in an immediately identifiable image. With "Young Girls on a Bridge", modern space becomes a network of speeds, encounters, work or conflict. Dated 1901, this painting places Edvard Munch's invention in the concrete chronology of the century. For "Young Girls on a Bridge", the image shows how a work can be immediately readable while resisting a unique interpretation.
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#81
Judith I
"Judith I" organizes the surface as a field of forces where each color modifies the weight of its neighbors. In "Judith I", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1901, this painting places Gustav Klimt's invention in the concrete chronology of the century. For "Judith I", the work recalls that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#82
Portrait of Emilie Flöge
"Portrait of Emilie Flöge" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. In "Portrait of Emilie Flöge", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1902, this painting places the invention of Gustav Klimt in the concrete chronology of the century. For "Portrait of Emilie Flöge", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#83
The White and the Black
"La Blanche et la Noire" combines simplification of forms and very concrete attention to materials. For "La Blanche et la Noire", the painter reformulates an inherited subject in order to give it to the new tensions of his time. Dated 1913, this painting places the invention of Félix Vallotton in the concrete chronology of the century. For "La Blanche et la Noire", this painting places the invention of Félix Vallotton in the concrete chronology of the century. For "La Blanche et la Noire", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#84
Madame Vuillard sewing
"Madame Vuillard sewing" leads the eye through diagonals, repetitions and rhythm deviations. For "Madame Vuillard sewing", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1902, this painting places Édouard Vuillard's invention in the concrete chronology of the century. For "Madame Vuillard sewing", the painting thus places a question of its time in the concrete chronology of the century. For "Madame Vuillard sewing", the painting thus brings a question of its time into a much longer history of painting.
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#85
The Electricity Fairy
"The Electricity Fairy" transforms a recognizable pattern into an autonomous experience of color and space. For "The Electricity Fairy", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1937, this painting places Raoul Dufy's invention in the concrete chronology of the century. For "La Fée Électrcité", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
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#86
The Pavois Street
"La Rue Pavoisée" brings tension, stability of composition and sensation of movement. With "La Rue Pavoisée", modern space becomes a network of speeds, encounters, work or conflict. Dated from 1906, this painting places Raoul Dufy's invention in the concrete chronology of the century. For "La Rue Pavoisée", the result summarizes a historical break without losing the very concrete singularity of its author.
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#87
Nonchaloir
"Nonchaloir" uses contrasts to make an emotion visible without enclosing it in a story. For "Nonchaloir", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1911, this painting places the invention of John Singer Sargent in the concrete chronology of the century. For "Nonchaloir", its strength finally comes from the fact that it transforms formal research into an experience accessible to the spectator.
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#88
Portrait of Henry James
"Portrait of Henry James" brings the observed detail into dialogue with a larger and almost architectural construction. In "Portrait of Henry James", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1913, this painting places the invention of John Singer Sargent in the concrete chronology of the century. For "Portrait of Henry James", its place in this journey is due to the way in which it makes a lasting transformation of the gaze perceptible.
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#89
Walk by the sea
"Walk by the Sea" dismisses the traditional perspective in order to give more authority to the plan of the painting. With "Walk by the Sea", modern space becomes a network of speeds, encounters, work or conflict. Dated from 1909, this painting places Joaquin Sorolla's invention in the concrete chronology of the century. For "Walk by the Sea", the celebrity of the image should not mask the precision with which its device was constructed.
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#90
Theodore Roosevelt
"Theodore Roosevelt" brings together gesture, geometry and memory of reality in an immediately identifiable image. In "Theodore Roosevelt", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1903, this painting places John Singer Sargent's invention in the concrete chronology of the century. For "Theodore Roosevelt", the image shows how a work can be immediately readable while resisting a unique interpretation.
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#91
The Machine Gun
"La Mitrailleuse" organizes the surface as a field of forces where each color modifies the weight of its neighbors. With "La Mitrailleuse", modern space becomes a network of speeds, encounters, work or conflict. Dated 1915, this painting places CRW Nevinson's invention in the concrete chronology of the century. For "La Mitrailleuse", the work reminds us that the century advances less through a succession of watertight styles than through experiences that respond to each other.
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#92
Back to the trenches
"Return to the Trenches" makes framing a decisive tool for bringing the scene closer to the contemporary gaze. With "Return to the Trenches", modern space becomes a network of speeds, encounters, work or conflict. Dated 1914-1915, this painting places CRW Nevinson's invention in the concrete chronology of the century. For "Return to the Trenches", this personal invention thus joins one of the great collective questions of pictorial modernity.
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#93
The Red Horse Bath
"The Red Horse Bath" combines simplification of shapes and very concrete attention to materials. In "The Red Horse Bath", nature, animal or symbol serves as a laboratory for a color freed from simple imitation. Dated 1912, this painting places the invention of Kouzma Petrov-Vodkin in the concrete chronology of the century. For "The Bath of the Red Horse", this tension between heritage and invention explains why painting remains a landmark of the 20th century.
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#94
Pictorial architectonics (black, red, gray)
"Pictorial architectonics (black, red, gray)" leads the eye through diagonals, repetitions and rhythm deviations. For "Pictorial Architectonics (black, red, gray)", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1916, this painting places Lioubov Popova's invention in the concrete chronology of the century. For "Pictorial Architectonics (black, red, gray)", the painting places Lioubov Popova's invention in the concrete chronology of the century. For "Pictorial Architectonics (black, red, gray)", the painting thus brings a question of its time into a much longer history of painting.
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#95
Venice
"Venice" transforms a recognizable pattern into an autonomous experience of color and space. With "Venice", modern space becomes a network of speeds, encounters, work or conflict. Dated 1915, this painting places Alexandra Exter's invention in the concrete chronology of the century. For "Venice", the painting belongs to a specific moment, but its visual solution will continue to work for several generations.
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#96
Port
"Port" brings tension, stability of composition and sensation of movement. With "Port", modern space becomes a network of speeds, encounters, work or conflict. Dated 1912-1913, this painting places Olga Rozanova's invention in the concrete chronology of the century. For "Port", the result summarizes a historical break without losing the very concrete singularity of its author.
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#97
The sailor
"The Sailor" uses contrasts to make an emotion visible without locking it into a story. In "The Sailor", posture, clothing and direction of gaze construct a presence that is as much social as psychological. Dated 1911, this painting places Vladimir Tatlin's invention in the concrete chronology of the century. For "The Sailor", its strength finally comes from the fact that it transforms formal research into an experience accessible to the spectator.
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#98
Proun 99
"Proun 99" brings the observed detail into dialogue with a larger and almost architectural construction. For "Proun 99", abstraction does not remove the meaning: it redistributes it between rhythm, color, material and balance. Dated from 1924-1925, this painting places El Lissitzky's invention in the concrete chronology of the century. For "Proun 99", its place in this journey is due to the way in which it makes a lasting transformation of the gaze perceptible.
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#99
Wall fresco on Indian red floor
"Mural fresco on Indian red floor" dismisses the traditional perspective in order to give more authority to the plan of the painting. For "Mural fresco on Indian red floor", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1950, this painting places Jackson Pollock's invention in the concrete chronology of the century. For "Mural fresco on Indian red floor", this painting places Jackson Pollock's invention in the concrete chronology of the century. For "Mural fresco on Indian red floor", the fame of the image should not mask the precision with which his device was constructed.
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#100
Ceiling: The birds
"Ceiling: The Birds" brings together gesture, geometry and memory of reality in an immediately identifiable image. For "Ceiling: The Birds", the painter reformulates an inherited subject in order to grant it to the new tensions of his time. Dated 1953, this painting places Georges Braque's invention in the concrete chronology of the century. For "Ceiling: The Birds", the image shows how a work can be immediately readable while resisting a unique interpretation.
Discover →What the ranking reveals
One hundred paintings, three ways to reinvent the image
The 20th century did not follow a regular march towards abstraction. Figuration and non-figuration respond to each other, while portraits, cities, wars and landscapes continue to change function. The rupture becomes a tradition; it nevertheless retains a particularly busy calendar.
Color stops obeying
Matisse, Marc, Macke, Delaunay and Kandinsky use color to structure, intensify or contradict the pattern.
The canvas asserts its autonomy
Malevich, Mondrian, Klee, Lissitzky and Popova show that a painting can produce its own space without imitating that of the world.
Reality comes back differently
Hopper, Kahlo, Beckmann, Wood and Nevinson prove that modern figuration never simply restores ancient conventions.
Chronology of the avant-gardes
Five dates to follow the 20th century
At the Salon d'Automne, Matisse and his companions made color an autonomous tool, capable of constructing the image without reproducing natural tones.
Abstraction, cubism, futurism, orphism and expressionism simultaneously reach an intensity which lastingly disrupts European painting.
Suprematism reduces painting to elementary forms and transforms a dark surface into a radical manifesto.
Wars, dictatorships and exiles force artists to rethink the political, memorial and critical function of images.
American abstract expressionism shifts the artistic center of gravity and makes the act of painting a visible dimension of the work.
The 20th century in depth
Why is the 20th century shaking up painting?
At the beginning of the century, painting still had the frames of portrait, landscape, historical scene and great decor. Klimt, Matisse, Rousseau, Bonnard and Schiele nevertheless transformed them from the inside by giving color, line and ornament a new autonomy.
The avant-gardes accelerate this questioning. Expressionism, Cubism, Futurism, abstraction, Dada and Constructivism do not form a single march towards progress: they are competing responses to metropolises, machines, the media and political crises.
The two world wars displaced artists, destroyed networks and profoundly modified the function of images. Some works directly confront violence, while others construct spaces of withdrawal, order or freedom.
After 1945, New York became a major center without erasing European, Latin American or Russian trajectories. Pollock, Hopper, Kahlo and Mondrian show that modernity circulates between continents and is never limited to a single capital.
This classification therefore favors paintings capable of illuminating an invention, a context or a new way of inhabiting the image. He does not claim to lock a hundred years of art in a still canon: he offers a hundred entry points to understand the century.
Four reading keys
Looking at a century that refuses to stay in a single framework
Color, space, material and context allow us to compare works that everything sometimes seems to oppose. Modernity is not a single style: it is a series of decisions, conflicts and inventions that have rarely taken the time to ask permission.
Observe your autonomy
Comparing descriptive, expressive, symbolic or constructive color reveals several competing definitions of modernity.
Identify the rule
Fragmented perspective, flattened plane, ambiguous depth or geometric grid show how each work organizes its world.
Read the manufacturing
Visible touch, suggested gluing, smooth surface or dripping transform the technical gesture into an integral part of meaning.
Find the story
Wars, revolutions, metropolises, exiles and new media modify subjects, orders and the circulation of images.
Library of the 20th century
Continue after the hundredth breakup
MoMA, Tate, Center Pompidou, Guggenheim, National Gallery of Art, Art Institute of Chicago, modern art museums, Wikipedia and Wikidata allow you to check dates, dimensions, techniques and collections. The manifestos have spoken a lot; the catalogs usefully preserve the evidence.
In Alpha Reproduction
01Gustav KlimtThe essential painting masters of the 20th century02Henri MatisseThe essential painting masters of the 20th century03Kazimir MalevichThe essential painting masters of the 20th century04Wassily KandinskyThe essential painting masters of the 20th century05Piet MondrianThe essential painting masters of the 20th century06Grant WoodThe essential painting masters of the 20th century07Frida KahloThe essential painting masters of the 20th century08Jackson PollockThe essential painting masters of the 20th century09Henri RousseauThe essential painting masters of the 20th century10Ernst ludwig kirchnerThe essential painting masters of the 20th century11All reproductions of paintingsCollections & guidesMuseums and references
01Wikipedia - art and context for Modern ArtMuseum & reference02Wikidata - visual arts for Modern ArtMuseum & reference03Wikimedia Commons - art for Modern ArtMuseum & reference04The Met - Heilbrunn Timeline of Art HistoryMuseum & reference05Tate - Art termsMuseum & reference06Musée d'Orsay - collectionsMuseum & referenceFrequently asked questions
The 20th century without linear history
The essential answers to distinguish Fauvism, Expressionism, Cubism, Abstraction, Dada, Constructivism, Modern Realism and Abstract Expressionism.
What is a famous painting essential paintings of the 20th century?
It is a work recognized for its historical importance, its visual force, its influence or its lasting presence in artistic culture.
Why does essential paintings from the 20th century mark the history of art so much?
Because this theme concentrates strong visual choices: composition, light, subject, style and this rare ability to remain in memory without politely asking permission.
How to read a famous painting without jargon?
Start with what is obvious: the light, the movement, the colors, the looks. The learned vocabulary can wait two minutes, it will not escape.
Why do some paintings seem more alive than others?
Often because the artist lets the scene breathe: a diagonal, a contrast, a visible touch, an almost discreet detail. Painting sometimes works better when it doesn't put everything in capital letters.
How to choose a work for a piece?
Look at the artist, the format, the palette and the general atmosphere. The right painting is often the one that makes you want to reorganize the living room around it.
Should you always choose the most famous painting?
Not necessarily. Masterpieces are reassuring, but a less anticipated work can sometimes better match a room, a color, or your Tuesday mood.
How to extend the discovery?
Compare the artists, look at the light variations, then return to the painting that remains in your mind. He is often the one who won, even if he didn't sign anything.
Can a painting really change a room?
Yes, sometimes faster than a piece of furniture. A strong image imposes a rhythm, a dominant color, a mood. The wall says nothing, but he knows very well when he has just received company.
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