As one of the first artists who created irregularly shaped canvases, Ellsworth Kelly has been a widely influential force in the post-war art world. By revealing the industrial materials used in construction, he helped define modern architecture. Art Deco 1910 – 1940 Art Deco was a popular design movement from 1920 until 1939, affecting the decorative arts such as architecture, interior design, and industrial design, as well as the visual arts such as fashion, painting, the graphic arts, and film. A style that evolved as a reaction to Minimalism during the late 1960s and early 1970s. They turned for inspiration to the impassive, quiet works of Barnett Newman and Ad Reinhardt, exponents of the colour-field branch of Abstract Expressionist painting. By the end of the 1950s and the early 1960s, a group of artists previously linked to Abstract Expressionism shifted their creative course toward geometric abstraction, in particular, creatives like Frank Stella, Ellsworth Kelly, Color Field painters like Mark Rothko and Barnett Newman, as well as Hard-edge master Ad Reinhardt. Minimalism began in post–World War II Western art, most strongly with American visual arts in the 1960s and early 1970s. Decluttering our lives and living and breathing stress-free simplicity. Updates? She continued making visionary paintings for over three decades. In this highly readable history of minimalist art James Meyer argues that "minimalism" was not a coherent movement but a field of overlapping and sometimes opposed practices. In that period, … Early minimalism in art rejected tradition of craftsmanship and rather opted for raw materials. She was guided by the conviction that art has the emotive and expressive power. Although radical, and rejecting many of the concerns of the immediately preceding abstract expressionist movement, earlier abstract movements were an important influence on the ideas and techniques of minimalism. Their frequent grid-based compositions asked for the artist’s originality and the creation of a special relationship between the viewer and the artwork and in many cases this relationship aimed for physical direct contact in order to work[4]. Reacting against the complex, intellectually sophisticated style of modern music, several composers began to compose in a simple, literal style, thereby creating an extremely simple and accessible music. Sol LeWitt redefined the art production, reducing it to its essentials. Their geometric abstraction did not describe anything, neither the external world nor the narrative of a story; the neutral monochromatic palette of primary colors was only there to delineate space, rather than express a feeling; the raw, mass-produced traditional materials did not symbolize or represent anything else but their own selves. Use of the hard edge, the simple form, and the linear rather than painterly approach was intended to emphasize two-dimensionality and to allow the viewer an immediate, purely visual response. After the 1960s when the movement had its peak, some of the artists radically changed their practice and moved in different personal directions. Describing Minimalist sculptures as dependent on the context of their perception, he believed that artwork cannot be self-sufficient in and of itself. They used simple harmonic and melodic patterns in their highly repetitive music. These materials would be stacked on top of each other without fixatives to hold them in place. He advocated the use of simple forms in order for the sculptures to be grasped intuitively by the viewer. He traces in comprehensive detail the emergence of six figures associated with the development—Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Robert Morris, and Anne Truitt—and how the notion of minimalism … Minimalism employs no emotional content, yet it conveys a strong one with its viewer, which is why it managed to break down all barriers and to meet no limitations on its short but impactful journey through art and life. Between 1958 and 1960, Frank Stella created his seminal series of Black Paintings, for which he abandoned brushwork, depth and the regular canvas form altogether to make concentrically striped canvases stretched on a thicker wooden chassis that thrust them out from the wall aggressively. 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