Famous paintings · Modernism
1898 – 1964
The most famous Modernism paintings are Amedeo Modigliani's Nude Sitting on a Divan (1917), Amedeo Modigliani's Reclining Nude (Le Grande Nu) (n.d.), Edward Hopper's Automat (small) (1927, Des Moines Art Center), Amedeo Modigliani's Seated Nude on Divan (n.d.) and Egon Schiele's Nude with Blue Stockings (1912, Leopold Museum). This ranking lists the 100 best-known Modernism paintings, painted between 1898 and 1964 by 35 artists, with the museum where each one hangs today.
The ranking
Ranked by how widely each painting is known. The artist, the date, the size of the original, the museum that holds it today — and one detail to look for.
Amedeo ModiglianiModernism
1917Oil on canvas100 × 60 cm
While drawing inspiration from these avant-garde movements, Modigliani avoids complete abstraction, retaining enough figurative representation to convey a powerful sense of human presence. Paris in the early 20th century was a crucible of artistic innovation.
Look forintense red backgroundsimplified formsemotional ambiguity
Oil on canvas
The composition is balanced yet dynamic, with the figure occupying most of the canvas space. The style is reminiscent of early modernism, particularly the work of artists like Amedeo Modigliani, known for their elongated forms and expressive use of color.
Look forcontrast between smoothrough texturesbold use of colordynamic composition
Edward HopperRealist Modernism
1927Oil on canvas71.4 × 88.9 cmDes Moines Art Center
The scene is remarkably unremarkable; a woman in a green coat occupies a table within an “automat” – a popular type of diner prevalent in New York City at the time. “Automat” was created in 1938, a year marked by economic hardship and social unrest in America.
Look forplantclocksvase
Amedeo ModiglianiModernism
Oil paint
The artwork features a nude woman seated in a contemplative pose, exuding a sense of quiet introspection. The composition is vertically oriented, with the figure occupying most of the space, creating a sense of balance and stability.
Look fordeep red backgroundbold use of colorsimplified formsexpressive brushwork
Egon SchieleExpressionist Modernism
1912Painting289 × 375 cmLeopold Museum, Vienna
The photograph itself, bearing subtle signs of age—creases that whisper of its history—adds to the work’s poignant character. These imperfections aren't flaws; they are evidence of time, mirroring the themes of decay and remembrance so central to Schiele’s oeuvre.
Look forblue stockingsbending
Gustav KlimtSymbolist Modernism
1917Oil on canvas
Following the success of his earlier, more overtly decorative works—particularly those created during his “Company of Artists” years— Klimt underwent a significant stylistic transformation in the late 1890s and early 1900s. To fully appreciate The Bride, it’s essential to understand the cultural and intellectual climate of Vienna at the turn of the 20th century.
Look forsymbolic figures
Tarsila do AmaralModernism
1925IllustrationCentro Cultural São Paulo, Sao Paulo
Clutched tenderly within its beak is a heart, inscribed with the word "amor", serving as a literal and metaphorical anchor for the piece. To understand Amor, one must look toward the transformative era of Brazilian Modernism in which Tarsila do Amaral was a leading light.
Amedeo ModiglianiEarly 20th Century Modernism
1908Oil on canvas80.6 × 50.1 cmHecht Museum, Haifa
While the precise identity of Maude Abrantes remains somewhat shrouded in mystery, it’s widely believed she was a close acquaintance of Modigliani. Considering Modigliani’s personal life—his struggles with illness, his tumultuous relationships, and his tragically short lifespan—the painting becomes not just an artistic statement but also a window into the artist’s soul.
Look forelongated features
Georgia O'KeeffeAmerican Modernism
1928Oil on canvasGeorgia O'Keeffe Museum, Santa Fe
“Shell No. 2” was created during a pivotal period in O’Keeffe’s life and artistic development. This intimate relationship with her subject matter is palpable in “Shell No. 2,” which feels less like a detached observation and more like a deeply felt communion with nature.
Edward HopperRealist Modernism
1931Oil on canvas
The painting centers on a woman absorbed in her reading within a train compartment. Hopper’s work aligns with the broader artistic movement of American Regionalism, which sought to depict the realities of everyday life in America, particularly in urban settings.
Look forsolitudelightshadow
Gustav KlimtSymbolist Modernism
Oil on canvasMenard Art Museum, Japan
Gustav Klimt, a renowned Austrian symbolist painter, is celebrated for his unique style that blended symbolism, eroticism, and decorative elements. Born in Baumgarten near Vienna in 1862, Gustav Klimt initially struggled with poverty while studying architectural painting at the Vienna School of Arts and Crafts.
Look forserpentsgold accents
Georgia O'KeeffeAmerican Modernism
1928Oil on canvasUniversity of Minnesota Art Museum
Painted during a period of significant artistic experimentation, “Oriental Poppies” reflects O'Keeffe’s departure from traditional representational art. This approach coincided with the rise of Precisionism, an American art movement characterized by its sharp lines and focus on industrial forms; however, O’Keeffe uniquely applied these principles to natural subjects, forging her own distinct style.
Look forabstract formsmagnified floral depictionvibrant colors
Henry MooreModernism
Kathleen McEneryModernism
1925Silver gelatin print50 × 40 cmDulwich Picture Gallery, London
In the quiet, monochromatic world of Imogen Cunningham’s Two Callas, time seems to suspend itself. A central figure in the American West Coast photography movement and a member of the legendary Group f/64, Cunningham was instrumental in shifting the photographic aesthetic away from the soft-focus, painterly style of Pictorialism toward a new, sharp-focus Modernism.
Mark RothkoEarly Modernism
1933Oil on canvas90 × 70 cmNational Gallery of Art, Washington D.C.
By softening edges and blurring forms, Rothko moves away from photographic accuracy toward an essence of being. Born in Latvia as Markus Rothkowitz, Rothko’s early life was shaped by the anxieties of displacement and the cultural upheavities of a Jewish family navigating the Pale of Settlement.
Amrita Sher-GilModernism
1935Oil on canvas
Amrita Sher-Gil completed Hill Women in 1935. The work gained international exposure when it was exhibited at the Paris Salon in 1936. In 1937, the piece was selected for display at a One Man Show in Lahore. The painting's cultural significance was further recognized in 1978, when it appeared on an Indian postage stamp.
Egon SchieleExpressionist Modernism
1912PaintNelson-Atkins Museum of Art, Kansas City
The subject herself is presented in a strikingly unconventional manner. “Standing Woman in a Patterned Blouse” was created during a pivotal period in Viennese art history. The early 20th century witnessed the rise of Expressionism, an artistic movement that sought to convey subjective emotions rather than objective reality.
Look forpolka dot blouseback view
Georgia O'KeeffeModernism
1927Oil on canvas76 × 91 cmAmon Carter Museum of American Art, Fort Worth
Created during a period of intense artistic experimentation, “Red Cannas” reflects O'Keeffe’s growing independence as an artist. Following her move to New York in 1918 and her association with Alfred Stieglitz, she began to develop a unique style that challenged conventional notions of landscape painting.
Look forclose-up petals
Rockwell KentModernism
1921Oil on canvas
The Trapper is an oil on canvas painted by Rockwell Kent. Created in 1921, the work captures a specific moment of stillness within a frozen landscape. The physical presence of the piece measures 34 1/8 × 44 1/8 in. The oil on canvas resides within the Whitney Museum of American Art in New York.
Henri MatisseFauvism and Modernism
Painting
Instead, Matisse employs a flattened perspective, characteristic of his “Fauvist” period (roughly 1905-1908), where the illusion of depth is sacrificed in favor of heightened color and simplified forms. This chromatic boldness was a defining feature of Fauvism, a movement Matisse co-founded alongside André Derain and Maurice de Vlaminck. The objects are carefully positioned to create a balanced composition, reminiscent of still life arrangements found in Renaissance paintings, but imbued with Matisse’s distinctly modern sensibility. WahooArt offers meticulously crafted hand-painted reproductions of Henri Matisse’s “Still Life,” ensuring the preservation of the artist's original vision.
Look forcolorbalance
1937Oil
The artist, Konstantin Somov, captured this specific subject during a period of his life that favored the subtle and the symbolic. The figure of the young man, modeled by Boris Snezhkovsky, is rendered with a focus on the delicate interplay of light and shadow.
Henri MatisseFauvism and Modernism
Painting
It’s a scene stripped of overt violence or dramatic gesture, replaced by an atmosphere of serene vulnerability and maternal tenderness. Furthermore, Matisse’s choice to depict Leda seated, rather than reclining or being overtaken, subtly asserts her agency within the myth.
Look forcolorcomposition
Edward HopperRealist Modernism
1921Oil on canvas61.8 × 74.6 cmWhitney Museum of American Art, New York
Hopper’s paintings are often interpreted as reflections of the American experience – a nation grappling with rapid change and social upheaval.
Look forbookschairclock
1931Oil on canvas101 × 91 cm
The central focus of this artwork is a large animal skull, likely from a cow, set against a vibrant backdrop of red, white, and blue vertical panels. The composition is structured with a strong vertical orientation, drawing the viewer's eye upward from the base to the top of the skull.
Look forgradient backgroundbold colorsvertical composition
Georgia O'KeeffeModernism
1926Oil on canvas51 × 69 cm
Created in 1926, this piece exemplifies modernist abstraction with influences from Impressionism and Color Field painting.
Look forvibrant color blendingminimalist compositionfluid forms
Amedeo ModiglianiExpressionist Modernism
1917Oil on canvas/panel
The painting immediately draws the viewer in with its muted palette – dominated by deep browns, ochres, and subtle hints of grey – creating an atmosphere of quiet introspection. It's not a vibrant explosion of color, but rather a carefully considered restraint that amplifies the emotional weight of the subject.
Look forelongated features
Georgia O'KeeffeModernism
1920Oil on canvasGeorgia O'Keeffe Museum, Santa Fe
Born in 1887 in Sun Prairie, Wisconsin, Georgia O’Keeffe emerged as a pivotal figure in the American modern art movement. “Series I, No. 12” exemplifies this approach; O’Keeffe wasn’t interested in replicating a dog's appearance but rather conveying its essence through color and form.
Look forabstract dogcolors
Stuart DavisModernism
Lois Mailou JonesModernism
1938Oil on canvas64.7 × 54 cmSmithsonian American Art Museum, Washington, D.C.
Completed in 1938 in Paris, France, this oil on linen work emerged during a period when the artist was exploring the influence of African motifs. Within the museum's cataloging system, the object is identified by the number 1990.56. The work is part of the museum's official holdings, having been accessioned into the collection in 1990.
1933Oil painting100 × 120 cmMuseu do Caramulo
The artwork titled Portrait of Professor António de Oliveira Salazar is an oil painting created by the artist Eduardo José De Sousa Malta. The subject of the portrait was on vacation in Serra do Caramulo at the time the artist executed the work. Eduardo José De Sousa Malta, a Portuguese painter born in Lisbon, produced this portrait during a period of his career marked by academic training. The work is situated within the Modernism movement and is closely associated with the Estado Novo movement.
1964Black and white photographyThe Hepworth Wakefield
This interplay of light and shadow emphasizes the tactile nature of Hepworth’s work, highlighting the smooth, biomorphic surfaces that define her signature style. To look upon this image is to witness the heartbeat of British Modernism.
Pegi Nicol MacLeodModernism
1931OilThe Robert McLaughlin Gallery, Oshawa
A river or stream flows through the center of the composition, creating a sense of movement as the water cuts through the terrain. Scattered throughout the scene are trees, many of which are bare, lacking leaves to reveal their skeletal structures against the sky.
Nicholas RoerichModernism
1936Tempera on canvas91 × 122 cmThe Art Museum RIGA BOURSE, Riga
The very title, Kuluta, is significant – an ancient name for the Kullu Valley itself, steeped in local lore and mythology. In the foreground, a small village and a sculpted figure (believed to represent Raj Guga Chohan, a valley protector whose statue was discovered near Roerich’s home) ground the scene in human experience and local tradition.
Look forvillagestatue of Raj Guga Chohanhimalayan landscapemountains
Edvard MunchExpressionistic Modernism
1905Oil on canvas71 × 55.5 cmKunsthaus Zürich, Zurich
The composition is deceptively simple: Esche’s dark green suit and white shirt provide a formal counterpoint to the vibrant chaos behind him. However, Munch wasn't simply fulfilling a request; he was using Esche as a vehicle for exploring universal themes of human vulnerability and the shadow self. “Portrait of Herbert Esche” is a quintessential example of Expressionist technique.
Look forred backgroundmuted tones
1898Ceramic tilesItalia Liberty, Rimini
Puig i Cadafalch skillfully blended influences from medieval Catalan Gothic architecture with the burgeoning geometric dynamism of Art Nouveau. The stepped pyramid form symbolizes stability and aspiration, mirroring the Catalan quest for independence from Spain.
Pablo PicassoEarly Modernism
1901Oil on canvasNorrköpings Konstmuseum
Coquiot recognized the spark within the young artist, providing crucial encouragement and helping to establish Picasso's presence in the Parisian art scene. The Portrait of Gustave Coquiot is firmly rooted in realism, showcasing Picasso’s exceptional technical skill.
Look forexpressive brushstrokesmuted green background with paintingsdetailed depiction of subject
Sidney NolanModernism
Painting63 × 876 cmCanberra Museum and Gallery
On the other, Sergeant Kennedy appears almost spectral, propped against the landscape like a puppet caught in the gears of destiny.
Marsden HartleyAmerican Modernism
1940Oil on hardboardArt Institute of Chicago
There, he studied at the Art Students League of New York and began his career as a painter. Hartley's use of color and form in this painting reflects his interest in the art of the early 20th century, particularly the work of the Fauves and the German Expressionists.
Zinaida SerebryakovaRussian Modernism
1911Oil on canvas71 × 58 cmOdessa Fine Art Museum, Odesa
The figure sits upon the ground, draped in the oversized, pale folds of a Pierrot costume. By adopting the persona of Pierrot, the artist explores a sense of vulnerability.
Maxwell Spencer Dupain Ac ObeModernism
1947Photography (black and white)37 × 28 cmNational Portrait Gallery, Canberra
The image focuses on the sitter, Werner Baer, in a moment of quiet contemplation. The portrait is part of the photographic record of the mid-20th century.
Alfred MaurerAmerican Modernism
1900Oil on canvas61 × 50 cm
The woman is seated in a chair positioned directly beside a window.
Henry MooreModernism
1932Oil on canvas46.5 × 40 cmFinnish National Gallery, Helsinki
Mario SironiModernism
Amrita Sher-GilModernism
1930OilKiran Nadar Museum of Art, New Delhi
The painting captures a moment of stillness, yet it vibrates with the creative tension of an artist defining herself. Standing before a soft, pink-hued wall, the subject—a reflection of the artist herself—commands the space with a gaze that is at once vulnerable and unyielding.
Brochure and stacking dinnerware21 × 27 cmVignelli Center for Design Studies, Rochester
Born in Milan, Vignelli’s design philosophy was forged in the crucible of Italian modernism, characterized by an unwavering dedication to clarity, functionality, and elegance. Whether placed in a minimalist gallery setting or used to add a pop of curated color to a professional design studio, Heller The Rainbow Group remains eternally relevant.
João Batista Vilanova ArtigasContemporary Modernism
PaintingOscar Niemeyer Museum, Curitiba
More than simply a builder of structures, Artigas was a visionary who sought to imbue his designs with social responsibility and artistic expression, ultimately becoming the founding father of the Paulista School. An early formative experience was his collaboration with Gregori Warchavchik on the ambitious remodeling of Praça da República, a project that hinted at the modernist sensibilities he would soon champion.
Mario SironiModernism
1930Oil on canvasKiran Nadar Museum of Art, New Delhi
As she gazes out from the canvas, her expression is one of haunting seriousness, a stillness that commands the viewer to pause and reflect. The painting captures a moment of deep introspection, where the subject’s identity seems to vibrate against the bold, monochromatic backdrop.
Look forhand on chestearringsred background
João Batista Vilanova ArtigasBrazilian Modernism
PhotographyOscar Niemeyer Museum, Curitiba
Praça da República Remodeling (1941-1947): This project showcased Artigas ' burgeoning talent, demonstrating his ability to synthesize diverse stylistic elements into a cohesive whole—a hallmark of his later work. The International Union of Architects awarded him twice for his contributions—the Jean Tschumi Award (1972) and Auguste Perret Award (posthumously)—recognizing his unwavering dedication to architectural excellence and humanist ideals.
Henry MooreModernism
Edward HopperRealist Modernism
1931Painting
The “Morse Dial,” prominently displayed as the target of the hammer, represents technological advancement – specifically, the telegraph system – which was crucial for military communication. Painted in 1931, nearly two decades after the armistice, the poster reflects a lingering awareness of the Great War and a desire to ensure that America would not repeat the mistakes of the past.
Look forhammernailmorse Dial
Edward HopperRealist Modernism
1931Painting
A tall clock tower punctuates the skyline, a symbol of time’s relentless march and perhaps, the anxieties associated with its passage. Painted during a period of significant social and economic change in America – the burgeoning urbanization, the rise of consumer culture, and the increasing sense of alienation – “House at San Mateo” reflects these anxieties.
Look forclock towerpalm trees
Amedeo ModiglianiExpressionist Modernism
1916Oil on canvas81 × 116 cm
This arresting work, measuring a modest 81 x 116 cm, resides within the heart of Expressionism, a movement defined by its raw emotionality and rejection of traditional artistic conventions. " Nude on Sofa (Almaisa)" was created during a turbulent period in Modigliani’s life.
Look forelongated forms
Edward HopperRealist Modernism
1907
Painted in 1907, just after Hopper’s formative years at the New York School of Art, it demonstrates his early exploration of realism and his growing interest in capturing the essence of modern life – a theme that would become increasingly central to his work.
Look forbridgeboatstrain
Amedeo ModiglianiModernism
1918Oil on canvas
The scene is imbued with a palpable sense of tranquility, capturing a fleeting moment in time where nature and architecture coexist harmoniously. The composition is characterized by elongated forms and subtly distorted perspectives, hallmarks of his exploration with the human figure.
Look forbuildingsred rooftree
Edward HopperRealist Modernism
1931Painting
It’s a tableau frozen in time, capturing a specific moment of transition and hinting at the countless untold stories contained within the urban sprawl. “Approaching the City” is rich in symbolic meaning, reflecting Hopper’s broader concerns about the changing nature of American life during this period.
Look fortraintunnelpeople
Amedeo ModiglianiExpressionist Modernism
1917Oil on canvasBarnes Foundation
It’s a portrait not of physical beauty as traditionally defined, but of a soul at rest, yet subtly aware. The painting’s creation coincided with a pivotal moment in Modigliani's career – a time when he was actively seeking to move beyond the influence of earlier masters and forge his own distinct visual language.
Georgia O'KeeffeAmerican Modernism
1925Oil on boardGeorgia O'Keeffe Museum, Santa Fe
It was created at a time when she was beginning to move away from strict realism, embracing a more subjective approach influenced by Arthur Wesley Dow’s teachings, prioritizing personal expression over photographic accuracy. Furthermore, “Untitled (Purple Petunia)” reflects the broader cultural context of the 1920s, a period of significant social and artistic change.
Look forlarge purple flower
Georgia O'KeeffeAmerican Modernism
1959PaintingGeorgia O'Keeffe Museum, Santa Fe
This influence is palpable in "Blue--A," where the undulating curves of the watercolor wash subtly guide the viewer’s eye across the canvas—a deliberate gesture reflecting Dow's belief that art should communicate feeling directly. “Blue--A” exemplifies O’Keeffe’s unwavering commitment to capturing the spirit of impressionism —a movement that prioritized subjective perception and fleeting moments of visual sensation.
Boris KustodievRussian Modernism
1915Oil on canvas141 × 185.5 cmTretyakov Gallery, Moscow
This work features Faina Shevchenko as the model. Shevchenko was a twenty-one-year-old actress associated with the Moscow Art Theatre at the time of the painting's creation. Boris Mikhailovich Kustodiev, born in Astrakhan, Russia, produced this piece during a period of his career marked by a focus on the textures and forms of his subjects.
Amedeo ModiglianiEarly Modernism
1917Oil on canvas114 × 74 cmRoyal Museum of Fine Arts Antwerp
Painted in 1917, during a period marked by both creative fervor and personal struggle for the artist, the work immediately draws the viewer into a world of melancholic beauty and quiet contemplation. The use of black and white tones amplifies the sense of isolation and introspection, aligning with Modigliani’s exploration of themes like loneliness and mortality.
Look forelongated portraits
Amedeo ModiglianiEarly Modernism
1915Oil on canvas82 × 46 cmMusee de l'Orangerie, Paris
The elongated features of “Antonia,” particularly the neck and nose, are reminiscent of African masks – a deliberate homage that reflects Modigliani's fascination with non- Western art forms.
Look forelongated figures
Amedeo ModiglianiEarly Modernism
1918Oil on canvas100 × 65 cmSolomon R. Guggenheim Museum, New York
While initially drawn to the art of antiquity and the Renaissance during his early studies in Italy, his time in Paris exposed him to avant-garde movements like Cubism and Fauvism. There's also a subtle nod to the elegance of Ingres, particularly in the graceful lines defining her form, but infused with a distinctly 20th-century sensibility.
Look forelongated formssimplified shapesportrait of Jeanne Hebuterne
Nikolaos LytrasModernism
1925Oil on canvas86 × 66 cmNational Gallery, Athens
Admire Nikolaos Lytras’ ‘The Straw Hat,’ a captivating 1925 portrait of a Greek woman.
Walter SickertEarly Modernism
1914Oil on canvas112.4 × 152.4 cmTate Gallery, London
The provenance of this work traces back to its early public appearances, including an exhibition at the New English Art Club in London during the summer of 1914. By 1924, the work had been acquired by the Contemporary Art Society, which subsequently presented it to the Tate Gallery later that same year.
Amrita Sher-GilModernism
1935Oil on canvas99.5 × 73.5 cmNational Gallery of Modern Art, New Delhi
Amrita Sher-Gil was a true pioneer, forging a unique artistic language that blended European Modernism with the rich traditions of Indian art. Painted during a period of significant socio-political change in India, this artwork reflects Sher-Gil’s fascination with and empathy for the lives of ordinary people.
Look forred scarvestraditional clothing
Georgia O'KeeffeModernism
1921–1922Pastel on paper, mounted on illustration board46.4 × 61.9 cmMetropolitan Museum of Art, New York
Created in 1922, A Storm is a pastel painting on paper, mounted on illustration board. The work captures a dramatic scene featuring lightning over a lake and the reflection of the Moon. The composition is characterized by a large, dark, cloud-like mass at the top, from which a jagged, lightning-bolt shape descends into a deep blue triangular void.
Amedeo ModiglianiExpressionist Modernism
1918Oil on canvas46 × 29 cmBarnes Foundation
It's a work deeply rooted in Modigliani’s personal experiences, reflecting his own struggles with illness, loneliness, and the transient nature of relationships. Understanding the context surrounding “Red-Haired Girl” is crucial to appreciating its depth.
Look forelongated figures
Amedeo ModiglianiExpressionist Modernism
1917Oil65 × 101 cmNational Gallery of Art, Washington
This intimate portrait, now residing within the National Gallery of Art’s collection, immediately draws the viewer in with its deceptively simple composition: a nude figure bathed in muted tones, resting against a soft blue cushion. Modigliani’s signature style is powerfully evident in the subject's form.
Look forelongated forms
Amedeo ModiglianiEarly Modernism
1919Oil on canvas54 × 92 cmOhara Museum of Art, Kurashiki
The artist meticulously crafts a composition that prioritizes visual impact through careful arrangement. Centering Hébuterne’s figure creates symmetry while simultaneously directing the eye towards her face, which dominates the canvas. Modigliani’s artistic vision draws inspiration from movements like Expressionism and Cubism, albeit filtered through his unique lens. Like Expressionists, he prioritizes conveying emotion over objective observation—a principle evident in Hébuterne’s gaze, which conveys a palpable sadness. However, unlike Cubist fragmentation, Modigliani maintains a harmonious balance between form and line, resulting in an image that is both stylized and emotionally evocative.
1917Oil on canvas54.6 × 42.9 cmPhiladelphia Museum of Art
Blue Eyes (Portrait of Madame Jeanne Hébuterne) is a work by Amedeo Modigliani. White 3rd and Vera White Collection, a lineage of stewardship that has preserved its presence. Later, in 2006, it was presented in the exhibition Modigliani and His Models, where it was identified as number 25.
Amadeo de Souza-CardosoCubist Modernism
1912Oil on canvas60 × 92 cmCalouste Gulbenkian Foundation, Lisbon
The canvas pulses with movement, drawing the viewer immediately into a sun-drenched field where humanity and animal power converge. Reproducing this work allows one to own a fragment of early 20th-century European dynamism.
Marc ChagallModernism
1924Oil on canvas73.8 × 86.3 cmNational Gallery of Canada, Ottawa
This animal was a common presence in the streets of Vitebsk, Belarus, where the artist spent his earliest years. The scale of the creature feels large, seen through the eyes of a small child. Created in 1924, this oil on canvas emerged shortly after the artist left the Soviet Union in 1922.
Look forwhite churchold mangoat
1914Oil on canvas173.4 × 105.1 cmMetropolitan Museum of Art, New York
Admire Marsden Hartley’s "Portrait of a German Officer." A striking modernist painting featuring military symbolism & a unique aesthetic.
Amadeo de Souza-CardosoPortuguese Modernism
1911Painting31 × 23 cmCentro de Arte Moderna Gulbenkian, Lisbon
To fully appreciate “Clown on Horse,” it’s crucial to understand Souza-Cardoso’s position within the broader artistic landscape of early 20th-century Portugal. Lisbon at this time was experiencing a period of rapid change, with influences from Paris – particularly Impressionism and Post-Impressionism – rapidly permeating the local artistic scene. Tragically, Souza-Cardoso’s life was cut short in 1918 at the young age of 30.
Look forplantsvaseclownhorse
Georgia O'KeeffeAmerican Modernism
1919Oil on canvas68.6 × 58.4 cmPhiladelphia Museum of Art
The oil painting Red and Orange Streak consists of large, arcing shapes that move from the bottom left toward the upper right corner of the canvas. Created in 1919, this work emerged during a period when Georgia O'Keeffe was in New York, having recently arrived from Texas.
Amedeo ModiglianiEarly Modernism
1917Oil on canvas73 × 116 cmSolomon R. Guggenheim Museum, New York
Painted in 1917, during a period marked by illness and emotional turmoil, the work reflects the pervasive sense of melancholy that defined Modigliani's artistic output. Born in Livorno, Italy, in 1884, he endured a childhood plagued by recurring bouts of sickness – pleurisy and typhoid fever—which undoubtedly shaped his sensitivity and perhaps fueled an awareness of mortality.
Look forelongated forms
1917Oil on canvas81 × 60.2 cmMusée de Grenoble
The painting immediately draws the viewer into its somber atmosphere thanks to its dominant palette of dark blues and greens, hues that subtly convey introspection and sorrow. “Femme au col blanc” firmly establishes itself within the context of Modernism, specifically influenced by Cubist principles.
Henry MooreModernism
Mario SironiModernism
Henry MooreModernism
Mario SironiModernism
Henry MooreModernism
Georgia O'KeeffeModernism
1962Oil on canvasGeorgia O'Keeffe Museum, Santa Fe
O’Keeffe’s technique in “An Island with Clouds” is characterized by a remarkable restraint. To understand “An Island with Clouds,” it's crucial to consider O’Keeffe’s relationship with her husband, Alfred Stieglitz. “An Island with Clouds” can be seen as a direct response to Stieglitz's work, a continuation of his exploration of the sublime through color and shape.
Look forislandcloudscape
Henry MooreModernism
Mario SironiModernism
Mario SironiModernism
Mario SironiModernism
Mario SironiModernism
Alfred MaurerModernism
1926Oil on canvasSilvano Lodi Collection
As the eye wanders across the canvas, it is immediately arrested by the two prominent red flowers positioned at the heart of the composition. These crimson blooms act as a rhythmic pulse within the painting, drawing the viewer into a lush, three-dimensional world where vibrant petals and verdant leaves dance in a delicate balance of light and shadow.
Look forplay of lightvibrant red flowers
Henry MooreModernism
1964Melamine20 × 25 cmVignelli Center for Design Studies, Rochester
The work before us is titled Heller Max I, a design conceived by Massimo Vignelli and Vignelli Associates. The product, known as Max I stacking dishware, was first manufactured in Milan by Aricoli Plastici Electrici (Arpe). It is a piece that carries the weight of professional recognition, having been awarded the Compasso d'Oro Award for Good Design.
Henry MooreModernism
Mario SironiModernism
1946–1948ConcreteOscar Niemeyer Museum, Curitiba
Brutalism – Characterized by exposed concrete surfaces, minimal ornamentation, and monumental scale, “The Second House” rejects decorative embellishments in favor of structural honesty. Geometric Precision – The house’s design is rooted in rigorous geometric forms —primarily circles and squares—creating a harmonious interplay between spatial organization and visual impact.
Mario SironiModernism
By movement
Modernism59 · 1898–1964
Realist Modernism7 · 1907–1931
Early Modernism8 · 1901–1933
Expressionist Modernism7 · 1912–1918
Plan your visit
Santa Fe leads with 5 of the 100; the Georgia O'Keeffe Museum alone holds 5.
Barnes Foundation
The painters
1884–1920 · Italy · 17
Italian Expressionist known for soulful portraits with elongated faces and almond-shaped eyes, capturing the essence of the human spirit.
1. Nude Sitting on a Divan, 2. Reclining Nude (Le Grande Nu), 4. Seated Nude on Divan, 8. Maude Abrantes, 27. Young Girl, 54. Nude on Sofa (Almaisa), 56. Landscape in the Midi, 58. Nu couche de dos, 62. Untitled, 63. Antonia, 64. Jeanne Hebuterne in Yellow Sweater, 69. Red Haired Girl, 70. Nude on a Blue Cushion, 71. Portrait of Jeanne Hébuterne, 72. Blue Eyes (Portrait of Madame Jeanne Hébuterne), 78. Nude with Necklace, 79. Femme au col blanc Portrait de Lunia Czechowska
1898–1986 · United Kingdom · 12
British modernist sculptor of organic, semi-abstract reclining figures and mother and child forms.
13. Madonna and Child, 43. Family Group, 51. Animal Turned Head, 80. Twins, 82. Three Standing Figures, 84. Bird Motif, 86. Six Reclining Figures 5, 91. Seated Figure V Wickerwork Chair, 93. Rocking Chair No. 2, 94. Reclining Figure with Sky Background, 95. Two Forms in Red and Yellow, 97. Family Group 3
1887–1986 · United States · 11
American modernist known for magnified flower forms and desert landscapes in bold, layered colors.
9. Shell No. 2, 12. Oriental Poppies, 18. Red Cannas, 25. Cow's Skull Red, White, and Blue, 26. Blue Wave Maine, 28. Series I, No. 12, 59. Untitled (City Night), 60. Blue--A, 68. A Storm, 77. Red and Orange Streak, 85. An Island with Clouds
1882–1967 · United States of America · 7
American realist of urban isolation and evocative light, capturing the quietude of a late-night diner or a solitary roadside gas station.
3. Automat (small), 10. Compartment Car, 24. Summer Interior II, 52. Prizewinning WWI Poster, 53. House at San Mateo, 55. The Bridge of Art, 57. Approaching the City
1913–1941 · Hungary · 4
Hungarian-Indian pioneer of modern art known for bold colors and soulful portraits of rural life.
16. Hill Women, 45. Self-Portrait with Easel, 49. Self-Portrait with Red Background, 67. Untitled (AQZCVV)
1915–1985 · Brazil · 3
47. Rubens de Mendonça House, 50. House Baeta, 99. The second House of Architect
Questions & answers
Hover over a question to read the answer.
Amedeo Modigliani's Nude Sitting on a Divan (1917) is the most famous Modernism painting and No. 1 of this ranking, ahead of Amedeo Modigliani's Reclining Nude (Le Grande Nu) (n.d.), Edward Hopper's Automat (small) (1927, Des Moines Art Center) and Amedeo Modigliani's Seated Nude on Divan (n.d.).
In order: Nude Sitting on a Divan (Amedeo Modigliani), Reclining Nude (Le Grande Nu) (Amedeo Modigliani), Automat (small) (Edward Hopper), Seated Nude on Divan (Amedeo Modigliani), Nude with Blue Stockings (Egon Schiele), The Bride (unfinished) (Gustav Klimt), Amor (Illustration) (Tarsila do Amaral), Maude Abrantes (Amedeo Modigliani), Shell No. 2 (Georgia O'Keeffe) and Compartment Car (Edward Hopper).
Judged by this ranking, Amedeo Modigliani: 17 of the 100 most famous Modernism paintings are from this painter's hand, including Nude Sitting on a Divan, Reclining Nude (Le Grande Nu) and Seated Nude on Divan.
With 5 of the 100, the Georgia O'Keeffe Museum comes first, followed by the Oscar Niemeyer Museum (3) and the Kiran Nadar Museum of Art (2); Santa Fe has 5 in all.
Start with Santa Fe (5), New York (5) and New Delhi (3): together they hold 13 of the 100, at the Georgia O'Keeffe Museum, the Oscar Niemeyer Museum and the Kiran Nadar Museum of Art.
The painters with the most works in this list are Amedeo Modigliani (17), Henry Moore (12), Georgia O'Keeffe (11), Mario Sironi (11) and Edward Hopper (7).
The earliest is Josep Puig i Cadafalch's Casa Amatller, Barcelona, Spain (1898, Italia Liberty) (1898); the latest, Barbara Hepworth's Barbara Hepworth with the plaster of Figure for Landscape and a bronze cast of Figure (Archaean) (1964, The Hepworth Wakefield) (1964).
The biggest is Egon Schiele's Nude with Blue Stockings (1912, Leopold Museum) at 289 × 375 cm; the smallest, Massimo Vignelli, Vignelli Associates's Heller Max I (1964, Vignelli Center for Design Studies) at 20 × 25 cm.
Of the 100 paintings, 54 are in oil, 1 in tempera or tempera and oil, and 0 are frescoes painted on the wall. 1 are on wooden panels and 47 on canvas.
Yes: 41 of the 100 can be ordered as a hand-painted oil reproduction, from $181, and 41 as a canvas print, from $47.
By recognition: Wikipedia articles in the most languages (Wikidata sitelinks), our manual ranking and page visits. Several records of one painting count once; details, copies and studies are excluded.
Bring one home
41 paintings of this list can be ordered as museum-grade, hand-painted oil reproductions, from $181.
We started with every Modernism painting in our catalogue and ranked them by how famous they are. Three clues decide the order: in how many languages Wikipedia has an article about the painting, where our curators place it, and how often people open its page on our site. Each painting appears only once, and details, copies and studies are left out.
Famous Impressionism paintings
Water Lilies · Claude Monet
Famous Baroque paintings
Las Meninas · Diego Velázquez
Famous Romanticism paintings
Liberty Leading the People · Eugène Delacroix
Famous Realism paintings
Nighthawks · Edward Hopper
Famous Post-Impressionism paintings
Starry Night · Vincent van Gogh
Famous Expressionism paintings
The Scream · Edvard Munch
Famous Surrealism paintings
The Persistence of Memory · Salvador Dalí
Famous Neoclassicism paintings
Napoleon at the St. Bernard Pass · Jacques-Louis David
Famous Renaissance paintings
Mona Lisa · Leonardo da Vinci
Famous Symbolism paintings
The Birth of Venus · William-Adolphe Bouguereau
Famous Mannerism paintings
Burial of the Count of Orgaz · El Greco
Famous Rococo paintings
The Swing · Jean-Honoré Fragonard
500–1000
Famous Early Medieval paintings
The Night Revels of Han Xizai · Gu Hongzhong
1000–1300
Famous High Medieval paintings
Crucifix · Cimabue
1300–1400
Famous Late Medieval paintings
Our Lady of the Don · Theophanes the Greek
1400–1600
Famous Renaissance paintings
Mona Lisa · Leonardo da Vinci
1600–1800
Famous Early Modern paintings
The Girl with a Pearl Earring · Johannes Vermeer
1800–1900
Famous 19th Century paintings
Starry Night · Vincent van Gogh
1900–1980
Famous Modern paintings
Guernica · Pablo Picasso
1980–
Famous Contemporary paintings
Girl with Balloon · Banksy
