Reference list · Modernism

List of the 100 Most Famous Modernism Paintings

1898 – 1964

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): these are the most famous Modernism paintings. This ranking lists the 100 best-known Modernism paintings, painted between 1898 and 1964 by 36 artists, with the museum where each one hangs today.

Nude Sitting on a Divan by Amedeo Modigliani, 1917 — famous Modernism painting
No. 1 · Amedeo ModiglianiNude Sitting on a Divan1917
100works listed
36artists cited · Josep Puig i Cadafalch – Barbara Hepworth
45holding institutions, 29 cities
5in the Georgia O'Keeffe Museum collection

List

The 100 best-known Modernism paintings

Each entry records the artist, date, technique, dimensions and current collection, followed by a summary from the artwork's notice.

  1. Nude Sitting on a Divan by Amedeo Modigliani, 1917
    1

    1917Oil on canvas100 × 60 cm

    Executed in oil on canvas (100 x 60 cm), the painting showcases Modigliani’s confident brushwork and skillful handling of color. Paris in the early 20th century was a crucible of artistic innovation.

    Notable elementsintense red backgroundsimplified formsemotional ambiguity

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  2. Reclining Nude (Le Grande Nu) by Amedeo Modigliani
    2

    Oil on canvas

    The composition is balanced yet dynamic, with the figure occupying most of the canvas space. The reclining position creates a diagonal flow from the upper left to the lower right, drawing the viewer's eye across the painting.

    Notable elementsbold use of colordynamic compositioncontrast between smoothrough textures

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  3. Automat (small) by Edward Hopper, 1927, Des Moines Art Center
    3

    Edward HopperRealist Modernism

    Automat (small)

    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.

    Notable elementsvaseplantclocks

    Artwork notice

  4. Seated Nude on Divan by Amedeo Modigliani
    4

    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. " Seated Nude on Divan" exemplifies modernist expressionism, characterized by bold use of color, simplified forms, and expressive brushwork.

    Notable elementsexpressive brushworkdeep red backgroundbold use of colorsimplified forms

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  5. Nude with Blue Stockings by Egon Schiele, 1912, Leopold Museum
    5

    Egon SchieleExpressionist Modernism

    Nude with Blue Stockings

    1912Painting289 × 375 cmLeopold Museum, Vienna

    These imperfections aren't flaws; they are evidence of time, mirroring the themes of decay and remembrance so central to Schiele’s oeuvre. “Nude with Blue Stockings” exemplifies this approach through its use of color – a deliberately muted palette dominated by cool blues and browns, punctuated by the striking vibrancy of the blue stockings themselves.

    Notable elementsblue stockingsbending

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  6. The Bride (unfinished) by Gustav Klimt, 1917
    6

    1917Oil on canvas

    Yet, it is the central image—a woman tenderly cradling another’s face within her hands—that truly anchors the viewer, prompting questions about intimacy, vulnerability, and perhaps even sacrifice. The city was a vibrant hub of artistic innovation, fueled by a burgeoning psychoanalytic movement (thanks in part to Sigmund Freud's work), a fascination with ancient cultures, and a growing sense of social and political unrest.

    Notable elementssymbolic figures

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  7. Amor (Illustration) by Tarsila do Amaral, 1925, Centro Cultural São Paulo
    7

    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. Created in 1925, this work sits at a fascinating crossroads where the avant-garde influences of Paris—such as Cubism and Expressionism —met a deeply personal, lyrical sensibility.

    Artwork notice

  8. Maude Abrantes by Amedeo Modigliani, 1908, Hecht Museum
    8

    Amedeo ModiglianiEarly 20th Century Modernism

    Maude Abrantes

    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.

    Notable elementselongated features

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  9. Shell No. 2 by Georgia O'Keeffe, 1928, Georgia O'Keeffe Museum
    9

    Georgia O'KeeffeAmerican Modernism

    Shell No. 2

    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. “Shell No. 2” remains one of Georgia O’Keeffe's most recognizable and beloved works.

    Artwork notice

  10. Serpientes de Agua I by Gustav Klimt, Menard Art Museum
    10

    Gustav KlimtSymbolist Modernism

    Serpientes de Agua I

    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.

    Notable elementsgold accentsserpents

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  11. Compartment Car by Edward Hopper, 1931
    11

    Edward HopperRealist Modernism

    Compartment Car

    1931Oil on canvas

    The painting centers on a woman absorbed in her reading within a train compartment. This use of chiaroscuro – the dramatic contrast between light and dark – is a hallmark of Hopper’s style and contributes significantly to the painting’s evocative power. 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.

    Notable elementslightshadowsolitude

    Artwork notice

  12. Oriental Poppies by Georgia O'Keeffe, 1928, University of Minnesota Art Museum
    12

    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.

    Notable elementsabstract formsmagnified floral depictionvibrant colors

    Artwork notice

  13. Madonna and Child by Henry Moore
    13

    Artwork notice

  14. Two Callas by Kathleen McEnery, 1925, Dulwich Picture Gallery
    14

    1925Silver gelatin print50 × 40 cmDulwich Picture Gallery, London

    There is an undeniable intimacy in the way the lens approaches the subject; by tightly cropping the frame, Cunningham strips away the distractions of the natural world, leaving the viewer to confront the pure, organic geometry of the flowers themselves. To understand the brilliance of Two Callas, one must look to the pioneering spirit of Imogen Cunningham herself.

    Artwork notice

  15. Man Smoking by Mark Rothko, 1933, National Gallery of Art
    15

    Mark RothkoEarly Modernism

    Man Smoking

    1933Oil on canvas90 × 70 cmNational Gallery of Art, Washington D.C.

    While many remember him for his towering, luminous color fields that define Abstract Expressionism, his earlier works offer a hauntingly beautiful window into a more figurative, yet equally spiritual, era of his development. 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.

    Artwork notice

  16. Hill Women by Amrita Sher-Gil, 1935
    16

    1935Oil on canvas

    The work was executed in Simla, India, during the winter months. This oil on canvas painting emerged from the artist's observations of the local surroundings near her home in Simla. The work gained international exposure when it was exhibited at the Paris Salon in 1936. The painting's cultural significance was further recognized in 1978, when it appeared on an Indian postage stamp.

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  17. Standing Woman in a Patterned Blouse by Egon Schiele, 1912, Nelson-Atkins Museum of Art
    17

    1912PaintNelson-Atkins Museum of Art, Kansas City

    The subject herself is presented in a strikingly unconventional manner. The choice of a Rückenfigur – a figure seen from behind – was a deliberate technique employed by Schiele to heighten psychological intensity. “Standing Woman in a Patterned Blouse” was created during a pivotal period in Viennese art history.

    Notable elementsback viewpolka dot blouse

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  18. Red Cannas by Georgia O'Keeffe, 1927, Amon Carter Museum of American Art
    18

    1927Oil on canvas76 × 91 cmAmon Carter Museum of American Art, Fort Worth

    The painting captures a single red canna lily, dramatically enlarged and presented with an almost unsettling intimacy, demanding the viewer’s complete attention. O'Keeffe’s approach to this subject was revolutionary for its time. This technique was heavily influenced by Arthur Wesley Dow’s teachings on color theory and personal expression, which encouraged artists to prioritize feeling over strict representation.

    Notable elementsclose-up petals

    Artwork notice

  19. The Trapper by Rockwell Kent, 1921
    19

    1921Oil on canvas

    The physical presence of the piece measures 34 1/8 × 44 1/8 in. The physical presence of the work is held in trust, with rights courtesy of the Plattsburgh State Art Museum, State University of New York, USA, as part of the Rockwell Kent Collection. This lineage traces back to the Bequest of Sally Kent Gorton.

    Artwork notice

  20. Composition. (San Martino) by Mario Sironi
    20

    Artwork notice

  21. Still Life by Henri Matisse
    21

    Henri MatisseFauvism and Modernism

    Still Life

    Painting

    This chromatic boldness was a defining feature of Fauvism, a movement Matisse co-founded alongside André Derain and Maurice de Vlaminck. While seemingly straightforward, "Still Life" is rich in symbolic potential. WahooArt offers meticulously crafted hand-painted reproductions of Henri Matisse’s “Still Life,” ensuring the preservation of the artist's original vision.

    Notable elementsbalancecolor

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  22. Naked Young Man (B. Snezhkovsky) by Konstantin Somov, 1937
    22

    1937Oil

    Snezhkovsky) emerged from the brush of Konstantin Somov in 1937. 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.

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  23. Leda and the Swan by Henri Matisse
    23

    Henri MatisseFauvism and Modernism

    Leda and the Swan

    Painting

    The image presented here – likely one of the later iterations – captures a pivotal moment: Leda, Queen of Sparta, is seated on a simple chair, cradling two children in her lap, while a magnificent swan descends upon her, bestowing the seed of future generations. It’s a scene stripped of overt violence or dramatic gesture, replaced by an atmosphere of serene vulnerability and maternal tenderness.

    Notable elementscolorcomposition

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  24. Summer Interior II by Edward Hopper, 1921, Whitney Museum of American Art
    24

    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.

    Notable elementsbookschairclock

    Artwork notice

  25. Cow's Skull Red, White, and Blue by Georgia O'Keeffe, 1931
    25

    1931Oil on canvas101 × 91 cm

    The composition is structured with a strong vertical orientation, drawing the viewer's eye upward from the base to the top of the skull. Created in 1931, " Cow's Skull Red, White, and Blue" reflects O'Keeffe's deep connection with the landscapes and wildlife of the American Southwest. During this period, O'Keeffe spent significant time in New Mexico, where she found inspiration in the stark beauty of the desert and its inhabitants.

    Notable elementsvertical compositiongradient backgroundbold colors

    Artwork notice

  26. Blue Wave Maine by Georgia O'Keeffe, 1926
    26

    1926Oil on canvas51 × 69 cm

    Created in 1926, this piece exemplifies modernist abstraction with influences from Impressionism and Color Field painting.

    Notable elementsvibrant color blendingminimalist compositionfluid forms

    Artwork notice

  27. Young Girl by Amedeo Modigliani, 1917
    27

    Amedeo ModiglianiExpressionist Modernism

    Young Girl

    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.

    Notable elementselongated features

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  28. Series I, No. 12 by Georgia O'Keeffe, 1920, Georgia O'Keeffe Museum
    28

    1920Oil on canvasGeorgia O'Keeffe Museum, Santa Fe

    Early influences, particularly Arthur Wesley Dow's teachings emphasizing personal expression through color and line, liberated her from strict realism. The painting reflects the burgeoning interest in abstraction that was gaining momentum during the early 20th century, yet it retains a deeply rooted connection to the natural world – a hallmark of her oeuvre.

    Notable elementsabstract dogcolors

    Artwork notice

  29. Arboretum by Flashbulb by Stuart Davis
    29

    Artwork notice

  30. Les Fétiches by Lois Mailou Jones, 1938, Smithsonian American Art Museum
    30

    1938Oil on canvas64.7 × 54 cmSmithsonian American Art Museum, Washington, D.C.

    Completed in 1938, the work was created in Paris, France. 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. The work is part of the museum's official holdings, having been accessioned into the collection in 1990.

    Artwork notice

  31. Barbara Hepworth with the plaster of Figure for Landscape and a bronze cast of Figure (Archaean) by Barbara Hepworth, 1964, The Hepworth Wakefield
    31

    1964Black and white photographyThe Hepworth Wakefield

    Seated with a quiet, contemplative poise, Hepworth is framed by her own monumental creations—the plaster of Figure for Landscape and a bronze cast of Figure (Archaean). This interplay of light and shadow emphasizes the tactile nature of Hepworth’s work, highlighting the smooth, biomorphic surfaces that define her signature style.

    Artwork notice

  32. Winter Landscape by Pegi Nicol MacLeod, 1931, The Robert McLaughlin Gallery
    32

    1931OilThe Robert McLaughlin Gallery, Oshawa

    The canvas presents a mountain landscape during the colder months. In the foreground, several rocks sit amidst the terrain, their surfaces textured against the surrounding elements. 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.

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  33. Kuluta by Nicholas Roerich, 1936, The Art Museum RIGA BOURSE
    33

    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.

    Notable elementsstatue of Raj Guga Chohanhimalayan landscapemountainsvillage

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  34. Portrait of Herbert Esche by Edvard Munch, 1905, Kunsthaus Zürich
    34

    Edvard MunchExpressionistic Modernism

    Portrait of Herbert Esche

    1905Oil on canvas71 × 55.5 cmKunsthaus Zürich, Zurich

    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. Munch wasn’t interested in creating a photographic likeness; he was striving to capture the feeling of being Esche—a feeling that is undeniably fraught with tension and introspection.

    Notable elementsred backgroundmuted tones

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  35. Casa Amatller, Barcelona, Spain by Josep Puig i Cadafalch, 1898, Italia Liberty
    35

    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.

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  36. Portrait of Gustave Coquiot by Pablo Picasso, 1901, Norrköpings Konstmuseum
    36

    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. Woman with cap – Showcasing a growing confidence in form and color.

    Notable elementsexpressive brushstrokesmuted green background with paintingsdetailed depiction of subject

    Artwork notice

  37. Kelly and Sergeant Kennedy by Sidney Nolan, Canberra Museum and Gallery
    37

    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. The technique employed by Nolan reflects his unique position as a modernist mythmaker.

    Artwork notice

  38. Madawaska-Acadian Light-Heavy by Marsden Hartley, 1940, Art Institute of Chicago
    38

    1940Oil on hardboardArt Institute of Chicago

    Born in Lewiston, Maine, he spent his early years traveling around New England before moving to New York City in 1899. 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.

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  39. Portrait of Professor António de Oliveira Salazar by Eduardo José de Sousa Malta, 1933, Museu do Caramulo
    39

    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. This specific piece dates to 1933. Eduardo José De Sousa Malta, a Portuguese painter born in Lisbon, produced this portrait during a period of his career marked by academic training.

    Artwork notice

  40. Pierrot (Self portrait in the costume of Pierrot) by Zinaida Serebryakova, 1911, Odessa Fine Art Museum
    40

    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. The impressionistic brushstrokes catch the light on the fabric, creating a sense of weight and texture. The choice of the Pierrot character brings a layer of theatrical melancholy to the composition.

    Artwork notice

  41. Werner Baer by Maxwell Spencer Dupain Ac Obe, 1947, National Portrait Gallery
    41

    1947Photography (black and white)37 × 28 cmNational Portrait Gallery, Canberra

    This portrait, titled Werner Baer, was executed by the Australian modernist photographer Maxwell Spencer Dupain Ac Obe. 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. The physical dimensions of the piece are 37 x 28 cm.

    Artwork notice

  42. At the Window by Alfred Maurer, 1900
    42

    Alfred MaurerAmerican Modernism

    At the Window

    1900Oil on canvas61 × 50 cm

    The woman is seated in a chair positioned directly beside a window. This oil on canvas work measures 61 x 50 cm.

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  43. Family Group by Henry Moore, 1932, Finnish National Gallery
    43

    1932Oil on canvas46.5 × 40 cmFinnish National Gallery, Helsinki

    Artwork notice

  44. Composition 7 by Mario Sironi
    44

    Artwork notice

  45. Self-Portrait with Easel by Amrita Sher-Gil, 1930, Kiran Nadar Museum of Art
    45

    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. Amrita Sher-Gil’s ability to synthesize European academic training with the vibrant, soulful aesthetics of Indian tradition paved the way for modernism in the subcontinent.

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  46. Heller the Rainbow Group by Massimo Vignelli, Vignelli Associates, Vignelli Center for Design Studies
    46

    Brochure and stacking dinnerware21 × 27 cmVignelli Center for Design Studies, Rochester

    By utilizing a bold, primary-adjacent palette, Vignelli transformed a commercial brochure into a lasting icon of 20th-century aesthetics. 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.

    Artwork notice

  47. Rubens de Mendonça House by João Batista Vilanova Artigas, Oscar Niemeyer Museum
    47

    PaintingOscar Niemeyer Museum, Curitiba

    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. Constructed in 1958-1959, the residence is instantly recognizable by its striking use of monumental concrete columns that dominate the façade, creating a dramatic interplay between solidity and lightness.

    Artwork notice

  48. Motorman, Tram Driver by Mario Sironi
    48

    Artwork notice

  49. Self-Portrait with Red Background by Amrita Sher-Gil, 1930, Kiran Nadar Museum of Art
    49

    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. The composition reflects a fusion of Western portraiture techniques—reminiscent of the European masters—with a burgeoning sensitivity to the light and mood found in Indian traditions.

    Notable elementsred backgroundhand on chestearrings

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  50. House Baeta by João Batista Vilanova Artigas, Oscar Niemeyer Museum
    50

    PhotographyOscar Niemeyer Museum, Curitiba

    Early collaborations with Gregori Warchavchik on the ambitious remodeling of Praça da República foreshadowed the modernist sensibilities that would soon dominate his oeuvre—a project reflecting an urgent desire to confront societal ills through architectural intervention. From 1948 onwards, Artigas spearheaded the establishment of São Paulo’s Architecture and Urbanism Faculty, transforming it into a crucible for architectural reform that reverberated across Brazil.

    Artwork notice

  51. Animal Turned Head by Henry Moore
    51

    Artwork notice

  52. Prizewinning WWI Poster by Edward Hopper, 1931
    52

    1931Painting

    Edward Hopper's "Prizewinning World War I Patriotic Poster," a seemingly straightforward depiction of a man diligently hammering a nail, reveals itself upon closer inspection as a potent distillation of the anxieties and aspirations that gripped America during its entry into World War I. The image’s symbolism is inextricably linked to the context of World War I.

    Notable elementsmorse Dialhammernail

    Artwork notice

  53. House at San Mateo by Edward Hopper, 1931
    53

    1931Painting

    In “House at San Mateo,” this is evident in the house’s architecture and the arrangement of the figures, contributing to the painting's overall stability despite its underlying themes of loneliness. 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.

    Notable elementsclock towerpalm trees

    Artwork notice

  54. Nude on Sofa (Almaisa) by Amedeo Modigliani, 1916
    54

    Amedeo ModiglianiExpressionist Modernism

    Nude on Sofa (Almaisa)

    1916Oil on canvas81 × 116 cm

    " Nude on Sofa (Almaisa)" was created during a turbulent period in Modigliani’s life. However, Modigliani subverts traditional notions of beauty by presenting a woman in a state of vulnerability and introspection.

    Notable elementselongated forms

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  55. The Bridge of Art by Edward Hopper, 1907
    55

    Edward HopperRealist Modernism

    The Bridge of Art

    1907

    Executed during a period of rapid industrialization and urbanization, this large-scale canvas captures a moment of quiet contemplation amidst the relentless march of progress – a theme that would become a hallmark of Hopper's oeuvre. Hopper's technique in “The Bridge of Art” is characterized by a meticulous realism, informed by his training under William Merritt Chase and Robert Henri.

    Notable elementsboatstrainbridge

    Artwork notice

  56. Landscape in the Midi by Amedeo Modigliani, 1918
    56

    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. The influence of African sculpture is subtly present in the simplified forms and the emphasis on line, reflecting Modigliani’s fascination with non- Western art.

    Notable elementstreebuildingsred roof

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  57. Approaching the City by Edward Hopper, 1931
    57

    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. Created during the interwar years, “Approaching the City” reflects the anxieties and uncertainties of a nation grappling with economic depression and social change.

    Notable elementspeopletraintunnel

    Artwork notice

  58. Nu couche de dos by Amedeo Modigliani, 1917, Barnes Foundation
    58

    Amedeo ModiglianiExpressionist Modernism

    Nu couche de dos

    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 color palette is deliberately muted and earthy – ochre, beige, brown, and subtle hints of red—reflecting Modigliani’s preference for understated tones. The elongated neck and limbs—a hallmark of Modigliani’s style—contribute to the painting's ethereal quality, evoking a sense of timelessness and spiritual depth.

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  59. Untitled (City Night) by Georgia O'Keeffe, 1925, Georgia O'Keeffe Museum
    59

    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.

    Notable elementslarge purple flower

    Artwork notice

  60. Blue--A by Georgia O'Keeffe, 1959, Georgia O'Keeffe Museum
    60

    Georgia O'KeeffeAmerican Modernism

    Blue--A

    1959PaintingGeorgia O'Keeffe Museum, Santa Fe

    O’Keeffe achieved this ethereal effect through wet-on-wet watercolor technique —a method that allows for gradual blending and diffusion of pigment, resulting in textures that mimic the fluidity of water itself. Like Monet's landscapes, it eschews photographic accuracy in favor of conveying atmosphere and emotion.

    Artwork notice

  61. Beauty by Boris Kustodiev, 1915, Tretyakov Gallery
    61

    Boris KustodievRussian Modernism

    Beauty

    1915Oil on canvas141 × 185.5 cmTretyakov Gallery, Moscow

    The oil on canvas painting titled Beauty was executed by the artist Boris Mikhailovich Kustodiev in 1915. 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.

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  62. Untitled by Amedeo Modigliani, 1917, Royal Museum of Fine Arts Antwerp
    62

    Amedeo ModiglianiEarly Modernism

    Untitled

    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. Born in Livorno, Italy, in 1884, Amedeo Modigliani was deeply influenced by the intellectual currents of his time.

    Notable elementselongated portraits

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  63. Antonia by Amedeo Modigliani, 1915, Musee de l'Orangerie
    63

    Amedeo ModiglianiEarly Modernism

    Antonia

    1915Oil on canvas82 × 46 cmMusee de l'Orangerie, Paris

    Simultaneously, the flattened perspective and geometric shapes hint at the influence of Cubism, suggesting an exploration of form rather than strict adherence to realistic depiction. Created during a period marked by personal hardship for Modigliani – battling illness and struggling with financial instability – “Antonia” can be interpreted as an exploration of melancholy and isolation.

    Notable elementselongated figures

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  64. Jeanne Hebuterne in Yellow Sweater by Amedeo Modigliani, 1918, Solomon R. Guggenheim Museum
    64

    1918Oil on canvas100 × 65 cmSolomon R. Guggenheim Museum, New York

    The subject, Jeanne Hébuterne, was not only his lifelong companion but also his most frequent model, appearing in over 100 of his paintings and drawings. 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.

    Notable elementselongated formssimplified shapesportrait of Jeanne Hebuterne

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  65. The straw hat by Nikolaos Lytras, 1925, National Gallery
    65

    1925Oil on canvas86 × 66 cmNational Gallery, Athens

    Admire Nikolaos Lytras’ ‘The Straw Hat,’ a captivating 1925 portrait of a Greek woman.

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  66. Ennui by Walter Sickert, 1914, Tate Gallery
    66

    Walter SickertEarly Modernism

    Ennui

    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. Similarly, his period in France is captured in Les Arcades de la Poissonnerie, Dieppe, 1900, also part of the Tate Gallery’s collection in London.

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  67. Untitled (AQZCVV) by Amrita Sher-Gil, 1935, National Gallery of Modern Art
    67

    1935Oil on canvas99.5 × 73.5 cmNational Gallery of Modern Art, New Delhi

    A fourth woman sits behind them, adding depth to the scene, while two further figures are subtly placed in the background, suggesting a broader social context. 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.

    Notable elementsred scarvestraditional clothing

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  68. A Storm by Georgia O'Keeffe, 1921–1922, Metropolitan Museum of Art
    68

    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 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. This work is part of a collection of paintings depicting sea-and landscapes of Maine or Lake George, created between 1921 and 1922.

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  69. Nude on a Blue Cushion by Amedeo Modigliani, 1917, National Gallery of Art
    69

    Amedeo ModiglianiExpressionist Modernism

    Nude on a Blue Cushion

    1917Oil65 × 101 cmNational Gallery of Art, Washington

    Modigliani’s signature style is powerfully evident in the subject's form. Created during a period of significant artistic upheaval—the early 20th century —“Nude on a Blue Cushion” reflects the burgeoning influence of Cubism, Fauvism, and Expressionism.

    Notable elementselongated forms

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  70. Portrait of Jeanne Hébuterne by Amedeo Modigliani, 1919, Ohara Museum of Art
    70

    1919Oil on canvas54 × 92 cmOhara Museum of Art, Kurashiki

    The painting exemplifies Modigliani’s signature style – characterized by elongated figures, simplified forms, and an expressive use of line – firmly establishing its place within the broader artistic landscape of early Modernism. Modigliani’s artistic vision draws inspiration from movements like Expressionism and Cubism, albeit filtered through his unique lens.

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  71. Red Haired Girl by Amedeo Modigliani, 1918, Barnes Foundation
    71

    Amedeo ModiglianiExpressionist Modernism

    Red Haired Girl

    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. “Red-Haired Girl” is a quintessential example of Modigliani's signature style – a blend of Expressionism and early Cubism. Understanding the context surrounding “Red-Haired Girl” is crucial to appreciating its depth.

    Notable elementselongated figures

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  72. Blue Eyes (Portrait of Madame Jeanne Hébuterne) by Amedeo Modigliani, 1917, Philadelphia Museum of Art
    72

    1917Oil on canvas54.6 × 42.9 cmPhiladelphia Museum of Art

    Blue Eyes (Portrait of Madame Jeanne Hébuterne) is a work by Amedeo Modigliani. Painted in 1917, the oil on canvas captures the likeness of Madame Jeanne Hébuterne. In 2002, it was featured in the exhibition Modigliani & the Artists of Montparnasse, appearing as number 16. Later, in 2006, it was presented in the exhibition Modigliani and His Models, where it was identified as number 25.

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  73. Before the Corrida by Amadeo de Souza-Cardoso, 1912, Calouste Gulbenkian Foundation
    73

    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.

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  74. Memories of Childhood by Marc Chagall, 1924, National Gallery of Canada
    74

    1924Oil on canvas73.8 × 86.3 cmNational Gallery of Canada, Ottawa

    A goat occupies the center of the canvas, its surface painted with a thick, tactile weight. The scale of the creature feels large, seen through the eyes of a small child.

    Notable elementsold mangoatwhite church

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  75. Portrait of a German Officer by Marsden Hartley, 1914, Metropolitan Museum of Art
    75

    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.

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  76.  by Amadeo de Souza-Cardoso, 1911, Centro de Arte Moderna Gulbenkian
    76

    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. Born in 1887 in Manhufe, near Amarante, Souza-Cardoso's early life instilled in him a deep connection to the rural landscapes of Portugal. Tragically, Souza-Cardoso’s life was cut short in 1918 at the young age of 30.

    Notable elementshorseplantsvaseclown

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  77. Red and Orange Streak by Georgia O'Keeffe, 1919, Philadelphia Museum of Art
    77

    1919Oil on canvas68.6 × 58.4 cmPhiladelphia Museum of Art

    A horizontal band of saturated red occupies the mid-ground, positioned against a background of deep blacks, dark greens, and earthy browns. Bright yellow and orange streaks intersect these darker tones in fluid, organic lines. The paint is applied with thick, curved forms that suggest motion across a flattened, non-representational space.

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  78. Nude with Necklace by Amedeo Modigliani, 1917, Solomon R. Guggenheim Museum
    78

    1917Oil on canvas73 × 116 cmSolomon R. Guggenheim Museum, New York

    To fully appreciate “Nude with Necklace,” one must understand the artist’s personal circumstances. The painting was created during a pivotal period in Modigliani's life, marked by his relationship with Jeanne Hébuterne, a young art student who became both muse and tragic companion. Notably, Modigliani's use of color is restrained and deliberate.

    Notable elementselongated forms

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  79. Femme au col blanc Portrait de Lunia Czechowska by Amedeo Modigliani, 1917, Musée de Grenoble
    79

    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. The elongated face and stylized gaze are hallmarks of Modigliani's signature style, reflecting his fascination with capturing the essence of human emotion through abstraction. “Femme au col blanc” firmly establishes itself within the context of Modernism, specifically influenced by Cubist principles.

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  80. Twins by Henry Moore
    80

    Henry MooreModernism

    Twins

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  81. Landscape with red figure by Mario Sironi
    81

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  82. Three Standing Figures by Henry Moore
    82

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  83. Urban Landscapes by Mario Sironi
    83

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  84. Bird Motif by Henry Moore
    84

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  85. An Island with Clouds by Georgia O'Keeffe, 1962, Georgia O'Keeffe Museum
    85

    1962Oil on canvasGeorgia O'Keeffe Museum, Santa Fe

    While their approaches differed – Stieglitz focused on capturing fleeting moments of atmospheric phenomena, O’Keeffe sought to distill these experiences into pure abstraction. “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.

    Notable elementsislandcloudscape

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  86. Six Reclining Figures 5 by Henry Moore
    86

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  87. Ghost by Mario Sironi
    87

    Mario SironiModernism

    Ghost

    Artwork notice

  88. Musicians by Mario Sironi
    88

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  89. Mountain Landscape by Mario Sironi
    89

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  90. Multiplication by Mario Sironi
    90

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  91. Seated Figure V Wickerwork Chair by Henry Moore
    91

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  92. Rocking Chair No. 2 by Henry Moore
    92

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  93. Reclining Figure with Sky Background by Henry Moore
    93

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  94. Two Forms in Red and Yellow by Henry Moore
    94

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  95. Heller Max I by Massimo Vignelli, Vignelli Associates, 1964, Vignelli Center for Design Studies
    95

    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. Later, the design was re-released in 1970 by Heller.

    Artwork notice

  96. Family Group 3 by Henry Moore
    96

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  97. Fisherman and boat by Mario Sironi
    97

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  98. Untitled 7 by Mario Sironi
    98

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  99. Two Piece Reclining Figure No. 5 by Henry Moore
    99

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  100. Sin título by Joy Hester, 1957, National Gallery of Victoria
    100

    Joy HesterExpressionist Modernism

    Sin título

    1957Charcoal/pencil23 × 20 cmNational Gallery of Victoria, Melbourne

    This arresting image, a cornerstone of Australian Modernism, immediately commands attention with its unsettling intimacy – a close-up study of a figure veiled by a dark, almost suffocating fabric. This restrained approach allows Hester’s emotional intent to shine through with remarkable clarity. Furthermore, the title itself, "Sin Titulo" (Without Title), adds another layer of intrigue.

    Notable elementsshadingexpressive lines

    Artwork notice

Classification

Famous Modernism paintings by classification

Collections

Current locations of the famous Modernism paintings

Of the 100 works, 5 are held in Santa Fe, including 5 at the Georgia O'Keeffe Museum.

Artists cited

Modernism artists represented in the list

Portrait of Edward Hopper

Edward Hopper

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), 11. Compartment Car, 24. Summer Interior II, 52. Prizewinning WWI Poster, 53. House at San Mateo, 55. The Bridge of Art, 57. Approaching the City

Portrait of Amrita Sher-Gil

Amrita Sher-Gil

1913–1941 · Hungary · 4

Hungarian-Indian modernist known for bold colors and soulful portraits of rural life, blending Western techniques with Indian traditions.

16. Hill Women, 45. Self-Portrait with Easel, 49. Self-Portrait with Red Background, 67. Untitled (AQZCVV)

Portrait of Egon Schiele

Egon Schiele

1890–1918 · Austria · 2

Austrian Expressionist known for raw, contorted figures and nervous, expressive line work that explores sexuality and the human condition.

5. Nude with Blue Stockings, 17. Standing Woman in a Patterned Blouse

+29further artists in the list Modernism Artists List

Notes

Frequently asked questions on Modernism paintings

Hover over an entry to display the answer.

Which 10 Modernism paintings should everyone know?

What techniques were used in Modernism paintings?

53 of the 100 are oil paintings, 1 use tempera and 0 are frescoes; 1 are painted on wood and 46 on canvas.

How was this list of Modernism paintings ranked?

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.

Can I own a copy of a famous Modernism painting?

40 of these 100 paintings are available hand-painted in oil, from $177, and 40 as a canvas print, from $42.

Reproductions

40 of the 100 works are available as reproductions

Hand-painted reproductions of 40 works in this list are available from $177.

Nude Sitting on a Divan by Amedeo ModiglianiReclining Nude (Le Grande Nu) by Amedeo ModiglianiAutomat (small) by Edward HopperSeated Nude on Divan by Amedeo ModiglianiNude with Blue Stockings by Egon Schiele

All Modernism artworks

Methodology

Scope: the Modernism paintings recorded in the WikiOO.org catalogue. Order: how well known each painting is, measured three ways — the number of Wikipedia language editions with an article on it, its editorial rank and the visits to its page. A work recorded several times is counted once; details, copies and studies are excluded.

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