The story of modern art is in many ways the story of the 20th century. Art shaped and was shaped by events, people, ideas and innovations far beyond the narrow confines of its world. The modern skyscrapers of Manhattan, TS Eliot, Monty Python, the Sex Pistols, the iPhone and the great political, philosophical and social movements of the last hundred years all owe something to the art produced by Manet, Monet and those pioneering artists who followed in their wake.
As does Harry Beck’s Tube Map (1931), which I have parodied to illustrate the interconnectivity between many of the modern art movements and their main protagonists. The map is devised to give equal weight to each movement and artist, which is about as accurate as Beck’s geographical representation of London: it is a necessary case of form following function. In truth, like all stories, there are lead players, support acts and a few walk-on parts. Paul Cézanne, Pablo Picasso, Kasimir Malevich and Jackson Pollock were all, of course, disproportionately influential. As were a number of those on the money side of things, including Paul Durand-Ruel (impressionism), Peggy Guggenheim (abstract expressionism) and Leo Castelli (pop art).