Modern art includes artistic works produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency toward abstraction is characteristic of much modern art. More recent artistic production is often called Contemporary art or Postmodern art.

Modern art begins with the heritage of painters like Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat and Henri de Toulouse Lautrec all of whom were essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Henri Matisse's two versions of ''The Dance'' signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.

Initially influenced by Toulouse Lautrec, Gauguin and other late 19th century innovators Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, exemplified by ''Violin and Candlestick, Paris,'' from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and several other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.

The notion of modern art is closely related to Modernism.

History of modern art

Roots in the 19th century

Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of modern art is 1863, the year that Édouard Manet exhibited his painting ''Le déjeuner sur l'herbe'' in the ''Salon des Refusés'' in Paris. Earlier dates have also been proposed, among them 1855 (the year Gustave Courbet exhibited ''The Artist's Studio'') and 1784 (the year Jacques-Louis David completed his painting ''The Oath of the Horatii''). In the words of art historian H. Harvard Arnason: "Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning .... A gradual metamorphosis took place in the course of a hundred years."

The strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from the outside ... . Modernism criticizes from the inside." The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and accustomed the public to vigorous political and social debate. This gave rise to what art historian Ernst Gombrich called a "self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper."

The pioneers of modern art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in modern art had begun to emerge: post-Impressionism as well as Symbolism.

Influences upon these movements were varied: from exposure to Eastern decorative arts, particularly Japanese printmaking, to the coloristic innovations of Turner and Delacroix, to a search for more realism in the depiction of common life, as found in the work of painters such as Jean-François Millet. The advocates of realism stood against the idealism of the tradition-bound academic art that enjoyed public and official favor. The most successful painters of the day worked either through commissions or through large public exhibitions of their own work. There were official, government-sponsored painters' unions, while governments regularly held public exhibitions of new fine and decorative arts.

The Impressionists argued that people do not see objects but only the light which they reflect, and therefore painters should paint in natural light (en plein air) rather than in studios and should capture the effects of light in their work. Impressionist artists formed a group, ''Société Anonyme Coopérative des Artistes Peintres, Sculpteurs, Graveurs'' ("Association of Painters, Sculptors, and Engravers") which, despite internal tensions, mounted a series of independent exhibitions. The style was adopted by artists in different nations, in preference to a "national" style. These factors established the view that it was a "movement". These traits—establishment of a working method integral to the art, establishment of a movement or visible active core of support, and international adoption—would be repeated by artistic movements in the Modern period in art.

Early 20th Century

Among the movements which flowered in the first decade of the 20th century were Fauvism, Cubism, Expressionism, and Futurism.

During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade, a member of the jury at the Salon d'Automne where he exhibited three of his dreamlike works: ''Enigma of the Oracle'', ''Enigma of an Afternoon'' and ''Self-Portrait''. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, and his work was noticed by Pablo Picasso, Guillaume Apollinaire, and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. ''Song of Love'' (1914) is one of the most famous works by de Chirico and is an early example of the surrealist style, though it was painted ten years before the movement was "founded" by André Breton in 1924.

World War I brought an end to this phase but indicated the beginning of a number of anti-art movements, such as Dada, including the work of Marcel Duchamp, and of Surrealism. Artist groups like de Stijl and Bauhaus developed new ideas about the interrelation of the arts, architecture, design, and art education.

Modern art was introduced to the United States with the Armory Show in 1913 and through European artists who moved to the U.S. during World War I.

After World War II

It was only after World War II, however, that the U.S. became the focal point of new artistic movements. The 1950s and 1960s saw the emergence of Abstract Expressionism, Color field painting, Pop art, Op art, Hard-edge painting, Minimal art, Lyrical Abstraction, FLUXUS, Postminimalism, Photorealism and various other movements. In the late 1960s and the 1970s, Land art, Performance art, Conceptual art, and other new art forms had attracted the attention of curators and critics, at the expense of more traditional media. Larger installations and performances became widespread.

By the end of the 1970s, when cultural critics began speaking of "the end of painting" (the title of a provocative essay written in 1981 by Douglas Crimp), new media art had become a category in itself, with a growing number of artists experimenting with technological means such as video art. Painting assumed renewed importance in the 1980s and 1990s, as evidenced by the rise of neo-expressionism and the revival of figurative painting.

Towards the end of the 20th century, a number of artists and architects started questioning the idea of "the modern" and created typically Postmodern works.

Art movements and artist groups

''(Roughly chronological with representative artists listed.)''

Roots of modern art

19th century

Romanticism the Romantic movement - Francisco de Goya, J. M. W. Turner, Eugène Delacroix

Realism - Gustave Courbet, Camille Corot, Jean-François Millet

Impressionism - Edgar Degas, Édouard Manet, Claude Monet, Camille Pissarro, Alfred Sisley

Post-impressionism - Georges Seurat, Paul Cézanne, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, Henri Rousseau

Symbolism - Gustave Moreau, Odilon Redon, James Ensor

Les Nabis - Pierre Bonnard, Edouard Vuillard, Félix Vallotton

pre-Modernist Sculptors - Aristide Maillol, Auguste Rodin

Early 20th century (before World War I)

Art Nouveau & variants - Jugendstil, Modern Style, Modernisme - Aubrey Beardsley, Alphonse Mucha, Gustav Klimt,

Art Nouveau Architecture & Design - Antoni Gaudí, Otto Wagner, Wiener Werkstätte, Josef Hoffmann, Adolf Loos, Koloman Moser

Cubism - Georges Braque, Pablo Picasso

Fauvism - André Derain, Henri Matisse, Maurice de Vlaminck

Expressionism - Egon Schiele, Oskar Kokoschka, Edvard Munch, Emil Nolde

Futurism - Giacomo Balla, Umberto Boccioni, Carlo Carrà

Die Brücke - Ernst Ludwig Kirchner

Der Blaue Reiter - Wassily Kandinsky, Franz Marc

Orphism - Robert Delaunay, Sonia Delaunay, Jacques Villon

Photography - Pictorialism, Straight photography

Post-Impressionism - Emily Carr

Pre-Surrealism - Giorgio de Chirico, Marc Chagall

Russian avant-garde - Kasimir Malevich, Natalia Goncharova, Mikhail Larionov

Sculpture - Pablo Picasso, Henri Matisse, Constantin Brâncuşi

Synchromism - Stanton MacDonald-Wright, Morgan Russell

Vorticism - Wyndham Lewis

World War I to World War II

Dada - Jean Arp, Marcel Duchamp, Max Ernst, Francis Picabia, Kurt Schwitters

Synthetic Cubism - Georges Braque, Juan Gris, Fernand Léger, Pablo Picasso

Pittura Metafisica - Giorgio de Chirico, Carlo Carrà, Giorgio Morandi

De Stijl - Theo van Doesburg, Piet Mondrian

Expressionism - Egon Schiele, Amedeo Modigliani, Chaim Soutine

New Objectivity - Max Beckmann, Otto Dix, George Grosz

Figurative painting - Henri Matisse, Pierre Bonnard

American Modernism - Stuart Davis, Arthur G. Dove, Marsden Hartley, Georgia O'Keeffe

Constructivism - Naum Gabo, Gustav Klutsis, László Moholy-Nagy, El Lissitzky, Kasimir Malevich, Vadim Meller, Alexander Rodchenko, Vladimir Tatlin

Surrealism - Jean Arp, Salvador Dalí, Max Ernst, René Magritte, André Masson, Joan Miró, Marc Chagall

Bauhaus - Wassily Kandinsky, Paul Klee, Josef Albers

Sculpture - Alexander Calder, Alberto Giacometti, Gaston Lachaise, Henry Moore, Pablo Picasso, Julio Gonzalez

Scottish Colourists - Francis Cadell, Samuel Peploe, Leslie Hunter, John Duncan Fergusson

Suprematism - Kazimir Malevich, Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Lyubov Popova, Nikolai Suetin, Nina Genke-Meller, Ivan Puni, Ksenia Boguslavskaya

After World War II

Figuratifs - Bernard Buffet, Jean Carzou, Maurice Boitel, Daniel du Janerand, Claude-Max Lochu

Sculpture - Henry Moore, David Smith, Tony Smith, Alexander Calder, Isamu Noguchi, Alberto Giacometti, Sir Anthony Caro, Jean Dubuffet, Isaac Witkin, René Iché, Marino Marini, Louise Nevelson

Abstract expressionism - Willem de Kooning, Jackson Pollock, Hans Hofmann, Franz Kline, Robert Motherwell, Clyfford Still, Lee Krasner

American Abstract Artists - Lee Krasner, Ibram Lassaw, Ad Reinhardt, Josef Albers, Burgoyne Diller

Art Brut - Adolf Wölfli, August Natterer, Ferdinand Cheval, Madge Gill, Paul Salvator Goldengreen

Arte Povera - Jannis Kounellis, Luciano Fabro, Mario Merz, Piero Manzoni, Alighiero Boetti

Color field painting - Barnett Newman, Mark Rothko, Sam Francis, Morris Louis, Helen Frankenthaler

Tachisme - Jean Dubuffet, Pierre Soulages, Hans Hartung, Ludwig Merwart

COBRA - Pierre Alechinsky, Karel Appel, Asger Jorn

Neo-Dada - Robert Rauschenberg, Jasper Johns, John Chamberlain, Joseph Beuys, Edward Kienholz

Fluxus - George Maciunas, Allan Kaprow, Nam June Paik, Yoko Ono, Dick Higgins

Dau-al-Set - founded in Barcelona by poet/artist Joan Brossa, - Antoni Tàpies

Grupo El Paso - founded in Madrid by artists Antonio Saura, Pablo Serrano

Geometric abstraction - Wassily Kandinsky, Kazimir Malevich, Nadir Afonso, Manlio Rho, Mario Radice, Mino Argento

Hard-edge painting - John McLaughlin, Ellsworth Kelly, Frank Stella, Al Held, Ronald Davis

Kinetic art - George Rickey, Getulio Alviani

Land art - Christo, Richard Long, Robert Smithson, Michael Heizer

Les Automatistes - Claude Gauvreau, Jean-Paul Riopelle, Pierre Gauvreau, Fernand Leduc, Jean-Paul Mousseau, Marcelle Ferron

Minimal art - Sol LeWitt, Donald Judd, Dan Flavin, Richard Serra, Agnes Martin

Postminimalism - Eva Hesse, Bruce Nauman, Lynda Benglis

Lyrical abstraction - Ronnie Landfield, Sam Gilliam, Larry Zox, Dan Christensen

Neo-figurative art - Fernando Botero, Antonio Berni

Neo-expressionism - Georg Baselitz, Anselm Kiefer, Jörg Immendorff, Jean-Michel Basquiat

Transavanguardia - Francesco Clemente, Mimmo Paladino, Sandro Chia, Enzo Cucchi

Figuration libre - Hervé Di Rosa, François Boisrond, Robert Combas

New realism - Yves Klein, Pierre Restany, Arman

Op art - Victor Vasarely, Bridget Riley, Richard Anuszkiewicz

Outsider art - Howard Finster, Grandma Moses, Bob Justin

Photorealism - Audrey Flack, Chuck Close, Duane Hanson, Richard Estes, Malcolm Morley

Pop art - Richard Hamilton, Robert Indiana, Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, Andy Warhol, Ed Ruscha, David Hockney

Postwar European figurative painting - Lucian Freud, Francis Bacon, Frank Auerbach

Shaped canvas - Lee Bontecou, Frank Stella, Kenneth Noland, Ron Davis, Robert Mangold.

Soviet art - Alexander Deineka, Alexander Gerasimov, Ilya Kabakov, Komar & Melamid, Alexandr Zhdanov, Leonid Sokov

Spatialism - Lucio Fontana

Visionary art - Ernst Fuchs, Paul Laffoley, Michael Bowen

Important modern art exhibitions and museums

:For a comprehensive list see ''Museums of modern art''.

See also

Modernism

List of modern artists

List of 20th-century women artists

20th century art

20th-century Western painting

Art manifesto

Art movements

Art periods

Contemporary art

History of painting

Modern architecture

Postmodern art

Western painting

Notes

References

Arnason, H. Harvard. 1998. ''History of Modern Art: Painting, Sculpture, Architecture, Photography''. Fourth Edition, rev. by Marla F. Prather, after the third edition, revised by Daniel Wheeler. New York: Harry N. Abrams, Inc. ISBN 0-8109-3439-6; Upper Saddle River, New Jersey: Prentice-Hall. ISBN 0-13-183313-8; London: Thames & Hudson. ISBN 0-500-23757-3 [Fifth edition, revised by Peter Kalb, Upper Saddle River, N.J.: Prentice Hall; London: Pearson/Prentice Hall, 2004. ISBN 0-13-184069-X]

Atkins, Robert. 1990. ''Artspeak: A Guide to Contemporary Ideas, Movements, and Buzzwords''. New York: Abbeville Press. ISBN 1-55859-127-3

Cahoone, Lawrence E. 1996. ''From Modernism to Postmodernism: An Anthology''. Cambridge, Mass: Blackwell. ISBN 1-55786-603-1

Cogniat, Raymond. 1975. ''Pissarro''. New York: Crown. ISBN 0-517-52477-5.

Corinth, Lovis, Peter-Klaus Schuster, Lothar Brauner, Christoph Vitali, and Barbara Butts. 1996. ''Lovis Corinth''. Munich and New York: Prestel. ISBN 3-7913-1682-6

Frascina, Francis, and Charles Harrison (eds.) 1982. ''Modern Art and Modernism: A Critical Anthology''. Published in association with The Open University. London: Harper and Row, Ltd. Reprinted, London: Paul Chapman Publishing, Ltd.

Frazier, Nancy. 2001. ''The Penguin Concise Dictionary of Art History''. New York: Penguin Books. ISBN 0-14-051420-1

Gombrich, E. H. 1958. ''The Story of Art''. London: Phaidon.

Mullins, Charlotte. 2006. ''Painting People: Figure Painting Today''. New York: D.A.P. ISBN 978-1-933045-38-2

Further reading

Adams, Hugh. 1979. ''Modern Painting''. [Oxford]: Phaidon Press. ISBN 0-7148-1984-0 (cloth) ISBN 0-7148-1920-4 (pbk)

Childs, Peter. 2000. ''Modernism''. London and New York: Routledge. ISBN 0-415-19647-7 (cloth) ISBN 0-415-19648-5 (pbk)

Crouch, Christopher. 2000. ''Modernism in Art Design and Architecture''. New York: St. Martins Press. ISBN 0-312-21830-3 (cloth) ISBN 0-312-21832-X (pbk)

Dempsey, Amy. 2002. ''Art in the Modern Era: A Guide to Schools and Movements''. New York: Harry A. Abrams. ISBN 0-8109-4172-4

Hunter, Sam, John Jacobus, and Daniel Wheeler. 2004. ''Modern Art''. Revised and Updated 3rd Edition. New York: The Vendome Press [Pearson/Prentice Hall]. ISBN 0-13-189565-6 (cloth) 0-13-150519-X (pbk)

Kolocotroni, Vassiliki, Jane Goldman, and Olga Taxidou (eds.). 1998. ''Modernism: An Anthology of Sources and Documents''. Chicago: University of Chicago Press. ISBN 0-226-45073-2 (cloth) ISBN 0-226-45074-0 (pbk)

Ozenfant, Amédée. 1952. ''Foundations of Modern Art''. New York: Dover Publications.

Read, Herbert and Benedict. 1975. ''A Concise History of Modern Painting. Thames and Hudson. ISBN 978-0-500-20141-1

External links

Tate Modern

The Museum of Modern Art

A TIME Archives Collection of Modern Art's perception

National Gallery of Modern Art - Govt. of India

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bgcolour	#6495ED
name	Piet Mondrian
birth name	Pieter Cornelis Mondriaan
birth date	March 07, 1872
birth place	Amersfoort, Netherlands
death date	February 01, 1944
death place	Manhattan, New York, United States
nationality	Dutch
field	Painting
training	Rijksakademie
movement	De Stijl
influenced by	Hague School, Pablo Picasso, Georges Braque, Bart van der Leck, Theo van Doesburg
awards	}}

Pieter Cornelis "Piet" Mondriaan, after 1912 Mondrian (, later ; March 7, 1872 – February 1, 1944), was a Dutch painter.

He was an important contributor to the De Stijl art movement and group, which was founded by Theo van Doesburg. He evolved a non-representational form which he termed Neo-Plasticism. This consisted of white ground, upon which was painted a grid of vertical and horizontal black lines and the three primary colors.

Between his 1905 painting, ''The River Amstel'', and his 1907 ''Amaryllis'', Mondrian changed the spelling of his signature from Mondriaan to Mondrian.

The Netherlands 1872–1912

Mondrian was born in Amersfoort in The Netherlands, the second of his parents' children. He was descended from Christian Dirkzoon Monderyan who lived in the Hague as early as 1670. The family moved to Winterswijk when his father, Pieter Cornelius Mondriaan, was appointed head teacher at a local primary school. Mondrian was introduced to art from a very early age: his father was a qualified drawing teacher, and with his uncle, Fritz Mondriaan (a pupil of Willem Maris of The Hague School of artists), the younger Piet often painted and drew along the river Gein.

After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam. He already was qualified as a teacher. Blavatsky believed that it was possible to attain a more profound knowledge of nature than that provided by empirical means, and much of Mondrian's work for the rest of his life was inspired by his search for that spiritual knowledge.

Mondrian and his later work were deeply influenced by the 1911 Moderne Kunstkring exhibition of Cubism in Amsterdam. His search for simplification is shown in two versions of ''Still Life with Ginger Pot'' (''Stilleven met Gemberpot''). The 1911 version is Cubist, in the 1912 version it is reduced to a round shape with triangles and rectangles.

Paris 1911–1914

In 1911, Mondrian moved to Paris and changed his name (dropping an 'a' from Mondriaan) to emphasize his departure from The Netherlands. This matched the changed signature on his works that is dated to before 1907. While in Paris, the influence of the Cubism style of Picasso and Georges Braque appeared almost immediately in Mondrian's work. Paintings such as ''The Sea'' (1912) and his various studies of trees from that year still contain a measure of representation, but increasingly, they are dominated by the geometric shapes and interlocking planes commonly found in Cubism. While Mondrian was eager to absorb the Cubist influence into his work, however, it seems clear that he saw Cubism as 'port of call' on his artistic journey, rather than as a destination.

The Netherlands 1914–1919

Unlike the Cubists, Mondrian still attempted to reconcile his painting with his spiritual pursuits, and in 1913, he began to fuse his art and his theosophical studies into a theory that signaled his final break from representational painting. World War I began while Mondrian was visiting home in 1914 and he was forced to remain in the Netherlands for the duration of the conflict. During this period, he stayed at the Laren artist's colony, there meeting Bart van der Leck and Theo van Doesburg. Both of these artists were undergoing their own personal journeys toward abstraction at the time. Van der Leck's use of only primary colors in his art greatly influenced Mondrian. After a meeting with Van der Leck in 1916, Mondrian wrote, "My technique which was more or less Cubist, and therefore more or less pictorial, came under the influence of his precise method." With Van Doesburg, Mondrian founded ''De Stijl'' (''The Style''), a journal of the De Stijl group in which he published his first essays defining his theory, for which he adopted the term neoplasticism.

Mondrian published “De Nieuwe Beelding in de schilderkunst” (“The New Plastic in Painting”) in twelve installments during 1917 and 1918. This was his first major attempt to express his artistic theory in writing. Mondrian's best and most often-quoted expression of this theory, however, comes from a letter he wrote to H.P. Bremmer in 1914:

Paris 1919–1938

When the war ended in 1919, Mondrian returned to France, where he would remain until 1938. Immersed in the crucible of artistic innovation that was post-war Paris, he flourished in an atmosphere of intellectual freedom that enabled him to embrace an art of pure abstraction for the rest of his life. Mondrian began producing grid-based paintings in late 1919, and in 1920, the style for which he came to be renowned began to appear.

In the early paintings of this style the lines delineating the rectangular forms are relatively thin, and they are gray, not black. The lines also tend to fade as they approach the edge of the painting, rather than stopping abruptly. The forms themselves, smaller and more numerous than in later paintings, are filled with primary colors, black, or gray, and nearly all of them are colored; only a few are left white.

During late 1920 and 1921, Mondrian's paintings arrive at what is to casual observers their definitive and mature form. Thick black lines now separate the forms, which are larger and fewer in number, and more of them are left white than was previously the case. This was not the culmination of his artistic evolution, however. Although the refinements became more subtle, Mondrian's work continued to evolve during his years in Paris.

In the 1921 paintings, many of the black lines (but not all of them) stop short at a seemingly arbitrary distance from the edge of the canvas, although the divisions between the rectangular forms remain intact. Here too, the rectangular forms remain mostly colored. As the years passed and Mondrian's work evolved further, he began extending all of the lines to the edges of the canvas and he also began to use fewer and fewer colored forms, favoring white instead.

These tendencies are particularly obvious in the “lozenge” works that Mondrian began producing with regularity in the mid-1920s. The "lozenge" paintings are square canvases tilted 45 degrees, so that they hang in a diamond shape. Typical of these is ''Schilderij No. 1: Lozenge With Two Lines and Blue'' (1926), also known as ''Composition With Blue'' and ''Composition in White and Blue,'' which is currently on display at the Philadelphia Museum of Art. One of the most minimal of Mondrian's canvases, this painting consists only of two black, perpendicular lines and a small triangular form, colored blue. The lines extend all the way to the edges of the canvas, almost giving the impression that the painting is a fragment of a larger work.

Although one is hampered by the glass protecting the painting, and by the toll that age and handling have obviously taken on the canvas, a close examination of this painting begins to reveal something of the artist's method. Mondrian's paintings are not composed of perfectly flat planes of color, as one might expect. Brush strokes are evident throughout, although they are subtle, and the artist appears to have used different techniques for the various elements.

The black lines are the flattest elements, with the least amount of depth. The colored forms have the most obvious brush strokes, all running in one direction. Most interesting, however, are the white forms, which clearly have been painted in layers, using brush strokes running in different directions. This generates a greater sense of depth in the white forms, as though they are overwhelming the lines and the colors, which indeed they were, as Mondrian's paintings of this period came to be increasingly dominated by white space.

''Schilderij No. 1'' may be the most extreme extent of Mondrian's minimalism. As the years progressed, lines began to take precedence over forms in his painting. In the 1930s, he began to use thinner lines and double lines more frequently, punctuated with a few small colored forms, if any at all. Double lines particularly excited Mondrian, for he believed they offered his paintings a new dynamism which he was eager to explore.

London and New York 1938–1944

In September 1938, Mondrian left Paris in the face of advancing fascism and moved to London. After the Netherlands were invaded and Paris fell in 1940, he left London for Manhattan, where he would remain until his death. Some of Mondrian's later works are difficult to place in terms of his artistic development, because there were quite a few canvases that he began in Paris or London which he only completed months or years later in Manhattan. The finished works from this later period demonstrate an unprecedented business, however, with more lines than any of his work since the 1920s, placed in an overlapping arrangement that is almost cartographical in appearance. He spent many long hours painting on his own until his hands blistered and he sometimes cried or made himself sick.

Mondrian produced ''Lozenge Composition With Four Yellow Lines'' (1933), a simple painting that introduced what for him was a shocking innovation: thick, colored lines instead of black ones. After that one painting, this practice remained dormant in Mondrian's work until he arrived in Manhattan, at which time he began to embrace it with abandon. In some examples of this new direction, such as ''Composition'' (1938) / ''Place de la Concorde'' (1943), he appears to have taken unfinished black-line paintings from Paris and completed them in New York by adding short perpendicular lines of different colors, running between the longer black lines, or from a black line to the edge of the canvas. The newly-colored areas are thick, almost bridging the gap between lines and forms, and it is startling to see color in a Mondrian painting that is unbounded by black. Other works mix long lines of red amidst the familiar black lines, creating a new sense of depth by the addition of a colored layer on top of the black one.

The new canvases that Mondrian began in Manhattan are even more startling, and indicate the beginning of a new idiom that was cut short by the artist's death. ''New York City'' (1942) is a complex lattice of red, blue, and yellow lines, occasionally interlacing to create a greater sense of depth than his previous works. An unfinished 1941 version of this work uses strips of painted paper tape, which the artist could rearrange at will to experiment with different designs.

His painting ''Broadway Boogie-Woogie'' (1942–43) at The Museum of Modern Art in Manhattan was highly influential in the school of abstract geometric painting. The piece is made up of a number of shimmering squares of bright color that leap from the canvas, then appear to shimmer, drawing the viewer into those neon lights. In this painting and the unfinished ''Victory Boogie Woogie'' (1942–44), Mondrian replaced former solid lines with lines created from small adjoining rectangles of color, created in part by using small pieces of paper tape in various colors. Larger unbounded rectangles of color punctuate the design, some with smaller concentric rectangles inside them. While Mondrian's works of the 1920s and 1930s tend to have an almost scientific austerity about them, these are bright, lively paintings, reflecting the upbeat music that inspired them and the city in which they were made.

In these final works, the forms have indeed usurped the role of the lines, opening another new door for Mondrian's development as an abstractionist. The ''Boogie-Woogie'' paintings were clearly more of a revolutionary change than an evolutionary one, representing the most profound development in Mondrian's work since his abandonment of representational art in 1913.

In 2008 the Dutch television program ''Andere Tijden'' found the only known movie footage with Mondrian. The discovery of the film footage was announced at the end of a two-year research program on the ''Victory Boogie Woogie''. The research found that the painting was in very good condition and that Mondrian painted the composition in one session. It also was found that the composition was changed radically by Mondrian shortly before his death by using small pieces of colored tape.

Wall works

When 47-year-old Piet Mondrian left the Netherlands for unfettered Paris for the second and last time in 1919, he set about at once to make his studio a nurturing environment for paintings he had in mind that would increasingly express the principles of Neo-Plasticism about which he had been writing for two years. To hide the studio's structural flaws quickly and inexpensively, he tacked up large rectangular placards, each in a single color or neutral hue. Smaller colored paper squares and rectangles, composed together, accented the walls. Then came an intense period of painting. Then again he addressed the walls, repositioning the colored cutouts, adding to their number, altering the dynamics of color and space, producing new tensions and equilibrium. Before long, he had established a creative schedule in which a period of painting took turns with a period of experimentally regrouping the smaller papers on the walls, a process that directly fed the next period of painting. It was a pattern he followed for the rest of his life, through wartime moves from Paris to London’s Hampstead in 1938 and 1940, across the Atlantic to Manhattan.

At the age of 71 in the fall of 1943, Mondrian moved into his second and final Manhattan studio at 15 East 59th Street, and set about to recreate the environment he had learned over the years was most congenial to his modest way of life and most stimulating to his art. He painted the high walls the same off-white he used on his easel and on the seats, tables and storage cases he designed and fashioned meticulously from discarded orange and apple-crates. He glossed the top of a white metal stool in the same brilliant primary red he applied to the cardboard sheath he made for the radio-phonograph that spilled forth his beloved jazz from well-traveled records. Visitors to this last studio seldom saw more than one or two new canvases, but found, often to their astonishment, that eight large compositions of colored bits of paper he had tacked and re-tacked to the walls in ever-changing relationships constituted together an environment that, paradoxically and simultaneously, was both kinetic and serene, stimulating and restful. It was the best space, Mondrian said, that he had ever inhabited. Tragically, he was there for only a few months, as he died of pneumonia in February 1944.

After his death, Mondrian’s friend and sponsor in Manhattan, artist Harry Holtzman, and another painter friend, Fritz Glarner, carefully documented the studio on film and in still photographs before opening it to the public for a six-week exhibition. Before dismantling the studio, Holtzman (who was also Mondrian’s heir) traced the wall compositions precisely, prepared exact portable facsimiles of the space each had occupied, and affixed to each the original surviving cut-out components. These portable Mondrian compositions have become known as "The Wall Works". They have been exhibited twice since Mondrian’s death at Manhattan’s Museum of Modern Art (1983/1995-96), once in Soho at The Carpenter + Hochman Gallery (1984), once each at Galerie Tokoro in Tokyo, Japan (1993), the XXII Biennial of Sao Paulo (1994), The University of Michigan (1995) and, the first time to be shown in Europe, at the Akademie der Künste (Academy of The Arts), in Berlin (February 22 – April 22, 2007).

Death

Piet Mondrian died of pneumonia on February 1, 1944 and was interred in the Cypress Hills Cemetery in Brooklyn, New York.

On February 2, 1944, a memorial, attended by nearly 200, was held for Mondrian, at the Universal Chapel on Lexington Avenue and 52nd Street in Manhattan.

The Mondrian / Holtzman Trust functions as Mondrian's official estate, and "aims to promote awareness of Mondrian's artwork and to ensure the integrity of his work." The U.S. copyright representative for the Mondrian / Holtzman Trust is HCR International.

References in culture

Along with Klee and Kandinsky, Mondrian was one of the main inspirations to the early pointillist musical aesthetic of serialist composer Pierre Boulez. In 2001–2003 British artist Keith Milow made a series of paintings based on the so-called Transatlantic Paintings (1935–1940) by Mondrian. Fashion designer Yves Saint Laurent's Fall 1965 Mondrian collection featured shift dresses in blocks of primary color with black bordering, inspired by Mondrian. The collection proved so popular that it inspired a range of imitations that encompassed garments from coats to boots. The L'Oréal cosmetic group's ''Studio Line'' products feature a design sometimes described as ''Mondrian-esque''. The La Vie Claire cycling team's bicycles and clothing designs were inspired by Mondrian's work throughout the 1980s. The French ski and bicycle equipment manufacturer LOOK, which also sponsored the team, used a Mondrian-inspired logo for a while. The style was revived in 2008 for a limited edition frame.

The Oreca racing team ran its Le Mans Prototype cars in a Mondrian-inspired livery from 2008 to 2010.

Piet is an esoteric programming language named after Piet Mondrian. The Burglar Who Painted Like Mondrian, a novel by Lawrence Block

Partial list of works

Footnotes

References

Bax, Marty (2001). ''Complete Mondrian''. Aldershot (Hampshire) and Burlington (Vermont): Lund Humphries. ISBN 0-85331-803-4 (cloth) ISBN 0-85331-822-0 (pbk)

Cooper, Harry A. (1997). "Dialectics of Painting: Mondrian's Diamond Series, 1918–1944". PhD diss. Cambridge: Harvard University.

Deicher, Susanne (1995). ''Piet Mondrian, 1872–1944: Structures in Space''. Cologne: Benedikt Taschen. ISBN 3-8228-8885-0.

Faerna, José María (ed.) (1997). ''Mondrian'' Great Modern Masters. New York: Cameo/Abrams. ISBN 0-8109-4687-4

Janssen, Hans (2008). ''Mondriaan in het Gemeentemuseum Den Haag''. [The Hague]: Gemeentemuseum Den Haag. ISBN 978-90-400-8443-0

Locher, Hans (1994) ''Piet Mondrian: Colour, Structure, and Symbolism: An Essay''. Bern: Verlag Gachnang & Springer. ISBN 978-3-906127-44-6

Milner, John (1992). ''Mondrian''. London: Phaidon. ISBN 0-7148-2659-6

Mondrian, Piet (1986). ''The New Art – The New Life: The Collected Writings of Piet Mondrian'', edited by Harry Holtzman and Martin S. James. Documents of 20th-Century Art. Boston: G. K. Hall and Co. ISBN 0-8057-9957-5. Reprinted 1987, London: Thames and Hudson. ISBN 0-500-60011-2. Reprinted 1993, New York: Da Capo Press. ISBN 0-306-80508-1

Schapiro, Meyer (1995). ''Mondrian: On the Humanity of Abstract Painting''. New York: George Braziller. ISBN 0-8076-1369-X (cloth) ISBN 0-8076-1370-3 (pbk)

Welsh, Robert P., Joop J. Joosten, and Henk Scheepmaker (1998). ''Piet Mondrian: Catalogue Raisonné'', translated by Jacques Bosser. Blaricum: V+K Publishing/Inmerc.

Larousse and Co., Inc. (1976). Mondrian, Piet. In Dictionary of Painters (p. 285). New York: Larousse and Co., Inc.

Further reading

Busignani, Alberto (1968). ''Mondrian: The Life and Work of the Artist, Illustrated by 80 Colour Plates'', translated from the Italian by Caroline Beamish. A Dolphin Art Book. London: Thames and Hudson.

Gooding, Mel (2001). ''Abstract Art''. Movements in Modern Art. London: Tate Publishing; Cambridge and New York: Cambridge University Press. ISBN 1-85437-302-1 (Tate); ISBN 0-521-80928-2 (Cambridge, cloth); ISBN 0-521-00631-7 (Cambridge, pbk).

Hajdu, István (1987). ''Piet Mondrian''. Pantheon. Budapest: Corvina Kiadó. ISBN 963-13-2265-3. Apollonio, Umbro (1970). ''Piet Mondrian'', Milano: Fabri 1976.

External links

Mondrian Trust, the official holder of reproduction rights to Mondrian's works.

Piet Mondrian: The Transatlantic Paintings

Mondrian at Artchive

Piet Mondrian at Olga's Gallery

Guggenheim NY Mondrian collection

Category:1872 births Category:1944 deaths Category:Burials at Cypress Hills National Cemetery Category:Dutch painters Category:Modern painters Category:Artists from New York Mondriaan, Piet Category:De Stijl Category:People of the Edwardian era Category:School of Paris

af:Piet Mondriaan ar:بيت موندريان zh-min-nan:Piet Mondriaan ca:Piet Mondrian cs:Piet Mondrian da:Piet Mondrian de:Piet Mondrian et:Piet Mondrian el:Πιέ Μοντριάν es:Piet Mondrian eo:Piet Mondriaan eu:Piet Mondrian fa:پیت موندریان fr:Piet Mondrian gl:Pieter Mondrian ko:피트 몬드리안 hr:Piet Mondrian io:Piet Mondrian is:Piet Mondrian it:Piet Mondrian he:פיט מונדריאן ka:პიტ მონდრიანი hu:Piet Mondrian nl:Piet Mondriaan ja:ピエト・モンドリアン no:Piet Mondrian oc:Piet Mondrian pms:Piet Mondrian pl:Piet Mondrian pt:Piet Mondrian ro:Piet Mondrian ru:Мондриан, Пит sc:Piet Mondrian simple:Piet Mondrian sk:Piet Mondrian sl:Piet Mondrian sr:Пит Мондријан sh:Piet Mondrian fi:Piet Mondrian sv:Piet Mondrian tr:Piet Mondrian uk:Піт Мондріан vi:Piet Mondrian zh:皮特·蒙德里安

Matthew Collings (born 1955) is a British art critic, writer and broadcaster.

Life and career

In one of his books on art, Collings states that, in his early teenage years, he ran away to Canada. This act was preceded by a period of hanging around in a house in Oakley Street, Chelsea, whose residents included members of various rock bands including Mighty Baby and Family. For many weeks Collings was the object of an internationally coordinated police search.

Collings trained at Byam Shaw School of Art, and Goldsmith's College, and still practises as an artist. He edited ''Artscribe'' 1983-7. Collings was a producer and presenter on the BBC ''The Late Show'' 1989-95. In the early 1990s, he brought Martin Kippenberger into the BBC studios to create an installation, and he interviewed Georg Herold while this Cologne-based conceptual artist painted a large canvas with beluga caviar.

Collings also wrote and presented documentary films for the BBC on individual artists, such as Donald Judd, Georgia O'Keeffe and Willem de Kooning, as well as broader historical subjects such as Hitler's "Degenerate Art" exhibition, art looted in the Second World War by Germany and Russia, Situationism, Spain's post-Franco art world and the rise of the Cologne art scene.

After leaving the BBC, Collings wrote and presented the Channel 4 TV series ''This is Modern Art'', which won him a Bafta (1998) among other awards. He was originally identified as a proponent of Britart, however more recently his sympathies have become ambiguous or even hostile to it. He wrote in the ''New Statesman'':

"A new popular audience is obsessed by contemporary art. But I think they are being sold something that isn't really there: an all-in package of spirituality, depth and profundity. I am afraid the official institutions of contemporary art are just lying about this stuff."

Collings wrote and presented a Channel 4 series in 2003 about the "painterly" stream of Old Master painting, called ''Matt's Old Masters''. A book by the same title accompanied the series. Further Channel 4 series by Collings included ''Impressionism: Revenge of the Nice'' (2004) and ''The Me Generations: Self Portraits,'' (2005).

For some years Collings presented the Channel 4 TV programme on the Turner Prize. He has described himself as "an apologist for contemporary art", although in the same interview he confessed that this is more a popular assumption about him than his own idea.

In October 2007, with Emma Biggs, Collings curated and wrote a catalogue essay for an exhibition of Picasso's late works at the HN Gallery in London. The paintings were from the 1960s series of ''Painter and Model'' and ''Déjeuner sur l’herbe'' reworkings. According to the catalogue essay the exhibition aimed to draw attention to Picasso's achievement as a manipulator of form rather than the popular myth of Picasso as a showman or lover or sensationalist genius.

That year, Collings presented the Channel 4 TV series "This is Civilisation". In 2009 he appeared on the BBC2 programme "School of Saatchi" a reality TV show for newly trained UK artists. He lectures at City and Guilds of London Art School. In October 2010, he wrote and presented a BBC2 series called ''Renaissance Revolution'', in which he discussed three Renaissance paintings: Raphael's Madonna del Prato; Hieronymus Bosch's ''The Garden of Earthly Delights''; and Piero della Francesca's ''The Baptism of Christ.

Collings' abstract paintings are created in collaboration with mosaicist, Emma Biggs.

Books

''Blimey! - From Bohemia to Britpop: London Art World from Francis Bacon to Damien Hirst'', 21 Publishing, 1997

''It Hurts - New York Art from Warhol to Now'', 21 Publishing, 2000

''This is Modern Art'', Weidenfeld & Nicolson and Watson-Guptill Publications, 2000

''Art Crazy Nation'', Worldwide, 2001

''Sarah Lucas'', Tate Publishing, 2002

''Matt's Old Masters - Titian, Rubens, Velazquez and Hogarth'', Weidenfeld & Nicolson, 2003

''Criticism'' (with Matthew Arnatt), Rachmaninoff's, 2004

''Ron Arad interviewed by Matthew Collings'', Phaidon, 2004

''This is Civilisation'', 21 Publishing, 2008

References

External links

Contains images and updated information on Collings and Biggs' work

Interview with Matthew Collings

Journalisted - Articles by Matthew Collings

Category:1955 births Category:Living people Category:Alumni of Goldsmiths, University of London Category:Alumni of the Central Saint Martins College of Art and Design Category:British art critics Category:British journalists

Leonid Afremov (born 1955) is a Belarusian painter. His paintings are often vividly-coloured landscapes, cityscapes and figures, and are typically painted using a palette knife and oil paint. His work has been greatly influenced by contemporary cityscape painter and modern impressionist Michael Flohr.

Afremov graduated from Vitebsk Art School. After discovering that only communist propaganda posters would sell in the Soviet Union, Afremov moved to Israel in 1990. Within two weeks, he had found a job in an advertising agency painting billboards, but on the eve of an exhibition, his studio was broken into and vandalised. After having his art gallery vandalized, Leonid moved to the United States.

He currently resides in Playa Del Carmen, Mexico.

Selected exhibitions

1977 Students' Anniversary, Vitebsk

1990 Soviet Artists' Union, Vitebsk

1989 Judaica Paintings, Moscow

1991 Amaliya Arbel Art Gallery, Rishon Lezion, Israel

1992 Judaica Paintings, Ramat Gan Museum

1994 Judaica Paintings, Tel Aviv Museum of Art, Tel Aviv

1997 Anniversary Exhibition, Ashdod Museum

1994 Lapid Art Gallery, Ashdod

1995 Dilon Art Gallery, Jaffa

1998 Opera House Art Gallery, Tel Aviv

1999 Ofir Art Gallery, Ramat Aviv, Tel Aviv

References

External links

Official site

Forum

Fine art america

Category:1955 births Category:Living people Category:Belarusian painters Category:Israeli painters Category:Jewish painters

be-x-old:Леанід Афрэмаў es:Leonid Afremov fr:Leonid Afremov pt:Leonid Afremov ru:Афремов, Леонид

name	Tim Burton
birth name	Timothy Walter Burton
birth date	August 25, 1958
birth place	Burbank, California, U.S.
residence	London, England
alma mater	California Institute of the Arts
occupation	Film director, film producer, writer, artist
years active	1982–present
notable works	''The Nightmare Before Christmas'', ''Beetlejuice'', ''Batman'', ''Sweeney Todd: The Demon Barber of Fleet Street'', ''Corpse Bride'', ''Big Fish'', ''Edward Scissorhands''
influences	Edgar Allan Poe, Stanley Kubrick, Christopher Lee, Wes Craven, Vincent Price, Ray Harryhausen, Roger Corman, Alan Moore, Ed Wood, Stephen King, John Carpenter, Edward Gorey
influenced	Shane Acker, Zack Snyder, Len Wiseman, Daniel Knauf, David Slade, Joss Whedon
spouse	Lena Gieseke (1989–1993)
partner	Lisa Marie (1993–2001) Helena Bonham Carter (2001–present)
children	Billy Ray Burton Nell Burton
parents	Bill Burton Jean Burton (''née'' Erickson)
awards	See below
website
footnotes	}}

Timothy Walter "Tim" Burton (born August 25, 1958) is an American film director, film producer, writer and artist. He is famous for dark, quirky-themed movies such as ''Beetlejuice'', ''Edward Scissorhands'', ''The Nightmare Before Christmas'', ''Ed Wood'', ''Sleepy Hollow'', ''Corpse Bride'' and ''Sweeney Todd: The Demon Barber of Fleet Street'', and for blockbusters such as ''Pee-wee's Big Adventure'', ''Batman'', ''Batman Returns'', ''Planet of the Apes'', ''Charlie and the Chocolate Factory'' and ''Alice in Wonderland'', his most recent film, that was the second highest-grossing film of 2010 as well as the ninth highest-grossing film of all time. Among Burton's many collaborators are Johnny Depp, who became a close friend since their first film together, musician Danny Elfman (who has composed for all but five of the films Burton has directed and/or produced) and domestic partner Helena Bonham Carter. He also wrote and illustrated the poetry book ''The Melancholy Death of Oyster Boy & Other Stories'', published in 1997, and a compilation of his drawings, entitled ''The Art of Tim Burton'', was released in 2009.

Burton has directed 14 films as of 2010, and has produced 10 as of 2009. His next films are an adaptation of the soap opera ''Dark Shadows'', scheduled to be released on May 11, 2012, and a remake of his 1984 short, ''Frankenweenie'', scheduled to be released on October 5, 2012.

Early life

Burton was born in 1958, in the city of Burbank, California, to Jean Burton (''née'' Erickson), the owner of a cat-themed gift shop, and Bill Burton, a former minor league baseball player who would later work for the Burbank Park and Recreation Department. As a young man, Burton would make short films in his backyard on Evergreen Street using crude stop motion animation techniques or shoot them on 8 mm film without sound. (One of his most famous juvenile films is ''The Island of Doctor Agor'', that he made when he was 13 years old.) Burton studied at the Burbank High School, but he was not a particularly good student. He was a very introspective person, and found his pleasure in painting, drawing and watching movies. His future work would be heavily influenced by the works by Edgar Allan Poe he read, and the horror and science fiction films he watched, such as ''Godzilla'', the films made by Hammer Film Productions, the works of Ray Harryhausen and Vincent Price.

After graduating from Burbank High School with Jeff Riekenberg, Burton attended the California Institute of the Arts to study character animation. Some of his classmates were John Lasseter, Brad Bird, John Musker and Henry Selick. (In the future, Selick and Burton would work together in ''The Nightmare Before Christmas'' and ''James and the Giant Peach''.)

As a student in CalArts, Burton made the shorts ''Stalk of the Celery Monster'' and ''King and Octopus''. They remain only in fragments today.

Early career: 1980s

Burton graduated from CalArts in 1979. The success of his short film ''Stalk of the Celery Monster'' attracted the attention of the Walt Disney Animation Studios, who offered young Burton an animator's apprenticeship at their studio. He worked as an animator, storyboard artist and conceptual artist in films such as ''The Fox and the Hound'', ''The Black Cauldron'' and ''Tron''. However, Burton's personal style clashed with Disney's own standards, and he longed to work on solo projects.

While at Disney in 1982, Burton made his first short, ''Vincent'', a six minute black and white stop motion film based on a poem written by the filmmaker, and depicting a young boy who fantasizes that he is his (and Burton's) hero Vincent Price, with Price himself providing narration. The film was produced by Rick Heinrichs, whom Burton had befriended while working in the concept art department at Disney. The film was shown at the Chicago Film Festival and released, alongside the teen drama ''Tex'', for two weeks in one Los Angeles cinema. This was followed by Burton's first live-action production ''Hansel and Gretel'', a Japanese-themed adaptation of the Brothers Grimm fairy tale for the Disney Channel, which climaxes in a kung-fu fight between Hansel and Gretel and the witch. Having aired once at 10:30 pm on Halloween 1983 and promptly shelved, prints of the film are extremely difficult to locate, which contributes to the rumor that this project does not exist. (In 2009, the short went on display in the Museum of Modern Art.)

Burton's next live-action short, ''Frankenweenie'', was released in 1984. It tells the story of a young boy who tries to revive his dog after it is run over by a car. Filmed in black-and-white, it stars Barret Oliver, Shelley Duvall (with whom he would work again in 1986, directing an episode of her ''Faerie Tale Theatre'') and Daniel Stern. After ''Frankenweenie'' was completed, Disney fired Burton, under the pretext of him spending the company's resources on doing a film that would be too dark and scary for children to see.

Pursuing then an opportunity to make a full-length film, he was approached by Griffin Dunne to direct the black comedy film ''After Hours''. However, after Martin Scorsese's project ''The Last Temptation of Christ'' was cancelled, he showed an interest on directing it, and Burton bowed out in respect for Scorsese.

''Pee-wee's Big Adventure''

Not long after, actor Paul Reubens saw ''Frankenweenie'' and chose Burton to direct the cinematic spin-off of his popular character Pee-wee Herman. Pee-wee Herman gained mainstream popularity with a successful stage show at the Roxy which was later turned into an HBO special. The film, ''Pee-wee's Big Adventure'' (1985), was made on a budget of $8 million and grossed more than $40 million at the box office. Burton, a fan of the eccentric musical group Oingo Boingo, asked songwriter Danny Elfman to provide the music for the film. Since then, Elfman has provided the score for all but five of the films Burton has directed and/or produced, those exceptions being ''Cabin Boy'', ''Ed Wood'', ''James and the Giant Peach'', ''Batman Forever'' and ''Sweeney Todd: The Demon Barber of Fleet Street''.

''Beetlejuice''

After directing episodes for the revitalized TV series ''Alfred Hitchcock Presents'' and Shelley Duvall's ''Faerie Tale Theatre'', Burton received his next big project: ''Beetlejuice'' (1988), a supernatural comedy horror about a young couple forced to cope with life after death, as well as a family of pretentious yuppies invading their treasured New England home including their teenage daughter Lydia (Winona Ryder) whose obsession with death allows her to see them. Starring Alec Baldwin and Geena Davis, and featuring Michael Keaton as the obnoxious bio-exorcist Betelgeuse, the film grossed $80 million on a relatively low budget and won a Best Makeup Design Oscar. It would be converted into a cartoon of the same name, with Burton playing a role as executive producer, that ran on ABC and later Fox.

''Batman''

Burton's ability to produce hits with low budgets impressed studio executives, and he received his first big budget film, ''Batman''. The production was plagued with problems. Burton repeatedly clashed with the film's producers, Jon Peters and Peter Guber, but the most notable debacle involved casting. For the title role, Burton chose to cast Michael Keaton as Batman following their previous collaboration in ''Beetlejuice'', despite Keaton's average physique, inexperience with action films, and reputation as a comic actor. Although Burton won in the end, the furor over the casting provoked enormous fan animosity, to the extent that Warner Brothers' share price slumped. Burton had considered it ridiculous to cast a bulked-up he-man as Batman, insisting that the Caped Crusader should be an ordinary (albeit fabulously wealthy) man who dressed up in an elaborate bat costume to frighten criminals. Burton cast Jack Nicholson as The Joker (Tim Curry being his second choice) in a move that helped assuage fans' fears, as well as attracting older audiences not as interested in a superhero film.

When the film opened in June 1989, it was backed by the biggest marketing and merchandising campaign in film history at the time, and became one of the biggest box office hits of all time, grossing well over US$250 million in the U.S. alone and $400 million worldwide (numbers not adjusted for inflation) and earning critical acclaim for the performances of both Keaton and Nicholson, as well as the film's production aspects, which won the Academy Award for Best Art Direction. The success of the film helped establish Burton as a profitable director, and it also proved to be a huge influence on future superhero films, which eschewed the bright, all-American heroism of Richard Donner's ''Superman'' for a grimmer, more realistic look and characters with more psychological depth. It also became a major inspiration for the successful 1990s cartoon ''Batman: The Animated Series'', in as much as the darkness of the picture and its sequel allowed for a darker Batman on television.

Burton claimed that ''The Killing Joke'' was a major influence on his film adaptation of ''Batman'':

"I was never a giant comic book fan, but I've always loved the image of Batman and The Joker. The reason I've never been a comic book fan—and I think it started when I was a child—is because I could never tell which box I was supposed to read. I don't know if it was dyslexia or whatever, but that's why I loved ''The Killing Joke'', because for the first time I could tell which one to read. It's my favorite. It's the first comic I've ever loved. And the success of those graphic novels made our ideas more acceptable."

1990s

''Edward Scissorhands''

In 1990, Burton co-wrote (with Caroline Thompson) and directed ''Edward Scissorhands'', re-uniting with Winona Ryder from ''Beetlejuice''. His friend Johnny Depp, a teen idol at the end of the 1980s due primarily to his work on the hit TV series ''21 Jump Street'', was cast in the title role of Edward, who was the creation of an eccentric and old-fashioned inventor (played by Vincent Price in one of his last screen appearances). Edward looked human, but was left with scissors in the place of hands due to the untimely death of his creator. Set in suburbia (the film was shot in Lutz, Florida), the film is largely seen as Burton's autobiography of his own childhood in the suburb of Burbank. Price at one point is said to have remarked, "Tim is Edward." Depp wrote a similar comment in the foreword to Mark Salisbury's book, ''Burton on Burton'', regarding his first meeting with Burton over the casting of the film. ''Edward'' is considered Burton's best movie by many critics. Following this collaboration with Burton, Depp starred in ''Ed Wood'', ''Sleepy Hollow'', ''Charlie and the Chocolate Factory'', ''Corpse Bride'', ''Sweeney Todd: The Demon Barber of Fleet Street'', ''Alice in Wonderland'' and ''Dark Shadows''.

In 2004, Matthew Bourne came to Burton with the idea to turn the story of Edward into a ballet. In 2005, the ballet first aired. It has now toured the UK, the U.S., Canada, Australia and parts of Europe.

''Batman Returns''

The day Warner Brothers had declined to make the more personal ''Scissorhands'' even after the success of ''Batman'', Burton finally agreed to direct the sequel for Warner Brothers on the condition that he would be granted total control. The result was ''Batman Returns'' which featured Michael Keaton returning as the Dark Knight, and a new triad of villains: Danny DeVito (as the Penguin), Michelle Pfeiffer (as Catwoman) and Christopher Walken as Max Shreck, an evil corporate tycoon and original character created for the film (similar to ''Superman III's'' Ross Webster). Darker and considerably more personal than its predecessor, concerns were raised that the film was too scary for children. Audiences were even more uncomfortable at the film's overt sexuality, personified by the sleek, fetish-inspired styling of Catwoman's costume. One critic remarked, "too many villains spoiled the Batman", highlighting Burton's decision to focus the storyline more on the villains instead of Batman. The film also polarized the fanbase, with some loving the darkness and quirkiness, while others felt it was not true to the core aspects of the source material. Burton made many changes to the Penguin which would be applied to the Penguin in both comics and television. While in the comics, he was an ordinary man, Burton created a freak of nature resembling a penguin with webbed, flipper-like fingers, a hooked, beak-like nose, and a penguin-like body. Released in 1992, ''Batman Returns'' grossed $282.8 million worldwide, making it another financial success, though not to the extent of its predecessor. This would also be the last ''Batman'' film to feature Burton and Keaton as director and lead actor respectively. Paul Reubens a.k.a. Pee-Wee from ''Pee-Wee's Big Adventure'' has a cameo as the Penguin's father.

''The Nightmare Before Christmas''

Next, Burton wrote and produced (but did not direct, due to schedule constraints on ''Batman Returns'') ''The Nightmare Before Christmas'' (1993), originally meant to be a children's book in rhyme. The film was directed by Henry Selick and written by Michael McDowell and Caroline Thompson, based on Burton's original story, world and characters. The film received positive reviews for the film's stop motion animation, musical score and original storyline and was a box office success, grossing $50 million. Burton collaborated with Selick again for ''James and the Giant Peach'' (1996), which Burton co-produced. The movie helped to generate a renewed interest in stop-motion animation.

A deleted scene from ''The Nightmare Before Christmas'' features a group of vampires playing hockey on the frozen pond with the decapitated head of Burton. The head was replaced by a jack-o'-lantern in the final version.

''Cabin Boy''

In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy ''Cabin Boy'', starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on ''Get a Life'', but handed the directing responsibility to Resnick once he was offered ''Ed Wood''. The film was almost entirely panned by critics, even earning Chris Elliott a 1995 Razzie Award for "Worst New Star". The film also has a 45% "rotten" rating on Rotten Tomatoes.

''Ed Wood''

His next film, ''Ed Wood'' (1994), was of a much smaller scale, depicting the life of Ed Wood, a filmmaker sometimes called "the worst director of all time". Starring Johnny Depp in the title role, the film is an homage to the low-budget science fiction and horror films of Burton's childhood, and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing to creative squabbles during the making of ''The Nightmare Before Christmas'', Danny Elfman declined to score ''Ed Wood'', and the assignment went to Howard Shore. While a commercial failure at the time of its release, ''Ed Wood'' was well received by critics. Martin Landau received an Academy Award in the Best Supporting Actor category for his portrayal of Béla Lugosi. Gene Siskel once said that two films, Ed Wood and Citizen Kane, be mandatory films to see in film classes.

''Batman Forever''

Despite his intention to still lead the ''Batman'' franchise, Warner Bros. considered ''Batman Returns'' too dark and unsafe for children. To attract the young audience, it was decided that Joel Schumacher, who had directed films like ''The Client'', lead the third film, while Burton would only produce it in conjunction with Peter McGregor-Scott. Following this change and the changes made by the new director, Michael Keaton resigned from the lead role and was succeeded by Val Kilmer. Filming began in late 1994 and recognized with new actors: Tommy Lee Jones, Nicole Kidman, Chris O'Donnell and Jim Carrey; the only two actors who returned were Pat Hingle and Michael Gough. The film, a mixture of darkness that characterized the saga with colors and neon signs proposed by Schumacher, was a huge box office success of $336 million, despite controversy over the characters and plot. Despite their friendship, Burton often disagreed with Schumacher's decisions, especially in the filming of several scenes which were removed from the final cut (later added as deleted scenes on the 2005 DVD release). Warner Bros. demanded Schumacher delete those scenes so the film did not have the same tone as its predecessor ''Batman Returns''. According to an interview with Janet Scott Batchler, Tim Burton's only involvement as producer with ''Batman Forever'' was approving Joel Schumacher as director and Lee and Janet Scott Batchler as the writers. Burton did not contribute story ideas and the Riddler was not considered for the villain until Schumacher and the Batchlers were at the development stage. Schumacher was rehired to lead another sequel, the infamous ''Batman & Robin'', in which Burton, for unknown reasons, did not participate.

''James and the Giant Peach''

In 1996, Burton and Selick reunited for the musical fantasy ''James and the Giant Peach'', based on the book by Roald Dahl. The film starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics, and was nominated for the Academy Award Best Music, Best Original Musical or Comedy Score (by Randy Newman).

''Mars Attacks!''

Elfman and Burton reunited for ''Mars Attacks!'' (1996). Based on a popular science fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster, ''Independence Day'', made around the same time and released five months earlier. Although the film boasted an all-star cast, including Jack Nicholson, Pierce Brosnan, Michael J. Fox, Sarah Jessica Parker, Natalie Portman, Lukas Haas, Glenn Close, Martin Short, Rod Steiger and Jack Black, the film received mixed reviews by American critics and was mostly ignored by American audiences. It was more successful elsewhere.

''Sleepy Hollow''

''Sleepy Hollow'', released in late 1999, had a supernatural setting and another offbeat performance by Johnny Depp as Ichabod Crane, now a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With ''Hollow'', Burton paid homage to the horror movies of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. A host of Burton regulars appeared in supporting roles (Michael Gough, Jeffrey Jones and Christopher Walken, among others) and Christina Ricci was cast as Katrina van Tassel. Mostly well-received by critics, and with a special mention to Elfman's Gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, ''Sleepy Hollow'' was also a turning point for Burton. Along with change in his personal life (separation from actress Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing ''Planet of the Apes'' which, as Burton had repeatedly noted, was "not a remake" of the earlier film.

2000s

''Planet of the Apes''

''Planet of the Apes'' was a commercial success, grossing $68 million in its opening weekend. The film has received mixed reviews and is widely considered inferior to the first adaptation of the novel. One criticism was that the movie went for a more watered down "popcorn" feel than the dark, cerebral and nihilistic tone of the 1968 film. The film was a significant departure from Burton's usual style, and there was much subsequent debate about whether the film was really Burton's, or if he was just a "hired gun" who did what he was asked. Burton reportedly clashed with the studio during the whole making of the film, once going as far as abruptly leaving the set for the day. There were also many reports about last minute changes in the movie. The movie enjoyed commercial success and had an ending that clearly suggested the possibility of a sequel, but neither the studio nor Burton gave indications of making another ''Apes'' movie (which later became ''Rise of the Planet of the Apes''). The ending was also closer to that of the novel. During the making of the film, Burton met actress Helena Bonham Carter, who would later become his long-term domestic partner.

''Big Fish''

In 2003, Burton directed ''Big Fish'', based on the novel ''Big Fish: A Novel of Mythic Proportions'' by Daniel Wallace. The film is about a father telling the story of his life to his son using exaggeration and color. Starring Ewan McGregor as young Edward Bloom and Albert Finney as an older Edward Bloom, the film also stars Jessica Lange, Billy Crudup, Danny DeVito, Alison Lohman and Marion Cotillard. ''Big Fish'' received four Golden Globe nominations as well as an Academy Award nomination for the musical score by Danny Elfman. ''Big Fish'' was also the second collaboration with Burton and Helena Bonham Carter, who played the characters of Jenny and the Witch.

''Charlie and the Chocolate Factory''

''Charlie and the Chocolate Factory'' (2005) is an adaptation of the book of the same name by Roald Dahl. Starring Johnny Depp as Willy Wonka, Freddie Highmore as Charlie Bucket and Helena Bonham Carter as Mrs. Bucket, the film generally took a more faithful approach to the source material than the 1971 adaptation, ''Willy Wonka & the Chocolate Factory'', although some liberties were taken, such as adding Wonka's issue with his father (played by Christopher Lee). ''Charlie and the Chocolate Factory'' was later nominated for the Academy Award for Best Costume Design. The film made over $207 million domestically.

''Corpse Bride''

''Corpse Bride'' (2005) was Burton's first full-length stop-motion film as a director, featuring the voices of Johnny Depp as Victor and Helena Bonham Carter (for whom the project was specifically created) as Emily in the lead roles. In this movie, Burton was able again to use his familiar styles and trademarks, such as the complex interaction between light and darkness, and of being caught between two irreconcilable worlds.

"Bones"

"Bones" (2006) is the only music video Burton has directed to date. The song "Bones" is the third single from The Killers, off of their second studio album, ''Sam's Town''. Starring in this video were actors Michael Steger and Devon Aoki. There are various scenes from films like ''Creature from the Black Lagoon'', ''Jason and the Argonauts'' and ''Lolita''.

The band, as well as Steger and Aoki, change into partial skeletons through out the video, and everyone is a skeleton by the end of the video. At the 2007 Shockwaves NME Awards it won the award for Best Video.

''Sweeney Todd: The Demon Barber of Fleet Street''

The DreamWorks/Warner Bros. production was released on December 21, 2007. Burton's work on ''Sweeney Todd'' won the National Board of Review Award for best director and received a Golden Globe nomination for Best Director and won an Academy Award for Best Achievement in Art Direction. Helena Bonham Carter won an Evening Standard British Film Award for her portrayal of Mrs. Lovett, as well as a Golden Globe nomination. The film is a devastating blend of explicit gore and Broadway tunes. Johnny Depp was nominated for the Best Actor Oscar for the role of Sweeney Todd. Depp won the Golden Globe for Best Actor in a Musical/Comedy, as well as the award for Best Villain as Todd in the 2008 MTV Awards.

''9''

In 2005, filmmaker Shane Acker released his short film ''9'', a story about a sentient rag doll living in a post-apocalyptic world who tries to stop machines from destroying the rest of his eight fellow rag dolls. The film won numerous awards and was nominated for an Academy Award for Best Animated Short Film. After seeing the short film, Burton and Timur Bekmambetov, director of ''Wanted'', showed interest in producing a feature-length adaptation of the film. Also directed by Acker, the film was written by Acker (story) & Pamela Pettler (screenplay, co-writer of ''Corpse Bride'') and starred Elijah Wood, John C. Reilly, Jennifer Connelly and Christopher Plummer, among others. This was Burton's first animated movie aside from his stop-motion films.

2010s

''Alice in Wonderland''

In Burton's version, the story is set 13 years after the original Lewis Carroll tales. Mia Wasikowska, who featured in the HBO series ''In Treatment'' and ''Defiance'', was cast as Alice. The original start date was May 2008. Torpoint and Plymouth were the locations used for filming from September 1 – October 14, and the film remains set in the Victorian era. During this time, filming took place in Antony House in Torpoint. 250 local extras were chosen in early August. Other production work took place in London. The film was originally to be released in 2009, but was pushed to March 5, 2010. Johnny Depp plays the Mad Hatter, Matt Lucas, star of ''Little Britain'', is both Tweedledee and Tweedledum, Helena Bonham Carter portrays Red Queen, Stephen Fry is the Cheshire Cat, Anne Hathaway as The White Queen, Alan Rickman as Absolem the Caterpillar, Michael Sheen as McTwisp the White Rabbit and Crispin Glover as the Knave of Hearts.

Tim Burton appeared at the 2009 Comic-Con in San Diego, California, to promote both ''9'' and ''Alice in Wonderland''. When asked about the filmmaking process by an attendee, he mentioned his "imaginary friend" who helps him out, prompting Johnny Depp to walk on stage to the applause of the audience.

''Dark Shadows''

''Dark Shadows'' is the next Tim Burton film to once again star Johnny Depp in the leading role. This movie is based on the original ''Dark Shadows'' soap opera. A few more members of the cast have been announced such as Michelle Pfeiffer, Eva Green, Jackie Earle Haley, Bella Heathcote, Thomas McDonell, Gulliver McGrath and Chloë Moretz. The filming began in April 2011 and is expected to be released sometime in 2012. Danny Elfman will compose and conduct the score and soundtrack for the film, and Colleen Atwood will be the costume designer.

"Tim Burton" at Museum of Modern Art

From November 22, 2009 to April 26, 2010, Burton had a retrospective at the MoMA in New York with over 700 "drawings, paintings, photographs, storyboards, moving-image works, puppets, maquettes, costumes, and cinematic ephemera," including many from the filmmaker's personal collection. The show also includes amateur and student films, music videos, commercials, and digital slide shows, as well as a complete set of features and shorts.

"Tim Burton" at the Australian Centre for the Moving Image (ACMI)

From MoMA, the "Tim Burton" exhibition will travel directly to Australian Centre for the Moving Image in Melbourne. Running from June 24 to October 10, 2010, the ACMI exhibition will incorporate additional material from Burton's ''Alice in Wonderland'', which was released in March.

"Tim Burton" at the TIFF Bell Lightbox

The exhibition was displayed at the TIFF Bell Lightbox in Toronto, Ontario, Canada from November 26, 2010 to April 17, 2011. It was accompanied by several personal appearances by Burton as well as a retrospective of his films.

"Tim Burton" at the Los Angeles County Museum of Art (LACMA)

"The Art of Tim Burton" is now being exhibited at the Los Angeles County Museum of Art. It will last from May 29 to October 31, 2011.

Future projects

Burton is remaking his 1984 short film ''Frankenweenie'' as a feature length stop motion film, distributed by Walt Disney Pictures. The film is set to be released on October 5, 2012. He is also set to direct a film adaptation based on the television series ''Dark Shadows''. Johnny Depp will portray Barnabas Collins as well as co-produce the film, and Seth Grahame-Smith is currently writing the script. However, ''Dark Shadows'' will be pushed back due to Depp and Burton's commitments to other projects. During Comic-Con 2009, Burton confirmed that ''Dark Shadows'' will be his next film.

On January 19, 2010, it was announced that after ''Dark Shadows'', Burton's next project would be a ''Wicked''-like film that showed the origin and the past of ''Sleeping Beauty''s antagonist Maleficent. In an interview with Fandango published February 23, 2010, however, he denied he was directing any upcoming ''Sleeping Beauty'' movie. However, on November 23, 2010, in an interview with MTV, Burton confirmed that he was indeed putting together a script for ''Maleficent''. It was announced in ''The Hollywood Reporter'' on May 16, 2011 that Burton is no longer attached to ''Maleficent''.

Burton will also co-produce ''Abraham Lincoln: Vampire Hunter'' with Timur Bekmambetov, who will also serve as director. The film is based on the novel by Seth Grahame-Smith, also author of ''Pride and Prejudice and Zombies'', who also wrote the film's screenplay. It has also been reported that Burton will be directing a 3-D stop-motion animation adaptation of ''The Addams Family'', which was confirmed by Christopher Meledandri. On July 19, 2010, he was announced as the director of the upcoming film adaptation of ''Monsterpocalypse''.

Personal life

Burton was married to Lena Gieseke, a German-born artist, for two years, whom he left to live with model and actress Lisa Marie; she acted in the films he made during their relationship from 1992 to 2001, most notably in ''Ed Wood'' and ''Mars Attacks!'' After leaving her, Burton then developed a romantic liaison with Helena Bonham Carter, whom he met while filming ''Planet of the Apes''. Lisa Marie responded in 2005 by holding an auction of personal belongings that Burton had left behind, much to his dismay.

Burton and Bonham Carter have two children: Billy Ray, born October 4, 2003; and Nell, born December 15, 2007. Close friend Johnny Depp is a godfather of Burton's son. In ''Burton on Burton'', Depp wrote the introduction, stating, "What more can I say about him? He is a brother, a friend, my godson's father. He is a unique and brave soul, someone that I would go to the ends of the earth for, and I know, full and well, he would do the same for me."

Burton was the President of the Jury for the 63rd annual Cannes Film Festival, which was held from May 12 to May 24, 2010 in Cannes, France.

On 15 March 2010, Burton received the insignia of Chevalier of Arts and Letters from Minister of Culture, Frédéric Mitterrand.

Recurring collaborators

! Actor

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! class="collapsible" >''Pee-wee's Big Adventure'' (1985)

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! ''Edward Scissorhands'' (1990)

! ''Batman Returns'' (1992)

! ''The Nightmare Before Christmas''1 (1993)

! ''Ed Wood (film)>Ed Wood'' (1994)

! ''Mars Attacks!'' (1996)

! ''Sleepy Hollow (film)>Sleepy Hollow'' (1999)

! ''Planet of the Apes (2001 film)>Planet of the Apes'' (2001)

! ''Big Fish'' (2003)

! ''Charlie and the Chocolate Factory (film)>Charlie and the Chocolate Factory'' (2005)

! ''Corpse Bride'' (2005)

! ''Sweeney Todd: The Demon Barber of Fleet Street (2007 film)>Sweeney Todd'' (2007)

! ''Alice in Wonderland (2010 film)>Alice in Wonderland'' (2010)

! ''Dark Shadows (film)>Dark Shadows'' (2012)

! ''Frankenweenie (2012 film)>Frankenweenie'' (2012)

! Helena Bonham Carter

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¹Burton isn't responsible for direction of ''Nightmare Before Christmas'', but only for production and writing''.

²While Danny Elfman composed music for most of Burton's films, he is credited in the above table as a (voice) actor.

Bibliography

''Burton on Burton'', edited by Mark Salisbury (1995, revised editions 2000, 2006)

''The Melancholy Death of Oyster Boy & Other Stories'' (1997)

''The Art of Tim Burton'', written by Leah Gallo (2009)

Filmography

! Year	! Film	! Director	! Producer	! Writer
1982
1984
1985	''Pee-wee's Big Adventure''
1988	''Beetlejuice''
1989
1990	''Edward Scissorhands''
1992	''Batman Returns''
1993	''The Nightmare Before Christmas''
	''Cabin Boy''
1995	''Batman Forever''
''Mars Attacks!''
2001
2003	''Big Fish''
''Corpse Bride''
2007
2009
2010
2011	''Big Eyes''
2013

Short films

''The Island of Doctor Agor'' (1971)

''Houdini: The Untold Story'' (1976)

''Stalk of the Celery Monster'' (1979)

''Doctor of Doom'' (1979)

''Luau'' (1982)

Animator filmography

''The Lord of the Rings'' (1978) (uncredited)

''Stalk of the Celery Monster'' (1979)

''The Fox and the Hound'' (1981) (uncredited)

''Tron'' (1982) (uncredited)

Cameos and other film work

''Singles'' (1992)

''Hoffa'' (1992)

''The Nightmare Before Christmas'' (deleted scene)

Art filmography

''Frankenweenie'' (1984) (storyboard artist, uncredited)

''The Black Cauldron'' (1985) (conceptual artist, uncredited)

Internet shorts

''The World of Stain Boy'' (2000)

Television

''Hansel and Gretel'' (1982) (director)

''Faerie Tale Theatre'' – episode ''Aladdin and His Wonderful Lamp'' (1989) (director)

''The New Alfred Hitchcock Presents'' – episode ''The Jar'' (1984) (director)

''Beetlejuice: The Animated Series'' (1989–1991) (executive producer)

''Family Dog'' (1993) (animation designer, executive producer)

''Hollywood Gum'' – French commercial, director (1997)

''Kung Fu'' and ''Mannequin'' – Timex commercials, director (2001)

Music videos

"Bones" by The Killers (2006)

See also

List of unproduced Tim Burton projects

Awards

Academy Awards

(2006) Nominated — Best Animated Feature / ''Corpse Bride''

BAFTA Awards

(2004) Nominated — Best Direction / ''Big Fish''

Cannes Film Festival

(1994) Nominated — Palme d'Or / ''Ed Wood''

Chicago Film Critics Association Awards

(2004) Nominated — Best Director / ''Big Fish''

Golden Globe Awards

(2008) Nominated — Best Director – Motion Picture / ''Sweeney Todd: The Demon Barber of Fleet Street''

National Board of Review Awards

(2008) Won — Best Director / ''Sweeney Todd: The Demon Barber of Fleet Street''

Producers Guild of America Awards

(2006) Nominated — Animated Motion Picture / ''Corpse Bride''

(2008) Honored — Scream Awards: Scream Immortal Award, for his unique interpretation of horror and fantasy

64th Venice International Film Festival

(2007) Honored — Golden Lion for Lifetime Achievement

Further reading

Bassil-Morozow, Helena (2010): ''Tim Burton: The Monster and the Crowd''. Routledge, London, ISBN 978-0-415-48971-3 Read Introduction at JungArena.com

Heger, Christian (2010): ''Mondbeglänzte Zaubernächte. Das Kino von Tim Burton''. Schüren, Marburg, ISBN 978-3-89472-554-9 Read Excerpts at Libreka.de

Gallo, Leah (2009): ''The Art of Tim Burton''. Steeles Publishing, Los Angeles, ISBN 978-1-93553901-8

Magliozzi, Ron / He, Jenny (2009): ''Tim Burton''. The Museum of Modern Art, New York, ISBN 978-0-87070-760-5

Lynette, Rachel (2006): ''Tim Burton, Filmmaker''. KidHaven Press, San Diego, CA, ISBN 0-7377-3556-2

Page, Edwin (2006): ''Gothic Fantasy: The Films of Tim Burton''. Marion Boyars Publishers, London, ISBN 0-7145-3132-4

Salisbury, Mark (2006): ''Burton on Burton''. Revised Edition. Faber and Faber, London, ISBN 0-571-22926-3

Fraga, Kristian (2005): ''Tim Burton – Interviews''. University Press of Mississippi, Jackson, MS, ISBN 1-57806-758-8

Odell, Colin / Le Blanc, Michelle (2005): ''Tim Burton''. The Pocket Essentials, Harpenden 2005, ISBN 1-904048-45-5

McMahan, Alison (2005): ''The Films of Tim Burton: Animating Live Action in Contemporary Hollywood''. Continuum, New York, ISBN 0-8264-1566-0 Read Chapter 3 at FilmsOfTimBurton.com

Smith, Jim / Matthews, J. Clive (2002): ''Tim Burton''. Virgin, London, ISBN 0-7535-0682-3

Woods, Paul A, (2002): ''Tim Burton: A Child's Garden of Nightmares''. Plexus, London, ISBN 0-85965-310-2

Merschmann, Helmut (2000): ''Tim Burton: The Life and Films of a Visionary Director'' (translated by Michael Kane). Titan Books, London, ISBN 1-84023-208-0

Hanke, Ken (1999): ''Tim Burton: An Unauthorized Biography of the Filmmaker''. Renaissance Books, Los Angeles, ISBN 1-58063-046-4

References

External links

Burton's official website

Senses of Cinema: Great Directors Critical Database – Tim Burton

|- ! colspan="3" style="background: #DAA520;" | National Board of Review |-

Category:1958 births Category:American animators Category:American expatriates in the United Kingdom Category:American film directors Category:American music video directors Category:American screenwriters Category:California Institute of the Arts alumni Category:Disney people Category:Gothic fiction Category:Living people Category:American agnostics Category:People from Burbank, California Category:People from Sutton Courtenay Category:Stop motion animators Category:Chevaliers of the Ordre des Arts et des Lettres

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