The Beginnings of Modern Art

J.M. Nash introduces Cubism, Futurism, and Constructivism not as revolutionary artistic movements, but rather as the extension of previous movements that were also shaped by their historical context. Cubism originated in Paris, Futurism in Milan, and Constructivism in Russia. The three movements differed in values but were similar in their aesthetic presentation.
The beginning of modern art was represented by French artists in the form of Cubism, and was led by Pablo Picasso and Georges Braque. Cubism was a transformation rather than a revolution; early Cubism was similar to Post-Impressionist paintings, like the works of Cezanne, while later paintings were more abstract and employed more aggressive and bold brushstrokes, over-lapping structures, and intuitive interpretation.
Futurism, which followed Cubism, was almost identical to Cubism, except in the way it tended to reflect the violence of WWI. Marinetti, the leader of the Futurist movement, created a Manifesto of Futurism in which he defined his art form as illustrating the world as it was really experienced. Artists often manifested sounds and movement as images.
Constructivism began in Russia was influenced by its predecessors, but was considered by the Russians who originated the art form as a rejection of interpretation. Constructivists considered themselves revolutionary, but hardly deviated from the abstract and interpretive techniques developed by the French and Italians. Much of Constructivist art looks like modern collages or graphic design.