Art history 2 qui 3 chapters 28-29

Adolf Hitler, accompanied by Nazi commission members, including photographer Heinrich Hoffmann, Wolfgang Willrich, Walter Hansen, and painter Adolf Ziegler, viewing the Entartete Kunst show on July 16, 1937.

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Frank Gelett Burgess, photograph of Pablo Picasso in his studio in the rue Ravignan, Paris, France, 1908. Musée Picasso, Paris.

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Franz Marc, Fate of the Animals, 1913. Oil on canvas, 69 4 3 40 × 89 9 1 20. Kunstmuseum Basel, Basel.Expressionism

1. Even tho this is an abstract piece we can see in the painting fishheads with their body's intertwined 2. The artist made a system of correspondences between colors and emotions

Odilon Redon, The Cyclops, 1898. Oil on canvas, 29 10 × 19 80. Kröller-Müller Foundation, Otterlo. Symbolism

1. In this symbolism painting the artist showed an mythical one eyed giant 2. The mythical giant is seen staring at a sleeping Galatea

Henry Moore, Reclining Figure, 1939. Elm wood, 39 10 × 69 70 × 29 60. Detroit Institute of Arts, Detroit (Founders Society purchase with funds from the Dexter M. Ferry Jr. Trustee Corporation).

1. Like Hepworth the artist believed people could be stanslated though mass,inner tension and Raytheon 2. This peice is of a woman who is reclining and was a major theme in the artists later sculptures

Berthe Morisot, Summer's Day, 1879. Oil on canvas, 19 5 3 40 × 29 5 3 80. National Gallery, London (Lane Bequest, 1917). Impressionism

1. Like most of the artist paintings the figures in summers day are all well dresses look elegant and poised 2. The artist used a common secrecy of small brush strokes with pigmintesed paint to show a Impressionism

Claude Monet, Rouen Cathedral: The Portal (in Sun), 1894. Oil on canvas, 39 3 1 40 × 29 17 80. Metropolitan Museum of Art, New York (Theodore M. Davis Collection, bequest of Theodore M. Davis, 1915). impressionism

1. Like the railroad stakes the artist used the tip of the brush and probably a fan brush to create a fuy electric energy 2. This i a painting of the rouen cathedral at different times of the day and under mottple weather changes

Édouard Manet, Claude Monet in His Studio Boat, 1874. Oil on canvas, 29 80 × 39 3 1 40. Neue Pinakothek, Munich. impressionist

1. Much like monets sunrise paintin this peice has the small brush strokes of pure pigmment for reflections in the water 2. Unlike most peintings where they are set up and without any background noise this painting has factories and smokestacks of argenteuil in the background

Victor Horta, staircase in the Van Eetvelde House, Brussels, Belgium, 1895.Art Nouveau

1. The art nouveau movement that was used to create this room was an attempt to make art and architecture that was based on natural forms 2. Every detailed in this room from the railing to the twisting beams where make to looks lie plants and vines

Henri Matisse, Red Room (Harmony in Red), 1908-1909. Oil on canvas, 59 110 × 89 10. State Hermitage Museum, Saint Petersburg. Impressionism

1. The artist believed that paintings colors and compositions should be chosen based off of emotions and that is what this painting shows the deep blues and reds represent a solom emotion 2. The table and the wall seem to be one as they are the American color and have the same patterns

Vassily Kandinsky, Improvisation 28 (second version), 1912. Oil on canvas, 39 7 7 80 × 59 3 7 80. Solomon R. Guggenheim Museum, New York (gift of Solomon R. Guggenheim, 1937).Abstract art Expressionism. inspired by the Fauve movement.

1. The artist believed that there was no real need for material objects 2. The artist was one of the first to reject representation and favored an abstract are over natural values

28-32 Gertrude Käsebier, Blessed Art Thou among Women, 1899. Platinum print on Japanese tissue, 9 3 80 × 5 1 20. Museum of Modern Art, New York (gift of Mrs. Hermine M. Turner).Arts and Crafts Movement.

1. The artist depicted a sense of spiritual and Devine into the everyday life 2. The soft focus which was intentional invests the scene with an aura of otherworldly peace

Edgar Degas, The Rehearsal, 1874. Oil on canvas, 19 110 × 29 90. Glasgow Art Galleries and Museum, Glasgow (Burrell Collection). Edgar Degas, The Rehearsal, 1874. impressionism

1. The artist loved the paris ballet becuse of the movment of the figures and this peice shoes that 2. This peice has a high veiw point that is off centered the artist loved this in his paintings and used it often

Vladimir Tatlin, Monument to the Third International, 1919-1920. Reconstruction of the lost model, 1992-1993. Kunsthalle, Düsseldorf.

1. The artist most famous work it is an architecture design that reductive geometry 2. This work connects to artistic programs of the supremists.and constructivists

28-36 William Morris, Green Dining Room, South Kensington Museum (now Victoria & Albert Museum), London, England, 1867. Arts and Crafts movement

1. The artist of the room who was also the owner of the building was one of the founders for arts and crafts movement as shown in the patterning of the room and bright colors shown 2. The room shows colors of red green and blue with detailed gold that breaks up the colors and allows them to flow

Ernst Ludwig Kirchner, Street, Dresden, 1908 (dated 1907). Oil on canvas, 49 111 40 × 69 6 7 80. Museum of Modern Art, New York. German Expressionist group

1. The artist perspective that he distorted and his color choices are similar to that of fauves and of Edward munch 2. The disquieting figures are also a reflection of fauves and of Edward munch who had the same expressive use of the formal elements even with the distortion we can clearly tell gender and age in the figures a well as class

28-31 Gustav Klimt, The Kiss, 1907-1908. Oil on canvas, 59 10 3 40 × 59 10 3 40. Österreichische Galerie Belvedere, Vienna.Vienna Secession movement.

1. The artist reveals in this painting a small segment of each figures body 2. The rest of the painting is in golfed in shimmering brights flat patterning

André Derain, The Turning Road, L'Estaque, 1906. Oil on canvas, 49 30 × 69 4 3 40. Museum of Fine Arts, Houston (gift of Audrey Jones Beck).Fauvism

1. The artist used colors to show the energy he saw in the landscape 2. The dramatic hues and flattened perspective represents the artist study of Gauguin post impressionist canvases

Claude Monet, Saint-Lazare Train Station, 1877. Oil on canvas, 29 5 3 40 × 39 50. Musée d'Orsay, Paris. Impressionist movement

1. The artist used inpressionism in this peice and make the raleroad apear to have energy running thru out it 2. Instead of using small brush strokes the artist used the brushes head and dabed the paint on the canvus to create the fuy energy we see

28-2 Claude Monet, Impression: Sunrise, 1872. Oil on canvas, 19 7 1 20 × 29 11 20. Musée Marmottan, Paris. impressionism

1. The artist used small brush strocks of pure pigment to create the peice 2. Sisnce this was the artist impression he didnt use a sketch to create the peice buut simply went for it and made what he thought it looked like other then making it relistic

Egon Schiele, Nude Self-Portrait, Grimacing, 1910. Gouache, watercolor, and pencil on paper, 19 100 × 19 2 3 80. Albertina, Vienna. Expressionism

1. The artist usually depicted himself with emancipated body and twined limbs and this picture is a representation of that 2. The artist also favored grimacing expressions that made people uncomfortable and was not a normal thing to do

Eon schirle, nude self-portrait, grimacing, 1910. Gouache, watercolor, and pencil on paper, 19 100 × 19 2 3 80. Albertina, Vienna.Expressionism

1. The artist usually depicted himself with emancipated body and twined limbs and this picture is a representation of that 2. The artist also favored grimacing expressions that made people uncomfortable and was not a normal thing to do

28-35 Camille Claudel, The Waltz, 1895. Bronze, 19 4 7 80 high. Private collection, Paris. her own

1. The artist who was a woman made a bold choice in making this peice of art because the the sensual energy and the male being nude 2. The texture and moment are that of Rodin but the conception of spiritual and phi cal unicorn is the artist own style

Georges Seurat, A Sunday on La Grande Jatte, 1884-1886. Oil on canvas, 69 90 × 109. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926). neo-impressionist

1. The color system used in this painting is called pointillism that divides colors into the component parts and applying them using little dots which was what is used here 2. The lighting in this peice is coming from the left and it can be assumed we as the viewers are under a tress as the shadow in fron suggests

Pablo Picasso, Les Demoiselles d'Avignon, 1907. Oil on canvas, 89 × 79 80. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).Cubism

1. The figures with the distorted features where grew from the artist fascination of African artworks 2. The artist intended for the figures to be viewed from multiple ambiguous planes which is was unlike the standards of western art since the renaissance

Pierre-Auguste Renoir, Dance at Le Moulin de la Galette, 1876. Oil on canvas, 49 30 × 59 80. Musée d'Orsay, Paris. Impressionism

1. The lighting in this peice is coming from behind the viewer as ther are trees breaking up the light 2. The lighting in this peice is broken up to create a sense of flaughting or fleeting light

Edvard Munch, The Scream, 1893. Tempera and pastels on cardboard, 29 113 40 × 29 50. National Gallery, Oslo. Expressionism

1. The scream also it was based off of realistically is far from visual reality 2. The artist used colors lines and figures to distort and create an emotional response for the viewer

Édouard Manet, A Bar at the FoliesBergère, 1882. Oil on canvas, 39 10 × 49 30. Courtauld Gallery, London. Impressionism

1. There is spatial inconsistencies chown int his piece where the young woman makes drinks is shown in the mororr 2. The barmaid seems to have a mondain almost annoyed look on her face which sets the attidude for the peice

Gustave Moreau, The Apparition, 1874-1876. Watercolor on paper, 39 5 3 40 × 29 4 3 80. Musée du Louvre, Paris . Symbolism

1. This biblical reenactment painting combines hallucinatory imagery erotica precise drawing 2. The painting also incorporates vibrant colors and make. The painting look even more grande and an opulent setting in the artists very own symbolism style

Alexandre-Gustave Eiffel, Eiffel Tower (looking southeast), Paris, France, 1889.

1. This building is one of the most well know pieces of art in the. Word with many people going to Paris France just to see it 2. The iron skeleton in the building is exposed and the design is moderne with the material and techencse all being new

Henri Rousseau, Sleeping Gypsy, 1897. Oil on canvas, 49 30 × 69 70. Museum of Modern Art, New York (gift of Mrs. Simon Guggenheim ).Modern art, Naïve art, Post-Impressionism, Primitivism

1. This is a depiction of a doll like but scary lion sniffing at a recumbent dreaming figure in an unknown landscape 2. The painting suggests that the figure vulnerable during its resting period

28-33 Auguste Rodin, Walking Man, 1905. Bronze, 69 113 40 high. Musée d'Orsay, Paris. impressionist

1. This is a stud of Saint John the Baptist 2. The artist depicts a headless and armless figure in mid stride

Vera Mukhina, Worker and Collective Farm Woman, Soviet Pavilion, Paris Exposition, 1937. Stainless steel, 789 high. Art © Estate of Vera Mukhina/RAO, Moscow/VAGA, New York. Cubism abstract

1. This is an realistic interpretation of a male worker and a female car worker 2. They were glorified to communal labor of the soviet people

Auguste Rodin, The Gates of Hell, begun 1880; cast in 1917. Bronze, 209 100 × 139 10. Musée Rodin, Paris.the Impressionists

1. This is the artist most out of there work that was inspired by Dante's inferno and Ghiberti gates of paradise which where also bad of bronze 2. This peice has almost 200 tormented sinners in relief below the 3 shades and the thinker

Paul Cézanne, Mont Sainte-Victoire, 1902-1904. Oil on canvas, 29 3 1 20 × 29 111 40. Philadelphia Museum of Art, Philadelphia (George W. Elkins Collection).Impressionism, Post-Impressionism

1. This landscape the artist replaced the transitory visual effects that change the atmosphere conditions 2. The painting focused on lines planes and colors of nature to make the impressionistic painting look recognizable

Pierre Puvis de Chavannes, Sacred Grove, 1884. Oil on canvas, 29 111 20 × 69 100. Art Institute of Chicago, Chicago (Potter Palmer Collection).Impressionism

1. This landscape was made with symbolism and was made to look realistic well a least what the artist felt was relatistic 2. The figures are timeless with poses the show a peaceful and calm landscape

28-6 Camille Pissarro, La Place du Théâtre Français, 1898. Oil on canvas, 29 4 1 20 × 39 1 20. Los Angeles County Museum of Art, Los Angeles (Mr. and Mrs. George Gard De Sylva Collection).Impressionism

1. This lively painting of paris square shows an arial veiw which the viewer can look from above and seee the lively energy shown 2. The artist made sure to make the cirty look as lively and cotic as he could as with horse and buchy going random ways once even looks lke he is going to hit a pole and many people ruhing about looking like they are going to get hit

Käthe Kollwitz, Woman with Dead Child, 1903. Etching and soft-ground etching, overprinted lithographically with a gold-tone plate, 19 4 5 80 × 19 7 1 80. British Museum, London.Expressionism

1. This painting i a representation of a mother grieving for her dead child 2. This painting comes from the images of pieta

Vincent van Gogh, Starry Night, 1889. Oil on canvas, 29 50 × 39 1 40. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).Post-Impressionism, Modern art

1. This painting is an expressive peice which the lines shapes and colors all being presented in an abstract manner 2. An interesting fact is that this painting was made when the artist was in an institution and he only had a window to paint out of

Piet Mondrian, Composition with Red, Blue, and Yellow, 1930. Oil on canvas, 19 6 1 80 × 19 6 1 80. Kunsthaus, Zürich. © Mondrian/ Holtzman Trust c/o HCR International, VA, USA.

1. This painting is made of the primary colors red yellow white that are in a bride of intersecting vertical and horizontal lines 2. The artist created a dynamic equilibrium by changing the grid patterns

James Ensor, Christ's Entry into Brussels in 1889, 1888. Oil on canvas, 89 3 1 20 × 149 11 20. J. Paul Getty Museum, Los Angeles. Expressionism

1. This painting represents the corrupt modern values we hold even today 2. Christ who i on a donkey in the back ignores by the people that are wearing grotesque grimacing masks

Gustave Caillebotte, Paris: A Rainy Day, 1877. Oil on canvas, 69 90 × 99 90. Art Institute of Chicago, Chicago (Worcester Fund). Impressionist movement

1. This painting shows an interesting perspctive of the city as both sides of the second building are shown 2. The energy in this peice i lively which is strange because it should be down and glum because of the rain

Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888. Oil on canvas, 29 4 3 40 × 39 1 20. National Gallery of Scotland, Edinburgh.Post-Impressionism, Synthetism

1. This painting was iinspireed by Japanese prints, cloisonné enamels and stained glass 2. These references are shown in the clean outlines that enclose the larger areas of vibrant colors

Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? 1897. Oil on canvas, 49 6 3 40 × 129 30. Museum of Fine Arts, Boston (Tompkins Collection).Post Impressionism

1. This painting was made far a way from the artist home and anything any art style anyone was makeing as he used the woman from Tahiti for his figures 2. The artist also. Used the native colors around him in Tahiti to create the vibrant colors shown

Barbara Hepworth, Oval Sculpture (No. 2), 1943. Plaster cast, 111 40 × 19 4 1 40 × 100. Tate, London.

1. This peice had significance to the artist as the form is standing which translates to his emotions about humans being in a landscape 2. The aim of this sculpture was for the viewer to understand that people can be stand later though mass, inner tension and and rhythms

Mary Cassatt, the child's bath, 1893 Oil on canvas, 39 3 1 20 × 29 20. Art Institute of Chicago, Chicago (Robert A. Walker Fund). Impressionism, Modern art, American Impressionism

1. This peice has Japanese prints in the background 2. The painting has an areal view as the viewer is in a standing position looking down at the Siena

Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-1895. Oil on canvas, 49 × 49 70. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection). Post Impressionism

1. This peice like most of Toulouse has dissonant colors and glearing lights 2. Japanese's prints again has inspired this painting

Edgar Degas, The Tub, 1886. Pastel, 19 111 20 × 29 8 3 80. Musée d'Orsay, Paris. impressionism

1. This peice was influences by japanesse prints 2. Its sharp angles are like that of torii kiyonaga

James Abbott McNeill Whistler, Nocturne in Black and Gold (The Falling Rocket), ca. 1875. Oil on panel, 19 115 80 × 19 6 1 20. Detroit Institute of Arts, Detroit (gift of Dexter M. Ferry Jr.). art's sake movement

1. This peice was made to show conveying of an atmosphere and how that effects fireworks at night 2. The artist also emphasized the abstract arrangement of shapes and colors

Torii Kiyonaga, detail of Two Women at the Bath, ca. 1780. Color woodblock print; full print 10 1 20 × 7 1 20, detail 3 3 40 × 3 1 20. Musée Guimet, Paris. Impressionism

1. This peinting helped influence edgar degas the. Tub 2. This print is in a japaneese style

Pablo Picasso, Gertrude Stein, 1906-1907. Oil on canvas, 39 3 3 80 × 29 80. Metropolitan Museum of Art, New York (bequest of Gertrude Stein, 1947).Cubist movement

1. This portrait was left unfinished by the. Artist until he decided to put the planar simplicity of old Iberian stone sculptures into the portrait face 2. The artist loved the person so much she kept the painting with her at all times until her death in 1946

Henri de Toulouse-Lautrec, Jane Avril, 1893. Color lithograph, 49 2 1 20 × 39 10. San Diego Museum of Art, San Diego (gift of the Baldwin M. Baldwin Foundation). Post-Impressionism

1. This poster was inspired by Japanese prints 2. The bright colors of the dress and the more muted colors around draws the viewer the the woman having fun making the person want to have fun

Charles Rennie Mackintosh and Margaret Macdonald Mackintosh, Ladies' Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900-1912. Reconstructed (1992-1995) in the Glasgow Art Galleries and Museum, Glasgow.Art Nouveau

1. This room features functional and beautifully resigned arts and crafts decor 2. The arts and craft decor includes stained glass windows and pristinely geometric furnishings everything in the room is a peice of art all working together to create one peice

Paul Cézanne, Basket of Apples, ca. 1895. Oil on canvas, 29 3 80 × 29 70. Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).Post-Impressionism

1. This still life shows the artist deal analytical approach to painting 2. The artist included the structure of the bottles and fruits by juxtaposing color patches

Henri Matisse, Woman with the Hat, 1905. Oil on canvas, 29 7 3 40 × 19 111 20. San Francisco Museum of Modern Art, San Francisco (bequest of Elise S. Haas).Fauvism

1. This was an painting of the artist wife who's features where patches and splotches of bright colors 2. The artist and other likeminded artists used color not to make it look like nature but to make the viewer have a reaction

Constantin Brancusi, Bird in Space, 1924. Bronze, 49 2 5 160 high. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection, 1950).

1. Though this is not an exact replica of a bird the artist suggests with soft lines that it is a bird 2. The bird is supposed to be a active flight through the heavens

André Derain, Mountains at Collioure, 1905. Oil on canvas, 29 80 × 39 3 1 20. National Gallery of Art, Washington, D.C. (John Hay Whitney Collection).Fauvism

1. Unlike most artist that use colors in nature to show there landscapes this artist believed that he could do the same thing but with brighter wilder colors 2.

Paul Klee, Twittering Machine, 1922. Watercolor and pen and ink, on oil transfer drawing on paper, mounted on cardboard, 29 10 × 19 70. Museum of Modern Art, New York.

1. although this is an abstract painting we can clearly make out that there are 4 birds intertwined 2. this painting is based off of a fanciful vision of a mysterious place that represents simplification in almost a child like manner

Marcel Duchamp, Fountain, 1917 (replica, 1950). Glazed sanitary china with black paint, 19 high. Philadelphia Museum of Art, Philadelphia. Dada

1. an interesting fact about this art work was that it was massed produced meaning there are several copies of this piece around the world 2. the artist aim was for people to see the urinal in the different light

Fernand Léger, The City, 1919. Oil on canvas, 79 70 × 99 9 1 20. Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection). Cubist

1. in this abstract painting the artist perfected the machine aesthetic 2. the artist captured the mechanical commotion of urban life and incorporated the effects of billboard adds and other things like traffic lights

Jean (Hans) Arp, Collage Arranged According to the Laws of Chance, 1916-1917. Torn and pasted paper, 19 7 1 80 × 19 15 80. Museum of Modern Art, New York.the Dada movement

1. in this collage we see torn paper squares onto a sheet of paper and then glued them where they fell 2. the artist relied on chance in creating this piece this reinforced the movement Dada

Max Beckmann, Night, 1918-1919. Oil on canvas, 49 4 3 80 × 59 1 40. Kunstsammlung Nordrhein-Westfalen, Düsseldorf.Neue Sachlichkeit

1. in this painting the figures show how the artist thought of the brutality of the early 20th century society ]2. the objects seem to dislocate and are contorted and the space acts l8ike it buckets and is illogical but can still be deciphered as people

George Grosz, The Eclipse of the Sun, 1926. Oil on canvas, 69 9 5 80 × 59 117 80. Heckscher Museum of Art, Huntington.Berlin Dada movement

1. in this peice which was made with the data movment shows how militarism and capitalism need to stop 2. the peice also shows how these kinds of people manipulate others into getting what they want

Max Ernst, Two Children Are Threatened by a Nightingale, 1924. Oil on wood with wood construction, 29 3 1 20 × 19 10 1 20 × 4 1 20. Museum of Modern Art, New York.

1. the artist used traditional perspevitve to reppresent the setting 2. also he used 3 sketch like rendered figures that belonged to a dream world

Julio González, Woman Combing Her Hair, 1936. Iron, 49 40 high. Museum of Modern Art, New York (Mrs. Simon Guggenheim Fund).

1. the figure shown is infact a human but reduced to simple curves and line and planes that lead the eye to under stand what it is without it being blatantly obvious 2. it is an abstract peice of art without any vestiges of the normal representational art we are used to seeing in the beginning of the book

Meret Oppenheim, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup 4 3 80 diameter; saucer 9 3 80 diameter; spoon 80 long. Museum of Modern Art, New York.

1. the movent surrealism the artist used to create this piece valued the concrete tangibility of cultures which made the art even more disquieting 2. the fur-covered objects capture the movements magical transformation

Pablo Picasso, Guernica, 1937. Oil on canvas, 119 5 1 20 × 259 5 3 40. Museo Nacional Centro de Arte Reina Sofia, Madrid.Cubism, Surrealism

1. the tecnic used in this collage is cubist you can see it in the block like figures and the random limbs scattered 2. in this piece the expressive effect is a condemnation of the nazi bombing of basque capital

Gino Severini, Armored Train, 1915. Oil on canvas, 39 100 × 29 10 1 80. Collection of Richard S. Zeisler, New York. Futurist movement

1. this abstract peice is of armored train with cannon coming out of it 2. this peice reflects the futurist faith in abolishing the action of war and bring peace back to the world

Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915 (dated 1914). Oil on canvas, 19 10 7 80 × 19 70. Museum of Modern Art, New York. Suprematism

1. this abstract piece was made with the artist very own art tactic called suprematism that shows the supreme reality of the world in pure feeling 2. this peaice shows the brightly colored rectilinear shapes float against white space breaking up the colors

Pablo Picasso, maquette for Guitar, 1912. Cardboard, string, and wire (restored), 29 11 40 × 19 10 × 7 1 20. Museum of Modern Art, New York. Cubist

1. this artwork shows a guitar in shambles with the wires broke and the base of the guitar twisted and disfigured 2. this piece allows for the viewer to see both the surface and interior space both mass and void

Georges Braque, Bottle, Newspaper, Pipe, and Glass, 1913. Charcoal and various papers pasted on paper, 19 6 7 80 × 29 11 40. Private collection, New York.The Essential Cubism

1. this collage is incredible hard to figure out with all the different elements being so different and random there 2. the pipe in the front is shown to be on a newspaper but is also a cut out that reveals the canvas surface

Hannah Höch, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919-1920. Photomontage, 39 90 × 29 111 20. Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin.Dada

1. this collage is made of many different pictures of some of the artist fellow dadaists like marx and lenin 2. the artist also added a map of urope showing the of woman's right to vote

Pablo Picasso, Still Life with Chair-Caning, 1912. Oil, oilcloth, and rope on canvas, 10 5 80 × 19 13 40. Musée Picasso, Paris.Cubism

1. this collage is made of pictures and painting over top of it 2. it is framed with rope and the collage is mean to change the viewers perspective of reality

Wifredo Lam, The Jungle, 1943. Gouache on paper mounted on canvas, 79 10 1 40 × 79 6 1 20. Museum of Modern Art, New York (Inter-American Fund).

1. this is a painting of 4 figures with long limbs prominate butts and faces and large feet 2. the people seen in this painting resemble African masks inhabit lams tropical jungle

Salvador Dalí, The Persistence of Memory, 1931. Oil on canvas, 9 1 20 × 19 10. Museum of Modern Art, New York.

1. this is a very famous peice the melting clocks are now sold every where and artist recreate them in their own style 2. the artist created a haunting allegory of empty space where time has ended

Ernst Barlach, War Monument, Güstrow Cathedral, Güstrow, Germany, 1927.expressionism movement

1. this is a world war 2 memorial 2. the artist melted down metal for ammunition a human for floating above a tomb that suggests a dying person at the moment that it was about to awaken to everlasting life

Robert Delaunay, Homage to Blériot, 1914. Oil on canvas, 89 2 1 20 × 89 30. Kunstmuseum Basel, Basel (Emanuel Hoffman Foundation). cubism

1. this is an abstract art peice made out of mostly cycles but with a few objects that we can clearly deciferly like the elfer tower on the right 2. this painting used modern tecknecs and new innovation he also paid tribute to piolets that fly across the English channel

Otto Dix, Der Krieg (The War), 1929-1932. Oil and tempera on wood, 89 80 (including predella) × 139 4 3 40. Staatliche Kunstsammlungen, Gemäldegalerie Neue Meister, Dresden.post-expressionist New Objectivity movement

1. this multi panel art peice is a retelling of the earlier altarpiece already studied 2. the artist captured the panoramic devastation that was can inflict on the world and on the people that live there

Marcel Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-1923. Oil, lead, wire, foil, dust, and varnish on glass, 99 11 20 × 59 9 1 80. Philadelphia Museum of Art, Philadelphia (Katherine S. Dreier Bequest).Cubism, Dada, conceptual art

1. this painting is a playful yet serious examination of humans as machines 2. this is depicting a bride who is fueled by love and the male figures on the side also are moving like machines

Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 29 11 3 80 × 39 7 1 40. Albright-Knox Art Gallery, Buffalo (bequest of A. Conger Goodyear, gift of George F. Goodyear, 1964).Futurism.

1. this painting is interesting because of the fast paced movement that the artist captured with the dog and woman in active movement 2. as there was use of cubist fragmentation found in this piece there was also futurist also found to be used to create the painting

Joan Miró, Painting, 1933. Oil on canvas, 59 8 1 20 × 69 5 1 40. Museum of Modern Art, New York (Loula D. Lasker bequest by exchange).

1. this painting the artist began with random doodles and completed the compostion with forms that would suggest they where floating amoebic organ9sms 2. the abstract curvilinear forms became motifs that in the artist view free the shapes on the canvas

Naum Gabo, Column, ca. 1923 (reconstructed 1937). Perspex, wood, metal, and glass, 39 50 × 29 50 × 29 50. Solomon R. Guggenheim Museum, New York.Constructivism movement

1. this peice relies on the relationship between mass and space that leads the virer to suggest the nature of space-time 2. in this peice space seems to flow through and around the clear materials the artist used

Kurt Schwitters, Merz 19, 1920. Paper collage, 7 1 40 × 5 7 80. Yale University Art Gallery, New Haven (gift of Collection Société Anonyme). Merz

1. this peice was inspired by the cubist movement as shown with the block like shapes that create this pice 2. the artist found a sense of poetry in the discarded peices of modern society

Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 39 7 7 80 high. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).futurist movement

1. this piece of of a human in active moment but was created to have no arms and distorted features 2. furust was used in this piece as the artist was fond of abolishing the self contained statue

Giorgio de Chirico, The Song of Love, 1914. Oil on canvas, 29 4 3 40 × 19 113 80. Museum of Modern Art, New York (Nelson A. Rockefeller bequest).surrealist style metaphysical painting movement

1. this piece was made with the metaphysical painting movement which the artist created himself there is also greek style coming through 2. this is a dreamlike painting which is set in the deserted square and a classical head of apollo floating next to a gigantic red glove

Aleksander Archipenko, Woman Combing Her Hair, 1915. Bronze, 19 13 40 high. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest).Cubism

1. this statuette has no head. in place of the head is what looks like an extension of an arm 2. the void is not just negative counterpart of the volume

Georges Braque, The Portuguese, 1911. Oil on canvas, 39 10 1 80 × 29 80. Kunstmuseum Basel, Basel (gift of Raoul La Roche, 1952). Analytic Cubism

1.In this peice the artist rejected the use of pictorial illusion that people were familiar 2. The concentration of this peice was to deconstructing form and replacing it with dynamic interaction with space