Quiz 4 image list

1
Figure 22-32 ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863. Oil on canvas, 7’ x 8’ 10”. Musée
d’Orsay, Paris.

4
Figure 22-33 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 2 1/4”. Musée d’Orsay, Paris.

5
German and American Realism
• Examine German artist’s interests in regional and national
characteristics, folk customs and culture.
• Identify the American artists and key works of Realist art.

6
Figure 22-35 WINSLOW HOMER, Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x 3’ 2 1/8”. Metropolitan
Museum of Art, New York (bequest of Miss Adelaide Milton de Groot, 1967).

7
Figure 22-36 THOMAS EAKINS, The
Gross Clinic, 1875. Oil on canvas, 8’ x 6’
6”. Philadelphia Museum of Art,
Philadelphia.

8
Figure 22-37 JOHN SINGER SARGENT, The Daughters of Edward Darley Boit, 1882. Oil on canvas, 7’ 3 3/8” x 7’ 3 5/8”.
Museum of Fine Arts, Boston (gift of Mary Louisa Boit, Florence D. Boit, Jane Hubbard Boit, and Julia Overing Boit, in
memory of their father, Edward Darley Boit).

9
22.7 Photography
• Examine the origins of photography and its impact in visual
art.
• Discuss initial uses of the new art medium known as
photography.
• Recognize the artists and the works of early photography.
• Examine artist’s use and response to the technology of
photography.

10
Figure 22-48 LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. 6 1/4” x 8 1/4”. Daguerreotype.
Collection Société Française de Photographie, Paris.

12
Figure 22-49 JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether, Massachusetts
General Hospital, ca. 1847. Daguerreotype. Massachusetts General Hospital Archives and Special Collections, Boston.

13
Figure 22-50 NADAR, Eugène Delacroix, ca.
1855. Modern print, 8 1/2”x 6 2/3” from
original negative in the Bibliothèque Nationale,
Paris.

14
Figure 22-51 HONORÉ DAUMIER,
Nadar Raising Photography to the Height of Art,
1862. Lithograph, 10 3/4” x 8 3/4”.
Museum of Fine Arts, Boston.

15
Figure 22-53 TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy
O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/4" x 8 3/4". New York Public Library (Astor, Lenox and
Tilden Foundations, Rare Books and Manuscript Division), New York.

16
Figure 22-54 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print, 9” x 12”. George Eastman House,
Rochester, New York.

17
Chapter 23
Impressionism, Post-Impressionism,
Symbolism: Europe and America,
1870 to 1900
Gardner’s Art Through the Ages,
14e

19
Industrialization of Europe and U.S. about 1850

20
Impressionism
• Asymmetrical Balance
• Use of Colored Shadows
• Use of Pure Color
• Broken Color or Broken Brushstrokes
• Use of Impasto (or Thick Paint)
• Subject Matter
• High Horizontal Line
• Photographic Influence
• Influence of Japanese Prints
• Painted "En Plein Air"
John Singleton Copley

21
Figure 23-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.

23-2A CLAUDE MONET, Bank of the Seine, Bennecourt, 1868. Oil on canvas, 2’ 8" X 3’ 3 5/8”. Art Institute of Chicago, Chicago
(Potter Palmer Collection).
22

23-1 ÉDOUARD MANET, Claude Monet in His Studio Boat, 1874. Oil on canvas, 2’ 8” X 3’ 3 1/4". Neue Pinakothek, Munich.
23

24
Figure 23-9 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art
Gallery, London.

25
Figure 23-3 CLAUDE MONET, Rouen Cathedral: The
Portal (in Sun), 1894. Oil on canvas, 3’ 3 1/4” x 2’ 1 7/8”.
Metropolitan Museum of Art, New York (Theodore M.
Davis Collection, bequest of Theodore M. Davis, 1915).

26
Figure 23-4 CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, 2’ 5 3/4” x 3’ 5”. Musée d’Orsay, Paris.

27
Figure 23-5 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of
Chicago, Chicago, (Worcester Fund).

28
Figure 23-6 CAMILLE PISSARRO, La Place du Théâtre Français, 1898. Oil on canvas, 2’ 4 1/2” x 3’ 1/2”. Los Angeles
County Museum of Art, Los Angeles (the Mr. and Mrs. George Gard De Sylva Collection).

29
Figure 28-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay,
Paris.

30
Figure 23-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum,
Glasgow (Burrell Collection).

31
23-7 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation,
Los Angeles.

23-7A BERTHE MORISOT, Summer’s Day, 1879. Oil on canvas, 1’ 5 3/4” X 2’ 5 3/8”. National Gallery, London (Lane
Bequest, 1917).
32

33
Japonisme and Later Impressionism
• Examine issues of other Impressionist, such as the influence
of the Japanese print and concerns with formal elements.

Left: Figure 23-11 EDGAR DEGAS, The Tub, 1886. Pastel, 1’ 11 ½” X 2’ 8 3/8”. Musee d’Orsay, Paris.
Right: Figure 23-12 TORII KIYONAGA, detail of Two Women at the Bath, ca. 1780. Color woodblock, full print 10
½” X 7 ½”, detail 3 ¾” X 3 ½”. Musee Guimet, Paris.
34

35
Figure 23-13 MARY CASSATT, The Bath, ca. 1892. Oil
on canvas, 3’ 3” x 2’ 2”. The Art Institute of Chicago,
Chicago (Robert A. Walker Fund).

36
Figure 23-14 JAMES ABBOTT MCNEILL
WHISTLER, Nocturne in Black and Gold (The
Falling Rocket), ca. 1875. Oil on panel, 1’ 11
5/8” x 1’ 6 1/2”. Detroit Institute of Arts,
Detroit (gift of Dexter M. Ferry Jr.).

37
Figure 23-15 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art
Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).

23-15A HENRI DE TOULOUSE-
LAUTREC, Jane Avril, 1893. Color
lithograph, 4’ 2 1/2” X 3’ 1”. San Diego
Museum of Art, San Diego (gift of the
Baldwin M. Baldwin Foundation).
38

39
23.2 Post-Impressionism
• Understand the differences in emotional expression and
subject choices between the Impressionists and the Post-
Impressionists.
• Understand the Post-Impressionist experimentation with
form and color.
• Recognize the individuality of the Post-Impressionist artists
and the styles each one developed.

40
Figure 23-16 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute
of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).

23-16A VINCENT VAN GOGH, The Potato Eaters, 1885. Oil on canvas, 2’ 8 1/4” X 3’ 8 7/8". Rijksmuseum Vincent van
Gogh, Amsterdam.
43

44
Figure 23-17 VINCENT VAN GOGH, Night Café, 1888. Oil on canvas, 2’ 4 1/2” x 3’. Yale University Art Gallery, New
Haven (bequest of Stephen Carlton Clark).

45
Figure 23-18 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New
York (acquired through the Lillie P. Bliss Bequest).

VINCENT VAN GOGH, Van Gogh's Room at Arles
46

VINCENT VAN GOGH,
Sunflowers
47

49
Figure 23-19 PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’
1/2”. National Gallery of Scotland, Edinburgh.

50
Figure 23-20 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going? 1897. Oil on canvas, 4’ 6
3/4” x 12’ 3”. Museum of Fine Arts, Boston (Tompkins Collection).

51
Post-Impressionist Form
• Examine the extraordinary art of Cezanne and his interest in
form, paving the way for Cubism.

52
Figure 23-21 PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2’ 3 1/2” x 2’ 11 1/4”. Philadelphia
Museum of Art, Philadelphia (The George W. Elkins Collection).

53
Figure 23-22 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago,
Chicago (Helen Birch Bartlett Memorial Collection, 1926).

23-22A PAUL CÉZANNE, The Large Bathers, 1906. Oil on canvas, 6’ 10 7/8” X 8’ 2 3/4”. Philadelphia Museum of Art,
Philadelphia (W.P. Wilstach Collection).
54

55
23.3 Symbolism
• Examine the issues of imagination, fantasy, and formal
changes in the art of the Symbolists.
• Understand the expression of “modern psychic life” in the
art of the Symbolists.
• Became increasingly esoteric and exotic, mysterious,
visionary, dreamlike, and fantastic.

56
Figure 23-26 HENRI ROUSSEAU, Sleeping Gypsy, 1897. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York
(gift of Mrs. Simon Guggenheim).

23-26A HENRI ROUSSEAU, The Dream, 1910. Oil on canvas, 6’ 8 1/2" X 9’ 9 1/2”. Museum of Modern Art, New York (gift
of Nelson A. Rockefeller).
57

23-27 JAMES ENSOR, Christ’s Entry into Brussels in 1889, 1888. Oil on canvas, 8’ 3 1/2” X 14’ 1 1/2”. J. Paul Getty Museum,
Los Angeles.
58

59
Figure 23-28 EDVARD MUNCH, The
Scream, 1893. Tempura and pastels on
cardboard, 2’ 11 3/4” x 2’ 5”. National
Gallery, Oslo.

62
Figure 23-29 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Österreichische Galerie
Belvedere,Vienna.

Portrait of Adele Bloch-Bauer I
63

Figure 23-30 GERTRUDE KASEBIER, Blessed Art Thou
among Women, 1899. Platinum print on Japanese tissue, 9
3/8” X 5 ½”. Museum of Modern Art, New York (gift of
Mrs. Hermine M. Turner).
64

65
23.4 Sculpture
in the Later 19th
Century
• Examine the issues of realism and expression related to
sculpture in the later 19th
century.
• Understand the selection of contemporary subject matter by
sculptors.
• Recognize representative sculptors and works of the later 19th
century.

66
Sculpture: Realist and Expressive
• Examine issues of realism, expression and subject matter in
sculpture of the later 19th
century.

67
Figure 23-31 JEAN-BAPTISTE CARPEAUX, Ugolino
and His Children, 1865–1867. Marble, 6’ 5” high.
Metropolitan Museum of Art, New York (Josephine
Bay Paul and C. Michael Paul Foundation, Inc. and the
Charles Ulrich and Josephine Bay Foundation, Inc.,
gifts, 1967).

23-31A JEAN-BAPTISTE CARPEAUX, The
Dance, from the Opéra, Paris, France, 1867–1869.
Limestone, 13’ 9 3/8” high. Musée d’Orsay, Paris.
68

Figure 23-32 AUGUSTE RODIN, Walking Man,
1905. Bronze, 6’ 11 ¾” high. Musee d’Orsay, Paris.
69

23-33 AUGUSTE RODIN, The Gates of
Hell, 1880–1900. Posthumous bronze
cast, 20’ 10” X 13’ 1”. Musée Rodin,
Paris.
70

Figure 23-32A AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6”
deep. Musee Rodin, Paris.
71

73
23.5 Decorative Art: Arts and Crafts
Movement and Art Nouveau
• Examine the ideas of Ruskin and Morris in shaping the Arts
and Crafts Movement.
• Understand the interest in aesthetic functional objects in the
Arts and Crafts Movement.
• Examine the preference for high-quality artisanship and
honest labor.
• Examine the organic forms of Art Nouveau in art and
architecture.

74
Objects and Décor of the Arts & Crafts
• Understand the interest in aesthetic functional objects and
the preference for high-quality artisanship and honest labor.

75
Figure 23-34 WILLIAM MORRIS, Green Dining Room, South Kensington Museum (now Victoria & Albert Museum),
London, England, 1867.

76
Figure 23-35 CHARLES RENNIE MACKINTOSH and MARGARET MACDONALD MACKINTOSH,
reconstruction (1992–1995) of Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912.
Glasgow Museum, Glasgow.

77
Art Nouveau Art and Architecture
• Examine the organic natural forms in Art Nouveau art and
architecture.

Figure 23-36 VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895.
78

23-36A VICTOR HORTA, foyer and
stairwell of the Tassel House, Brussels,
Belgium, 1892–1893.
79

80
Figure 23-36B LOUIS COMFORT TIFFANY,
water lily lamp, 1904-1915

81
Figure 23-37 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

86
23.6 Architecture
in the Later 19th
Century
• Understand the new technology and changing needs of urban
society and their effects on architecture.
• Examine new materials use in architecture and the forms
made possible as a result.
• Understand how architects were able to think differently
about space as a result of new technology and materials.
• Examine the remarkable work and theories of Louis Sullivan.

87
New Technology and Materials
• Understand new technology, changing needs of urban
society, and new materials in architecture.

Figure 23-38 ALEXANDRE-GUSTAVE EIFFEL,
Eiffel Tower, Paris, France, 1889.
88

89
Figure 23-39 HENRY
HOBSON RICHARDSON,
Marshall Field wholesale store,
Chicago, 1885–1887
(demolished 1930).

90
The Architecture of Louis Sullivan
• Understand the issues of space and decoration in the
remarkable work and theories of Louis Sullivan.

91
Figure 23-40 LOUIS HENRY SULLIVAN,
Guaranty (Prudential) Building, Buffalo, 1894–1896.

23-40A LOUIS HENRY SULLIVAN, Wainwright
Building, St. Louis, Missouri, 1890–1891.
92

93
Figure 23-41 LOUIS HENRY SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904.

94
Chapter 24
Modernism in Europe and America,
1900 to 1945
Gardner’s Art Through the Ages,
14e

95
Colonial Empires About 1900

Figure 24-2 HENRI MATISSE, Woman with the
Hat, 1905. Oil on canvas, 2’ 7 ¾” X 1’ 11 ½”.
San Francisco Museum of Modern Art., San
Francisco (bequest of Elise S. Haas).
96

97
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, 5’ 11” x 8’ 1”. State Hermitage
Museum, Saint Petersburg.

98
The German Expressionists
• Examine the styles of the German Expressionists, especially
Die Brucke and Der Blaue Reiter.
• Analyze the use of line, color, space, and emotion in the
work of the German Expressionists.
• Understand the various influences on the work of the
German Expressionists.

99
Figure 24-5 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”.
Museum of Modern Art, New York.

ERNST LUDWIG KIRCHNER
Street , Berlin
100

101
Figure 24-6 EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych, oil on canvas, approx. 2’ 10”
x 3’ 3”. Hamburger Kunsthalle, Hamburg.

24-6A EMIL NOLDE, Masks, 1911. Oil on canvas, 2’ 4 3/4" X 2’ 6 1/2”. Nelson-Atkins Museum of Art, Kansas City (gift of
the Friends of Art).
102

103
Figure 24-7 VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on canvas, 3’ 7 7/8” x 5’ 3 7/8”.
Solomon R. Guggenheim Museum, New York (gift of Solomon R. Guggenheim, 1937).

Evolution of Cubism
• Understand Pablo Picasso’s development as an artist up to the
seminal works that preceded his Cubist work
• Identify Gertrude Stein and her contributions to avant-garde
artists like Picasso and Matisse
• Realize that Pablo Picasso and Georges Braque collaborated in
the development of Cubism
• Understand primitivism and recognize its influence on Picasso
• Analyze Cubist use of line and shape as well as space and color
• Differentiate between Analytic and Synthetic Cubism
• Recognize other Cubist artists including Cubist sculptors
• Understand the meaning of Purism
104

Picasso – Blue Period and Rose (Pink) Period
105

106
Figure 24-11 PABLO PICASSO, Gertrude
Stein, 1906–1907. Oil on canvas, 3’ 3 3/8”
x 2’ 8”. Metropolitan Museum of Art, New
York (bequest of Gertrude Stein, 1947).

107
Figure 24-12 PABLO
PICASSO, Les Demoiselles
d’Avignon, 1907. Oil on
canvas, 8’ x 7’ 8”. Museum
of Modern Art, New York
(acquired through the Lillie
P. Bliss Bequest).
Early Sketch

108
Figure 24-14 GEORGES BRAQUE, The Portuguese,
1911. Oil on canvas, 3’ 10 1/8” x 2’ 8”.
Kunstmuseum, Basel (gift of Raoul La Roche, 1952).
PABLO PICASSO

109
Figure 24-15A ROBERT DELAUNAY,
Champs de Mars or The Red Tower, 1911. Oil
on canvas, 5’ 3” x 4’ 3”. Art Institute of
Chicago, Chicago.

ROBERT DELAUNAY,
Homage to Bleriot, 1914
110

111
Figure 24-16 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil and oilcloth on canvas, 10 5/8” x 1’ 1 3/4”. Musée
Picasso, Paris.

112
Figure 24-17 GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass, 1913. Charcoal and various papers pasted on paper,
1’ 6 7/8” x 2’ 1 1/4”. Private collection, New York.

113
Figure 24-19 PABLO PICASSO,
maquette for Guitar, 1912. Cardboard,
string, and wire (restored), 1’ 1 1/4” x 1” x
7 1/2”. Museum of Modern Art, New
York.

24-19A PABLO PICASSO, Three Musicians, 1921. Oil on canvas, 6’ 7" X 7’ 3 3/4”. Museum of Modern Art, New York (Mrs.
Simon Guggenheim Fund).
114

115
Figure 24-18 PABLO PICASSO, Guernica, 1937. Oil on canvas, 11’ 5 1/2” x 25’ 5 3/4”. Museo Nacional Centro de Arte
Reina Sofia, Madrid.

116
Figure 24-21A JACQUES LIPCHITZ, Bather, 1917. Bronze, 2’ 10 3/4” x 1’
1 1/4” x 1’ 1”. Nelson-Atkins Museum of Art, Kansas City (gift of the
Friends of Art).

117
Figure 24-20 ALEKSANDR ARCHIPENKO, Woman Combing Her Hair, 1915.
Bronze, 1’ 1 3/4” x 3 1/4” x 3 1/8”. Museum of Modern Art, New York (acquired
through the Lillie P. Bliss Bequest).

118
Figure 24-21 JULIO GONZÁLEZ, Woman Combing Her
Hair, ca. 1936. Iron, 4’4” x1’11 1/2”x2’5/8”. Museum of
Modern Art, New York (Mrs. Simon Guggenheim Fund).

119
Figure 24-22 FERNAND LÉGER, The City, 1919. Oil on canvas, 7’ 7” x 9’ 9 1/2”. Philadelphia Museum of Art,
Philadelphia (A. E. Gallatin Collection).

29-22A FERNAND LÉGER, Three Women (Le Grand Déjeuner), 1921. Oil on canvas, 6’ 1/4" X 8’ 3”. Museum of Modern Art,
New York (Mrs. Simon Guggenheim Fund).
120

Futurism
• Explain the goals/objectives of the Futurists
• Identify Futurist artists
• Analyze Futurist works of art in terms of line, color, and space
• Make comparisons between Futurism and other artistic
movements
• Understand the chronological placement of Futurism
121

122
Figure 24-23 GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on canvas, 2’ 11 3/8” x 3’ 7 1/4”. Albright-
Knox Art Gallery, Buffalo, New York (bequest of A. Conger Goodyear, gift of George F. Goodyear, 1964).

123
Figure 24-24 UMBERTO BOCCIONI,
Unique Forms of Continuity in Space, 1913
(cast 1931). Bronze, 3’ 7 7/8” x 2’ 10 7/8”
x 1’ 3 3/4”. Museum of Modern Art, New
York (acquired through the Lillie P. Bliss
Bequest).

124
Figure 24-25 GINO SEVERINI, Armored Train,
1915. Oil on canvas, 3’ 10” x 2’ 10 1/8”.
Collection of Richard S. Zeisler, New York.

125
Dada
• Understand the influence of the Dada movement with its
emphasis on spontaneity and intuition.
• Understand the issues of anarchy and chance as they apply to
form and content in visual art.
• Recognize the rejection of convention in Dada and its
reaction to world events.
• Appreciate the impact of Dada on the development of 20th
and 21st
century art
• Identify Dada artists

126
Figure 24-26 JEAN (HANS) ARP, Collage Arranged
According to the Laws of Chance, 1916–1917. Torn and
pasted paper, 1’ 7 1/8” x 1’ 1 5/8”. Museum of
Modern Art, New York.

127
Figure 24-27 MARCEL DUCHAMP, Fountain, (second version), 1950 (original version produced 1917). Readymade
glazed sanitary china with black paint, 1’ high. Philadelphia Museum of Art, Philadelphia.

24-27A MARCEL DUCHAMP, L.H.O.O.Q., 1919.
Pencil on paper color reproduction of Leonardo da
Vinci’s Mona Lisa (FIG. 22-5), 7 3/4" X 4 7/8”.
Philadelphia Museum of Art, Philadelphia (Louise and
Walter Arensberg Collection).
128

MARCEL DUCHAMP,
The Bride Stripped Bare by Her Bachelors, Even
(The Large Glass),
129

130
Figure 24-28 MARCEL DUCHAMP, The Bride Stripped
Bare by Her Bachelors, Even (The Large Glass), 1915-23. Oil,
lead, wire, foil, dust, and varnish on glass, 9’ 1 1/2” x 5’ 9
1/8”. Philadelphia Museum of Art, Philadelphia (Katherine
S. Dreier Bequest).

132
Figure 24-1 HANNAH HÖCH, Cut with the
Kitchen Knife Dada through the Last Weimar Beer
Belly Cultural Epoch of Germany, 1919–1920.
Photomontage, 3’ 9” x 2’ 11 1/2”. Neue
Nationalgalerie, Staatliche Museen zu Berlin,
Berlin.

133
Figure 24-29 KURT SCHWITTERS, Merz
19, 1920. Paper collage, 7 1/4” x 5 7/8”. Yale
University Art Gallery, New Haven, (gift of
Collection Société Anonyme).

24.2 America, 1900 to 1930
• Understand the gradual development of modernist art in
America
• Understand the significance of the Armory Show of 1913
• Recognize the work of major American artists of the first half of
the 20th
century and describe their artistic goals/objectives
• Examine the diverse artistic techniques, media, and approaches
to line, color, and space taken by these American artists
134

135
The Remarkable Armory Show
• Examine the art and artists of the influential Armory Show.

136
Figure 24-35 MARCEL DUCHAMP, Nude Descending a
Staircase, No. 2, 1912. Oil on canvas, 4’ 10 “x 2’ 11”.
Philadelphia Museum of Art, Philadelphia (Louise and Walter
Arensberg Collection).

137
Figure 24-43 ALFRED STIEGLITZ, The
Steerage, 1907 (print 1915). Photogravure
(on tissue), 1’ 3/8” x 10 1/8”. Courtesy of
Amon Carter Museum, Fort Worth.

138
American Art Forms
• Examine the distinctive American art forms seem in
photography, art of the Harlem Renaissance, and precisionist
forms of Cubism.

139
Figure 24-37 MAN RAY, Cadeau (Gift), ca. 1958
(replica of 1921 original). Painted flatiron with row
of 13 tacks with heads glued to the bottom, 6 1/8”
x 3 5/8” x 4 1/2”. Museum of Modern Art, New
York (James Thrall Soby Fund).
Indestructible Object

140
Figure 24-41 CHARLES DEMUTH,
My Egypt, 1927. Oil on composition
board, 2’ 11 3/4” x 2’ 6”. Collection of
Whitney Museum of American Art, New
York (purchased with funds from
Gertrude Vanderbilt Whitney).

141
Figure 24-42 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on
canvas, 3’ 4 1/8” x 1’ 7 1/8”. Sheldon Memorial Art Gallery, Lincoln,
(Nebraska Art Association, Thomas C. Woods Memorial Collection).
Jack in the Pulpit No. 4

143
24.3 Europe, 1920 to 1945
• Understand the intense realistic post-war expressionism of
German artists.
• Understand the European post-war malaise and the
importance of cathartic subject matter in Expressionist art.
• Examine the origins, development, methods and content of
Surrealism and Fantasy art.

144
Post-war Expressionism
• Understand the post-war expressionism of German artists.

Figure 24-9 KATHE KOLLWITZ, Woman with Dead Child, 1903. Etching and soft-ground etching,
overprinted lithographically with a gold tone plate, 1’ 4 5/8” X 1’ 7 1/8”. British Museum, London.
145

148
Surrealism
• Examine the development, methods and content of
Surrealism.
• Identify Surrealist artists.
• Realize that the Surrealists were influenced by Dada

149
Figure 24-52 GIORGIO DE CHIRICO,
The Song of Love, 1914. Oil on canvas, 2’ 4
¾” x 1’ 11 3/8”. Museum of Modern Art,
New York.

150
Figure 24-53 MAX ERNST, Two
Children Are Threatened by a
Nightingale, 1924. Oil on wood with
wood construction, 2’ 3 1/2” x 1’ 10
1/2” x 4 1/2”. Museum of Modern
Art, New York.

151
Figure 24-55 SALVADOR DALÍ, The Persistence of Memory, 1931. Oil on canvas, 9 1/2” x 1’ 1”. Museum of Modern Art, New
York.

152
Figure 24-56 RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on canvas, 1’ 11 5/8” x 3’ 1”. Los
Angeles County Museum of Art, Los Angeles (purchased with funds provided by the Mr. and Mrs. William Preston
Harrison Collection).

24-56A RENÉ MAGRITTE, The False Mirror, 1928. Oil on canvas, 1’ 9 1/4" X 2’ 7 7/8”. Museum of Modern Art, New York.
153

154
Figure 24-57 MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4 3/8” diameter; saucer, 9
3/8” diameter; spoon, 8” long. Museum of Modern Art, New York.

155
Figure 24-58 JOAN MIRÓ, Painting, 1933. 5’ 8” x 6’ 5”. Museum of Modern Art, New York (Loula D. Lasker Bequest by
exchange).

156
Figure 24-59 PAUL KLEE, Twittering Machine,
1922. Watercolor and pen and ink, on oil transfer
drawing on paper, mounted on cardboard, 2’ 1” x
1’ 7”. Museum of Modern Art, New York.

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