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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.
Titian
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Figure 22-33 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 2 1/4”. Musée d ’Orsay, Paris.
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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.
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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).
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Figure 22-36 THOMAS EAKINS, The Gross Clinic, 1875. Oil on canvas, 8’ x 6’ 6”. Philadelphia Museum of Art, Philadelphia.
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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).
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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.
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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.
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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.
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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.
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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.
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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.
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Figure 22-54 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print, 9” x 12”. George Eastman House, Rochester, New York.
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Chapter 23Impressionism, Post-
Impressionism, Symbolism: Europe and America,
1870 to 1900
Gardner’s Art Through the Ages, 14e
France around 1870
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Industrialization of Europe and U.S. about 1850
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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
21Figure 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).
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23-1 ÉDOUARD MANET, Claude Monet in His Studio Boat, 1874. Oil on canvas, 2’ 8” X 3’ 3 1/4". Neue Pinakothek, Munich.
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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.
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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).
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Figure 23-4 CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, 2’ 5 3/4” x 3’ 5”. Musée d’Orsay, Paris.
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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).
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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).
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Figure 28-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay, Paris.
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Figure 23-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum, Glasgow (Burrell Collection).
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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).
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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.
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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).
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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.).
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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
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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.
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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).
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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.
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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).
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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
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VINCENT VAN GOGH, Sunflowers
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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.
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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).
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Post-Impressionist Form
• Examine the extraordinary art of Cezanne and his interest in form, paving the way for Cubism.
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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).
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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).
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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.
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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).
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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.
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Figure 23-28 EDVARD MUNCH, The Scream, 1893. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.
The Dance of Life
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The Vampire
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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
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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).
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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.
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Sculpture: Realist and Expressive
• Examine issues of realism, expression and subject matter in sculpture of the later 19th century.
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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.
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Figure 23-32 AUGUSTE RODIN, Walking Man, 1905. Bronze, 6’ 11 ¾” high. Musee d’Orsay, Paris.
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23-33 AUGUSTE RODIN, The Gates of Hell, 1880–1900. Posthumous bronze cast, 20’ 10” X 13’ 1”. Musée Rodin, Paris.
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Figure 23-32A AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.
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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.
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Objects and Décor of the Arts & Crafts
• Understand the interest in aesthetic functional objects and the preference for high-quality artisanship and honest labor.
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Figure 23-34 WILLIAM MORRIS, Green Dining Room, South Kensington Museum (now Victoria & Albert Museum), London, England, 1867.
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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.
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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.
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23-36A VICTOR HORTA, foyer and stairwell of the Tassel House, Brussels, Belgium, 1892–1893.
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Figure 23-36B LOUIS COMFORT TIFFANY, water lily lamp, 1904-1915
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Figure 23-37 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.
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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.
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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.
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Figure 23-39 HENRY HOBSON RICHARDSON, Marshall Field wholesale store, Chicago, 1885–1887 (demolished 1930).
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The Architecture of Louis Sullivan
• Understand the issues of space and decoration in the remarkable work and theories of Louis Sullivan.
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Figure 23-40 LOUIS HENRY SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894–1896.
23-40A LOUIS HENRY SULLIVAN, Wainwright Building, St. Louis, Missouri, 1890–1891.
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Figure 23-41 LOUIS HENRY SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904.
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Chapter 24Modernism in Europe and
America,1900 to 1945
Gardner’s Art Through the Ages, 14e
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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
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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.
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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.
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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 KIRCHNERStreet , Berlin
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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).
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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
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Picasso – Blue Period and Rose (Pink) Period
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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).
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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
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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
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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
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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.
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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.
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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).
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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.
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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).
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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).
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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).
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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).
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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
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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).
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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).
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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.
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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
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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.
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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).
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MARCEL DUCHAMP, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass),
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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).
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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.
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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
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The Remarkable Armory Show
• Examine the art and artists of the influential Armory Show.
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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).
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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.
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American Art Forms
• Examine the distinctive American art forms seem in photography, art of the Harlem Renaissance, and precisionist forms of Cubism.
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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
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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).
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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
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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.
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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
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Surrealism
• Examine the development, methods and content of Surrealism.
• Identify Surrealist artists.• Realize that the Surrealists were influenced
by Dada
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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.
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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.
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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.
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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.
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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.
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Figure 24-58 JOAN MIRÓ, Painting, 1933. 5’ 8” x 6’ 5”. Museum of Modern Art, New York (Loula D. Lasker Bequest by exchange).
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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.
