32 Modern Art in Europe and

• The oil on canvas is 100 x 65.4 cm.

• Acquired through the Bequest.

• From 1900 to 1950, apply the vocabulary and concepts relevant to European and American art and architecture to modern European and American art.

• The art was based on themes, subjects, and symbols.

• There was a giant presence at the center of the arrangement.
• The order of the Parisian art world is maintained throughout this painting.
• His art is unified by the many factors at play in the world around him.

• The combination of hori Remnants of the subjects Picasso worked from are obvious zontal brushwork and right angles firmly establishes a throughout.
• A woman with a stringed instrument makes it difficult to repeat certain diagonals.
• At first, it may seem like a cha see and to understand the figure.
• We can see parts of a carefully organized design in the 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 888-666-1846 The satis of her head, her shoulders, and her curve of her body are all related to the way chaos seems to hand.
• In Paris in 1911, the title of resolve itself into order was also used.

• Future wars would be fought between Europe and America.

• The Russian Civil War began in October of 1917 after the Russian Revolution and eventually ended in World War I.
• The founding of the U.S.S.R. in 1922 was preceded by a war between Britain, France, and Russia.
• The United was the leader of the U.S.S.R.

• States eventually entered the war on the side of Britain and took over several neighboring states, which helped to guarantee victory for the Allies in the Great Purge of the 1930s.

• Politics, economics, and culture took root in Italy in October 1922 when Mussolini came to power.

• The deaths of millions of soldiers and the horrible centrists, Christian Democrats, and fascists were caused by a combination of hyper warfare, inflation, and enmity between communists, socialists, and fascists.
• Europe lost an entire genera of the 1932 parliamentary election, Germany's political tion of young men was shattered, and whole societies were shattered.
• The euro and economic decline had paved the way for a Nazi peans to question the 19th century imperial Party victory and the chancellorship of its leader, Adolf social and political order that had brought about this Hitler.

• Francisco Franco emerged victorious from erful forces that work below our level of awareness in Eastern Europe and on the Iberian peninsula.

• During the 1920s, Ger tried to strike a balance between the rational and irrational by hyperinflation and the repudiation of German war and irrational sides.

• The dogs salivated at the sound of a bell, not a widespread economic depression.
• The later cal hostility between the major European countries showed that conditioned responses exist in Europe and can lead to the rise of fascists and communism.
• In the United States, President Franklin D.

• The military build-up of World War II would end the political change when millions died in wars and the Great Depression.
• The war was from tration camps.
• The art of the early twentieth century was shaped by these changes, whether for the better or worse.

• Dramatic changes in scientific knowledge were also seen.

• The British split the atom in 1919 when their day-to-day life was being transformed by fields such as psychology and physics, it was fully unleashed as well as by many technological advances.
• When the United States dropped nuclear bombs on Japan in 1945, the art in the world was often provocative and intellectually demanding.

• It was thought that pictures and ogy led to better medicines for prolonging life and sculptures.
• It was shortened by a few artistic movements.
• With the horrors of World War I, the idea of information and some elements of surrealism was challenged.
• After 1950, the visual pop cupations built the foundation for much art.

• The Salon d'Automne (Autumn Salon) was founded in 1903 by a group of artists who were dissatisfied with the official Salon.

• The oil on canvas is 81.5 x 100 cm.

• The National Gallery of Art has disorderly halls.
• The French tradition of color and strong brushwork was taken to new heights by these artists.

• The first major Fauve works were made in 1905 in the French Mediterranean port town of Collioure.
• Derain used short, broad strokes of pure color, placing next to each other the colors of blue and orange or red and green, to intensify the hue of each.
• The grass is green, the trees are green and the trunks are brown.

• Oil on canvas is 313/4 x 231/2''.

• American patrons of avant-garde art are undermined by the uniform brightness of the colors.
• The work was purchased in 1905.

• The foreground plays pan pipes, another piper herds goats, and the paint in the right mid-ground emits a visual energy that positively pulse from the paint in the image.
• Derain said his colors were "sticks of dynamite" and others danced in the background.

• Drawing on folk-art traditions in his use of unmod naturalistic color and its broad and blunt brushwork, Matisse emphasized the expression of its thick swatch of crude, seemingly arbitrary, non color.
• For bold outlines.
• In the past, the face of the subject--Matisse's wife Amelie--might have expressed feeling through the figures' poses or facial who was a milliner and probably sold elaborate hats like expressions.
• The place was occupied by her brow and nose, as well as a blue rectangular object, empty spaces around them, and proportions between her lips and chin.
• Everything plays a part in the uproar.

• Chapter 32 Modern Art in Europe and the Americas, 1900-1950 Picasso, "Primitivism," and the seem motivated by Picasso's political sensitivity to those Coming of Cubism he considered victims of modern capitalist society, which eventually led him to join the Communist Party.

• Cub in 1904-1905 was probably the most influential of the Modern art "isms" created before World War I. Cubism proved to be more of a hardship for the entertainers than the capital of the art world before 1950.

• Picasso was born in Malaga, Spain, and sits on the right.
• All seem was an artistic child.
• He painted an empty landscape while at the National Academy in Madrid.
• The harlequin figure to the works that presaged a conservative artistic career, far left, is commonly identified as a self-portrait of the art, but his restless temperament led him to Barcelona in 1899, ist, suggesting his identification with the circus perform where he involved himself in In 1900, ers were marginalized and melancholy illusionists.
• After moving to Paris in 1904, Picasso began to sell his works to a number of people who would live in France for the rest of their lives.

• The historians labeled his Blue Period in 1906.

• There is oil on the canvas, 6'113/4 x 7'63/8''.

• Acquired through the Lillie P.

• Digital image, The Museum of Modern Art, New York/Scala, Florence from the Iberian peninsula (present-day Spain and Portu Western artists exploit the visual cultures of "primitive" gal) dating from the sixth and fifth centuries bce.
• Picasso nations want to amplify their ideas.
• Many early saw those works, but it was an exhibition of Afri Modern artists that represented other cultures and used can masks that changed the way he thought about art.
• How those cultures actually functioned this encounter is not known, but it might have occurred or how their art was used.
• This was the case with Picasso.

• Avignon bought several pieces from Parisian shops and kept them in his studio.

• The work's boldness, however, resides not only in dency among Modern artists to look at the art of other subjects, but also in its size: nearly 8 feet square.

• It was simpler and less civilized.
• It could be shown in the same year.
• Picasso argued thatprimi revived and changed the ideas of large-scale academic his tive lands in the nineteenth century for raw materials tory painting, using the traditional subject of nude women and labor to increase their own.

• The two Braque reduced everything to cubes and gave women in the center a place to display themselves.

• Venus is rising from the sea.
• Iberian sources are behind the faces of the three leftmost figures, with their flattened features and wide, almond-shaped eyes.
• The faces of the two figures are similar to African art.

• The picture Picasso has created is frightening.
• The women are protected by masks.
• The space they are in is chaotic.
• The fruit in the foreground seems brittle and dangerous.
• Picasso thinks that these women are not the gentle and passive creatures that men would like them to be.
• This viewpoint is similar to Picasso's treatment of space, which shatters the reliance on orderly perspective, as well as an enduring tradition of portraying sexual availability in the female nude.

• Picasso's friends were surprised by his work.
• Picasso was accused of making a joke of Modern art by Matisse, who threatened to break off their friendship.

• Picasso and Braque had a close working relationship until the war of 1914.

• They collaborated to develop Picasso's formal innovations, which included multiple perspectives within a single picture, and fracturing form, features that they had admired in Cezanne's late paintings.

• A year younger than Picasso, Braque was born near Le Havre, France, where he trained as a decorator.
• Oil on canvas is 361/8 x 167/8''.

• Push close to the picture plane and you will see that the still-life items are not arranged in a measured progression from foreground to background.
• Braque knits the elements together into a single shifting surface of forms and colors.
• In some areas of the painting, the formal elements have lost their spatial relations as well as their coherent shapes.
• representational motifs have been fragmented by Braque to facilitate their integration into the whole.

• His artists included Picasso, Braque, Derain, Fernand Leger, and Juan Gris.

• After World War I, the French government seized his possessions, including his stock of paintings, and sold them at an auction.
• He was forced to hide during World War II.

• The oil on canvas is 100.6 x 72.8 cm.

• They begin to take The Art Institute of Chicago.
• The gift of Mrs. Gilbert W. Chapman was in memory of Charles B. Goodspeed.

• The actual process of perception, during which we examine objects from various points of view and reassemble our major phase of Cubism is known as Synthetic Cubism.
• The way Picasso and Braque reassembled their shattered subjects by combining and transforming individual elements to the process of perception, but conforming to principles as in a chemical synthesis, was not according to tions.
• At the center, assem with a stringed instrument would be misguided since the bled newsprint and construction paper suggest a tray or subject provided only the raw material for a formal round table supporting a glass and a bottle of liquor with sition.
• Around this arrangement Picasso painted a painting.

• The top of the blue table is tilted to Picasso and Braque, facing us, and simultaneously the side of the glass.
• In the spring of 1912, they pulled back and began to cre bottle stands on the table, with the label facing us.

• The second viewer is alone with a newspaper.

• The quiet mood is disrupted by the newspaper clippings that glue to this picture.
• The outbreak of World War I was caused by the First Balkan War of 1912-1913.

• Sculpture has traditionally been carved, modeled, or cast.

• There is a construction of painted wood with pencil marks.

• Die Brucke was formed in 1905 and included architecture students.
• The group included other German and northern European artists.

• Pasted paper, gouache, and charcoal, 253/4 x 193/4'', such as Van Gogh and Munch, and adopting traditional, 65.4 x 50.2 cm.
• The artists who created University in St. Louis were from Washington.

• Nude body--nudism was a growing cultural trend in Germany in those years, as city dwellers forsook the city to connect with nature.

• The girl stares straight out at the viewer with a confident sexuality that becomes more unnerving when we learn that she was a favorite of Die Brucke artists who modeled to provide financial support for her widowed mother.

• After joining in 1906, Nolde became the most committed member of the original Die Brucke group.
• Nolde was trained in industrial design but never painted as he was taught.
• Nolde was impressed with the visual presence of the human figure, especially in masks, when he visited Parisian ethnographic museums to study the art of Africa and Oceania.
• There is a color woodcut of 143/4 x 103/4''.

• The gaping mouths and hollow eyes of the hideously colored and roughly drawn masks appear to advance from the picture plane into their space.
• The painting's emotionality is intensified by the juxtaposition of complementaries.
• Nolde was friendly with the group's members but stopped frequenting the studio in 1907.

• The oil on canvas is 283/4 x 301/2''.

• Modern Art in Europe and the Americas, 1900-1950 and fur-trimmed coats--strut past a group of well-dressed bourgeois men whom they view as potential clients.
• The figures are dehumanized.
• Their bodies crowd together, but they are not related to one another.

• The biting colors, tilted perspective, and forceful brushstrokes make this an expressionistic image of urban desolation.

• Many other artists in Germany and Austria were Expressionistically before World War I. Kathe Kollwitz used her art to further working-class causes and pursue social change.
• She preferred printmaking because of its affordability.

• She produced a series of etchings showing the German Peasants' War.

• There is oil on the canvas.

• In 1898, the members of Die Brucke moved to a retreat in the north of Germany, but in 1911 they moved to Berlin because they preferred to imagine rather than live in nature.

• Their images of cities are critical of urban existence.
• 20 x 231/3'' is 50.7 x 59.2 cm.

• There is oil on canvas.

• She made four trips to Paris after 1900 to view recent developments in Post-Impressionist painting and was especially attracted to the "primitivizing" tendencies of Gauguin's Tahitian paintings.
• She painted her last work in Paris in 1906.
• The two naked figures are knit together by curves and rhyming poses into a body with no hint of glamour or appeal.
• The artist was to die the year after giving birth to her first child, making this portrayal even more poignant.

• When the artist was just 14 years old, his father's death from STDs led him to suffer with sexuality throughout his life.
• Women in poses that emphasize their raw sexuality and the artist's sense of its dangerous allure are depicted in many drawings and watercolors by Schiele.
• In this self-portrait, Schiele expresses deep ambivalence towards his sexuality and body.
• He looked at us with pain, his body was stretched and displayed with no hands or genitals.

• In 1911, some have interpreted this representational mutilation.
• Gouache and pencil are on the paper.

• The Metropolitan Museum of Art/ Art Resource has a copyrighted image.

• The oil on canvas is 111.2 x 162.2 cm.

• As Cubist paintings emerged from the studios of Braque leader in society, they altered the artistic discourse irrevocably.

• The first exhibition was held in Cubism's way of viewing the world and included the work of 14 artists working all over Europe, in Russia, and even in the United States.

• Robert Delaunay (1885-1941) and his wife, tive", were purer than humans and enjoyed a more spiri relationship with nature.
• Delaunay's artist had a deep interest in communicating spiritual whole.
• His participation in the collective existence and echo of the curved lines of the exhibitions was due to their sweeping contours reflecting the harmony of ity through color.
• In 1910, he began to combine his interest in color hills behind them with Cubism to create paintings celebrating the modern with their surroundings.

• In 1909, a French pilot became the first person to fly of Modernist art in Germany and take private art across the English Channel by portraying his airplane sons, and he abandoned his legal career to establish himself as an artist.
• Kandinsky was one of the first artists to think about abstract painting.

• In them, brilliant colors and veiled images leap and dance to express a variety of emotions and spiritualities.
• Painting was a force for Kandinsky.
• He saw art's traditional focus on accurate rendering of the physical world as a misguided, materialistic quest; he hoped that his paintings would lead humanity toward a deeper awareness of spirituality and the inner world.
• He wants us to look at the painting as if we were hearing a symphony, responding instinctively and spontaneously to the passage and then to the total experience.

• The paper is 31 x 26'' and 78 x 67 cm.
• The Musee d' Art touches one key or another to Moderne de la Ville de Paris.

• The brightly colored circular forms that fill the rest of the painting suggest the movement of the airplane's propeller, a blazing sun in the sky, and the great rose window of the Cathedral of Notre-Dame, representing Delaunay's ideas of progressive science and spirituality.

• The fast- moving parts of modern machinery are suggested by the fractured colors of this painting.

• The Delaunay's art was labeled "Orphism" by Guillaume Apollinaire, implying that their art had the same power.

• He attacked the old, dull, and automobiles with his spirituality.

• Rob embraced an exhilarating, "masculine," "futuristic," and ert, but she also designed fabric and clothing on her own.

• Modern urban life is similar to the fabric patterns and dress designs she created.

She saw the small three-seater as of these artists traveled to Paris for a Futurist exhibition in an expression of a new age because, like her clothing, it 1912, after which they used the visual forms of Cubism to was produced inexpensively for a mass market and was express in

• While living in Paris, he took pictures of black-and-white festo.

• The idea of war as a social cleansing agent was painted by the Futurist, Severini 1955.

• The reclining nude is a French academic subject.

• In Leger's painting, the women's bodies are constructed from large, machinelike shapes arranged in an asymmetrical geometric grid that evokes both cool Classicism and an arrangement of interchangeable plumbing parts.
• The women are dehumanized, with identical, bland, round faces, and the colors and patterns that surround them suggest an orderly industrial society in which everything has its place.

• Cubism developed into Futurism in Italy, with an emphasis on portraying technology and a sense of speed.
• Italy was in crisis in 1908.

• As many as 50,000 people had recently died in one of the nation's worst earthquakes, due to the huge disparity of wealth, illiteracy, and poverty that separated the north from the south.

• The oil on canvas is 118.6 x 88.6 cm.

• The leader of the Moscow avant-garde after 1915 was Kazimir Malevich.
• The sculpture was cast in bronze after the artist's death, but was actually made of plaster.
• Boccioni enlisted to celebrate Italy's entry into World War I.
• He died in combat.

• Russian artists and art lovers traveled to Paris to see avant-garde art by 1900.
• Russian artists used Futurist tendencies to celebrate technology and speed.
• The oil on canvas is 105.5 x 81.3 cm.

• Oil on canvas is 221/2 x 187/8''.

• Malevich exhibited 39 works of art in 1904 and became immediately enamored by the "primi consisting of flat."
• Brancusi arranges eight red rectangles on a white background.
• He wrote a pure abstract.

• The essence of things is what real is.

• The potential of painting in the years prior to World War I was symbolized by the egg.
• For birth, growth, and development--the essence of Picasso's creation of three-dimensional works from life contained in a perfect, organic, abstract ovoid.

• The most shape with the head of a human infant was 32-10), but not all change involved new ideas at the moment of birth.

• When perched atop the impressive pedestal Brancusi created for it in wood and stone, it carries a Classical gravity and stillness.
• Although the sleek torso lacks a penis, the phallic nature of the displayed form itself transforms the ensemble into a sexually charged symbol of essential masculinity.

• Most European leaders thought the war would be over by Christmas.

• Both sides assured their citizens that the political status quo would be restored and that their armies would be efficient.
• These hopes did not pan out.
• The cost of World War I was the most brutal in human history.

• Germany, France, and Great Britain all lost soldiers on the Western Front in 1916.
• Each side deployed new killing technologies, such as improved machine guns, flame throwers, fighter aircraft, and poison gas, as the conflict settled into a vicious stalemate.

• The combined figure and bases people were forced to endure were Bronze on stone and wood.

• There was horror at the enormity of the carnage on many Joseph H. Hirshhorn 1966 fronts.

• The photograph was taken at the Voltaire Cabaret.

• All rights belong to the person.

• If Modern art questioned the traditions of art, they went further to question the concept of art itself.

• Dada mocked the senselessness of rational thought and even the foundations of modern society when he witnessed how thoughtlessly life was discarded in the trenches.
• It embraced a "mocking iconoclasm" even in its name.
• The conventional understanding of art as something precious was replaced by a strange and irrational art focused on ideas and actions.

• The first performance of Hugo Ball's poem "Karawane" was at the Cabaret Voltaire on June 23, 1916.
• When World War I broke out, Switzerland became neutral, but not before the opening of the Cabaret Voltaire in February, which created some of its most complex and challenging works.

• When he escaped the war in Europe in 1915, he traveled to New York from Berlin and Munich.
• A nude woman is descending a staircase.

• By the time he arrived in the United States, he had discarded his painting, which he called a "witch doctor's hat," as he called it.
• He claimed that he had become for him a mindless activity, and that he wore a huge, gold-painted cardboard cape that flapped to create the readymade genre, in which he transformed ordinary, often manufactured or claws, into lobsterlike cardboard hands.
• The text of Ball's poem can be found in the photo objects.

• He was invited to become a founding member of the American Society of Independent Art by being mocked by traditional ists.
• The hanging committee was chaired by him in 1917 and he created a completely new committee.
• The show advertised itself as unjuried--any work sible private language of random sounds that seemed to of art submitted with the entry fee of $6 would be hung.

• Chapter 32 Modern Art in Europe and the Americas, 1900-1950 is about a urinal that he purchased in a plumbing shop and turned on its side so that it wouldn't work anymore.

• It causes laughter, anger, embarrassment, and disgust by openly referring to private bathroom activities.
• The essence of what constitutes a work of art is questioned by Duchamp.
• Before 1917, no avant-garde artist would have argued that a work of art did not have to be descriptive or well crafted.
• For hundreds of years, studio assistants have been employed by artists to make parts for their art objects.

• The Philadelphia Museum of Art is in Florence.
• A commentary about consumption and about the irrationality of the modern age is created by Duchamp, who claims that the readymade is a work of art because of its human conceptualization rather than its human making.

• The jury of the American Society of Independent Artists exhibition had only works of art.

• The record for a work by Duchamp was set in 1999 when one of the replicas sold for over $1 million.

• It should be returned to Italy.
• It took two years to get it back.
• He turned a revered cultural artifact into an object of ridicule.

• He made a few readymades.
• After 1922, when he devoted himself almost entirely to chess, he didn't make much art.
• He described himself as a retired artist, but his radical ideas about art continued to exert influence after 1960.

• In 1917, Hugo Ball and the Roma were 327/8 x 233/4''.
• The New York was organized by the Solomon R. Guggenheim Museum.

• Incorpo triate members of Ball's circle in Switzerland rating expa printed material with drawn or painted images into an overall visual structure that recalled to their homelands spread the movement further.
• Garbage demanded equal rights, for instance, and he took it to Germany, where he painted.

• Germany was defeated by one dis.
• The use of provocative overthrow of the short-lived socialist republic in Bremen is described in one fragment.

• Compared to the more literary forms of Hannah Hoch, Berlin Dada also produced large pointed political photomontages.

• Kurt Schwitters worked on crafts for a women's magazine.
• She was considered by Hoch because she was part of the women's movement in the 1920s and 1919.
• Schwitters used discarded representations of rail tickets, postage stamps, ration coupons, beer labels and women.
• She was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 Beer and sandwiches are being served in these works.

• The photomontage is 447/8 x 353/8'' and has watercolor on it.

• Born in New Jersey to a wealthy German immigrant family, Stieglitz studied photography in Berlin and quickly realized its artistic potential.
• He began photographing New York City in 1890.
• He opened a small gallery on Fifth Avenue after promoting his views through an organization called the Photo-Secession.
• He supported many American artists in New York.

• The art of European artists such as Matisse, Braque, Cezanne, and Rodin can be seen in this photomon.
• As a photographer such as herself and several other Berlin Dada artists, along with himself, he sought to establish the legitimacy of with pictures of Marx and Lenin, asserting the artists' soli photography as a fine art with these exhibitions.

• In the United States, when avant-garde Modern art was first widely exhibited, it received a cool welcome.
• While the artist created by manipulating his viewpoint, exposure, some American artists did work in abstract or Modernist and possibly both the negative and the print itself.
• Ironi ways, most preferred to work in a more naturalistic man cally, at least until around 1915.

• The Armory Show featured more than 1,600 works and a quarter of them were by European artists.
• A few faculty members and some students of the School of the Art Institute hung an effigy of Matisse from a building in Chicago to protest the exhibition.
• The exhibition consolidated American Modernist art and inspired its artists, who later found more enthusiastic collectors and exhibition venues.

• Arthur Dove was one of the most significant early American Modern ists.
• Dove exhibited the work of the Fauves at the Autumn Salon.
• He began painting abstract nature studies at the same time as Kandinsky, although they were unaware of each other.

• Dove exhibited his art in New York and was well received by and connected to the New York art community, even though he supported himself by farming in rural Connecticut.

• The photogravure is 17 x 8.4 cm.

• Digital image, The Metropolitan Museum of Art, New York/ Art Resource/Scala, Florence featured many images of American and European Modernist art as well as some important American Modernist art criticism.

• There is a pastel on paper.
• In 1913, art from Chicago arrived in New York.

• Hartley was devastated by the death of a young lieutenant in World War I, Karl von Freyburg, who was memorialized in a series of symbolic portraits.

• The Iron Cross he was of chess was represented by the lance tips of the checkerboard patterns.

• The blue-and-white diamond pattern comes from the Bavarian flag; the red, white, and black bands constitute the flag Freyburg's regiment of the German Empire was adopted in 1871.

• Hartley is over the heart of Freyburg.

• The foreground colors are intensified by the funereal black background.

• His initials are noted in gold and blue on his age.

• The International Red Cross is often seen in Berlin during the war, and the red cross means injury or death.

• There is oil on the canvas.

• Another pioneer of American Modernism who exhibited at the Armory Show was Marsden Hartley, who was also a regular exhibitor.
• After discovering Cubism in Paris, Hartley moved to Berlin where he began to paint colorful Expressionistic art.

• Georgia O'Keeffe was born in rural Wisconsin and studied and taught art in New York between 1905 and 1915.

• Oil on canvas is 40 x 30''.

• He mounted her first solo exhibition the following year after including her work in a group show in 1916.
• O'Keeffe moved to New York in 1918.
• She began to paint New York skyscrapers in 1925, which were seen as embodiments of American inventiveness and energy.
• She portrays the skyscrapers from a low vantage point so that they appear to loom ominously over the viewer; their dark tones, stark forms, and exaggerated perspective produce a sense of menace that also appears in the art of other American Modernists.

• A series of close up paintings of flowers became her best-known subjects.

• Oil on canvas is 48 x 30''.
• The way the Minneapolis Institute looks to a distant viewer is different.
• A new abstract beauty is created from the gift of funds from Mr. and Mrs. W. John.

• The print is 30.4 x 24.1 cm.

• In 1929, O'Keeffe began spending summers in New Mexico, dedicating her art to evocative representations of the local landscape and culture.

• Cunningham's photographs emphasize the abstract patterns of plants by zooming in to extract them from their natural context.
• The artistic character of her photographic image depends on the choices and lighting of the artist who used it.

• New industrial materials and engineering innovations enabled twentieth-century architects to create buildings the International Style and of unprecedented height that vastly increased the usable, reflecting his Purist ideals in its geometric design and lack of space in structures built on scarce and valuable city lots.

• In Europe, a stripped-down system and in 1926 published "The Five Points of a New and severely geometric style of Modernist architecture Architecture," in which he proposed raising houses above developed partly in reaction to the natural organic lines of the ground on pilotis.
• The ornament was a sign of the wall.
• These were common features of archi cultural degeneracy.
• A modern house should be stucco-covered, reinforced concrete and be a machine for living in, according to Le Corbusier.
• The rectangular windows, designed as rationally and functionally as an automobile, are completely plain, and they were arranged or a machine.
• Le Corbusier developed designs for mass spaces after World War I, only in relation to the functional demands of interior ist architects.
• The only purpose of the building was to provide protection from the elements.

• The chief drafter was promoted to the post.
• Wright established his own office in 1959 and was one of the most influential architects domestic architecture.
• After studying engineering at the University of Wisconsin, Wright apprenticed to a Chicago architect and spent five tal houses with flat roofs and heavy overhangs.

• He designed a house in the bitter Chicago winter that had furniture arranged around a fireplace that had heat in it.
• High backs huddle around the cally on both sides of the chimney to form the intimate effect of a room within a room.

• Low bands win the table's corners so that there would be no need for lights to illuminate the table.

• The main story is divided into living building materials such as ferroconcrete, plate glass, and and dining areas by a free-standing fireplace.
• He tried to connect the walls with no steel.
• The 1893 Chicago World's Fair and the Japanese exhibit at his buildings were both influenced by stone.

• Fallingwater was commissioned by a Pittsburgh department store owner to replace a family connection to the landscape in her architecture.
• He was educated at the California School of his children played at the waterfall and pool where he was born.
• Wright Design in San Francisco was where she spent most of her career as she decided to build the new house right into the cliff and over architect and decorator for the Fred Harvey Company, the pool, allowing the waterfall to flow around and under a firm in the Southwest.

• In the summers, a large boulder where the family had sunbathed was used for the central hearthstone of her buildings.
• In a dramatic move that engineers questioned ditions, notably in the use of exposed logs for structural, Wright supports it.
• There is a building on the edge of ral rock.
• The south rim of the canyon is painted with a soft earth tone on the foundation of the building.
• Long bands natural rock, its walls are built from local stone, and the windows and glass doors offer spectacular views.
• Houses like this do not just ing canyon wall.
• The ideal of living in harmony with nature is the only concession to modernity, and they use glass windows and smooth cement to declare war on the modern city.
• What could the floor hold?

• The New of 1911-1913, designed by the Minnesota-based firm of York City, was the tallest building in the world at The Skyscraper was made possible by the use of the steel-frame skeleton Gothic-style external details.

• This building was christened the "Cathedral ring the historicizing approach then still popular on the Commerce side" by a York pastor in 1916 because of its status as an ethical east coast.

• The development of the skyscraper design and aesthetic depended on several things: metal beams and girders for the structural-support skeleton, separation of the building-support structure from the enclosing wall layer, fireproof materials and measures, elevators, and overall integration of plumbing, central heating, artificial lighting.
• The first generation of skyscrapers were built in the Midwest, chiefly in Chicago and St. Louis.

• The Woolworth Building of 1911-1913 was one of the first free-standing towers.

• layer two of the Empire State Building was built in 1931 and has a streamlined design.
• The structure of the building is hidden by the Art Deco exterior cladding and mechanisms that make it taller.
• The Empire State Building was the tallest stairwells building in the world when it was built, and its distinctive profile ensures that it remains one of the most recognizable even today.

• Europe's artists and architects were affected by World War I.
• Many criticized the European tradition while others focused on rebuilding after the loss of a generation of young men.

• The needs and concerns of a society in turmoil or transition were addressed by the art created between 1919 and 1939.

• The Russian Revolution of 1917 resulted in the overthrow of the tsar, the withdrawal of Russia from World War I, and the establishment of the U.S.S.R.

• Russian avantgarde artists initially supported the Bolsheviks.

• It is reasonable to say that the case of Vladimir Tatlin is representative.

• In 1919, as part of his work on a committee to implement Russian leader Vladimir Lenin's Plan for Monumental Propaganda, Tatlin conceived the Monument to the Third International.
• A new hybrid form as revolutionary as the politics it represented was the result of the visionary plan by Tatlin.
• The steel structural support, a pair of leaning spirals connected by grillwork, is on the outside of the building.
• The structure of the Eiffel Tower was combined by him.
• The Cubo-Futurists used formal vocabulary to convey the dynamism of what Lenin called the "permanent revolution" of communism.
• A large cube, a pyramid for executive committees, a cylinder for propaganda offices, and a hemisphere at the top of the steel frame would be the four separate spaces inside.
• Each unit was rotating at a different rate, from yearly at the bottom to hourly at the top.
• Although Russia lacked the resources to build a monument, models displayed publicly were a sign of faith in what the country's science and technology would eventually achieve.

• A group was launched by Aleksandr Rodchenko.

• Instead of pleasing themselves, politically committed artists would create useful objects and promote the aims of the collective, seeing themselves as workers who literally "constructed" art for the people.
• The goals of the new Soviet society were fostered by the work of Rodchenko, who was a photographer and produced posters, books, textiles, and theater sets.

• The furniture was made of wood because the Soviet industry was best suited for mass production in wood.

• It was created for the Great Berlin Art Exhibition.

• El Lis Soviet art was an active artist in early Soviet Russia.
• The archi Constructivists made the change willingly because they were already committed to the national cause, and others who taught at the Vitebsk School of Fine Arts.
• Lissitzky lost his teaching and used a Constructivist vocabulary for public support after being refused to change.

• Most Prouns were paintings or ary activists.

• Artists were commissioned to create public paintings and a total environment for a specific site.

• The collective used the less personal instru and style was easy to read.

• The same two tools that appeared on the ists were rejected in favor of a more Soviet flag in the mid-1920s.
• The figures stand as equals, partners in their widely understandable, and thus more politically useful, common cause, striding into the future with determined Socialist Realism that was ultimately established as official faces.

• The Netherlands after World War I took a different turn from the U.S.S.R. when it came to art.
• Piet Mondrian encountered Cubism on a trip to Paris in 1912, where he began to abstract animals, trees, and landscapes.

• Van Doesburg argued in the magazine that there were two different forms of beauty.
• Artists aspire to universal beauty.
• Mondrian wanted to eliminate everything that was subjective from his paintings, but he also followed M.H.J.
• An inner visual construction of nature consisted of a balance between opposing forces, such as heat and cold, male and female, and order and disorder, and that artists might represent this inner construction in abstract paintings by using only horizontal and vertical lines and primary colors.

• Mondrian's paintings are depictions of both De Stijl's artistic ideas and the theory of Schoenmaekers.

• There is oil on the canvas, 147/8 x 133/4''.

• Mondrian hoped that De Stijl would have applications in the real world by creating an entirely new visual environment for living, designed according to the rules of a universal beauty that, when perfectly balanced, would bring equilibrium and purity to the world.
• When universal beauty infused all aspects of life, Mondrian said he hoped to be the world's last artist.

• An integrated system of design and production is based on Mondrian's principles of dynamic equilibrium German traditions and styles.
• There are gray and white planes in the cathedrals.

• It echoes until 1927.
• Gropius allowed his students to do the same thing.
• After completing a manda in the interior spaces used for sleeping, working, and tory foundation course and receiving full training in design entertaining, sliding partition allow modifications to begin architectural training.
• A home that suggested an elegant auster tery, metalwork, textiles, stained glass, furniture, wood ity with basic necessities sleekly integrated into a balanced carving, and wall paintings was what pot Schrader wanted.
• Gropius added a restrained whole in 1922.

• When the Bauhaus moved to Dessau in 1925, Walter Gropius considered the geometric shapes and lines of Purism.
• Its new building was designed.
• The structure was too rigid and argued that a true German archi acknowledges its reinforced concrete, steel, and glass design.
• In order to help the materials, he founded the "House of Building" in large areas that were intended to convey the Weimar in 1919.

• The tray is 33 x 51.5 cm.

• Moholy-Nagy and Gropius left the school.
• After one more year in Berlin, the school was forced to close by the new German chancellor, Adolf Hitler.
• First, Hitler believed that the art was cosmopolitan rather than nationalist, and second, he believed that the art was influenced by Jews.

• While the school was in Dessau, Brandt designed lighting fixture and table lamps for mass production, earning revenue for the school.
• After Moholy-Nagy and Gropius left, Brandt took over the metal workshop for a year.
• As a woman in the allmale metal workshop, she made an exceptional contribution to the Bauhaus.

• Gropius opposed the education of women as architects and instead made them into the more gender-appropriate workshops of pottery and textiles.

• The International that were so innovative that they actually replaced paint Style originated in the Netherlands and France.
• The aesthetic of De it spread to the United States is referred to by tralized, rectilinear designs after the 1932 exhibition.
• The conceptual clarity of Stijl, but differ in their open acknowledgment of the International Style allowed it to remain vital until the ral process of weaving.

• In the 1930s, the avant-garde was criticized by Hitler and the rising Nazi Party due to their scending national boundaries.
• Direct efforts to suppress it began with the first concentrated mani.
• The Bauhaus was one of the princi festations of the movement in 1927.
• In the 1920s, important artists such as Mies, Kandinsky, and Paul Klee taught classes at the Weissenhofsiedlung exhibition in Stuttgart.
• The purpose of this semiperma as 1924 was to present a range of model homes that were educationally unsound, but also politically sub used new technologies.
• Gropius wanted the school to stay open.
• The buildings featured flat roofs, plain walls, and were moved to Dessau in 1925 at the invitation of Dessau's center openings and rectilinear designs by Mies, Gropius, liberal mayor.
• The mayor left office after Le Corbusier and others.

• An exhibition at the Museum of Modern Art resulted in the relocation of the Bauhaus in 1932.

• Hitler was a mediocre son in his youth.
• He developed an intense hatred of the principles of the style after he and Johnson identified three fundamental landscape painters.

• The conception of architecture was the first thing he did in his first year.
• The use of a structural skeleton of its faculty made it possible to eliminate load in the United States.

• Building skins of glass, metal, ists, and their depictions of German politics and the eco or masonry created the effect of enclosed space after the war criticized the state.
• Nazi attempts to reorganize Germans organization of space were undermined by open, frequent caricatures of German facial features and body free-flowing plans.

• Distribution artists were not allowed to buy materials and were not allowed to use standard building public intimidation.

• The asymmetrical from German museums and artists was encouraged by the avoidance called "Degenerate Art" of the work they had taken from Classical balance.
• They described the building's components as sick and degraded.

• As many as 2 million people viewed the four-month exhib of its elements to produce harmonious aesthetic effects, but the new architecture depended on the intrin the exhibition's walls.

• VAGA, New York licensed the art of George Grosz.

• The unconscious wage a constant war against the tined for destruction was taken by Nazi officials rational, orderly, and oppressive forces of the conscious.

• There are still forbidden sexual desires, secret fantasies, and violent in question, and the ownership of much of the surviving art is still forbidden.
• The conscious mind was freed from reason by many artists.
• The "Degen escape this restraint, he and other surrealists developed erate Art" exhibition were driven to suicide by their loss.

• The criminal had joined the Nazi Party in 1932.

• The only way to improve the war-sick society of the 1920s was to discover the more intense In France during the early 1930s, a group of artists and "surreality".

• The work of art without rational interven from the mind of a poet is called releasing the uncon Surrealism.
• In order to produce new imagery and trained in medicine and Psychiatry, Breton tion was created.
• Freud collaborated in Cologne Dada and later joined Breton's ian analysis on shell-shocked soldiers when he was a self-taught German artist who used a logical hospital during World War I.

• The oil is on a canvas of 114 x 146.1 cm.

• He articulated fantastic creatures, plants, and landscapes more clearly with additional drawing.
• Surely the horrors of World War I that Ernst had experienced in the German army are behind the frightening images.

• The paintings of vador Dali include more recognizable forms, which liberate him from conventional thought.
• They show the visual wonders of an uncon he had imagined.

• sexuality, Academy of Fine Arts in Madrid, and tra violence are some of the key themes in the paintings of Dali.

• The canvas is 377/8 x 441/4'' (96.1 x 112.3 cm).

• The cup has a diameter of 10.9 cm, the saucer has a diameter of 23.7 cm, and the spoon has a length of 20.2 cm.

• Digital image, The Museum of Modern Art, New York/ Scala, Florence looking like a monster's face, a painter's palette, or a wom, they defy rational interpretation, that serves as the backdrop for four figures.

• That doesn't mean they aren't subject matter.
• The legend of William Tell, in which a third figure is partially hidden, and a fourth related to his own sense of rejection by his father, are both related to this standing with one foot in a bowl that is being filled with painting.
• His father disapproved of cloud rising above the scene.
• He claimed that his relationship with Gala Eluard painted what his paranoid-critical mind had conjured up in 1934.

• Tell had a famous feat of marksmanship.

• There is oil on canvas, 513/8 x 641/8''.

• The interest in unexpected juxtapositions of disparate realities is what draws on the Sur realist interest in Dali's art.
• Artists could create strange surrealities by bringing together disparate ordinary objects in strange new contexts.
• One of the few women invited to participate in the Surrealist movement, Oppenheim was treated as objects of study, but not their equals.
• The work was inspired by a conversation between Picasso, Oppenheim, and Maar at a Parisian cafe.
• When she was invited to participate in the first surrealist exhibition, she bought an actual cup, saucer, and spoon and covered them with the fur of a Chinese gazelle.
• A tea setting and a gazelle fur are removed from their ordinary reality and recontextualized in an irrational new way.

• Joan Miro exhibited with the Surrealists but never joined the movement.

• The artist presented it.

• Barbara Hepworth's works are owned by Bowness.

• British art in the 1930s was uncensored and had a lasting impact on by chance.

• Hepworth studied at theLeeds School of Art.
• She made her sculptures with holes so that air and light could pass through them and that images could bubble up from the unconscious.
• Images seem to be a first to take shape before our eyes, but their identity is always step of creation.
• The work was based on a col. Miro was interested in wood.
• She wanted viewers to be able to see children's art, which he thought of as spontaneously and play around with, so they could imagination.
• He was an artist who could change associations and meanings.

• He studied at both the Royal College of Art in London and the Unit One in England Art.
• The African, Oceanic, and Pre-Columbian sculpture that Barbara Hepworth saw at the British Museum in 1933 had more than one artist.
• Unit One was founded by artists beyond the Western.
• Although short-lived, this group tradition showed a greater respect for the inherent promoted use of handcrafted, Surrealist-influenced qualities of materials such as stone or wood than their biomorphic forms in sculpture, brought new energy to Western counterparts.

• Moore created this work to fulfill a commission from Serge Chermayeff, a Russian-born British architect, who installed it on the terrace of his modern home on the English South Downs.

• Moore's art focuses on the reclining female nude.
• Moore's sculptures reveal his sensitivity to the inherent qualities of his stone, which he sought out in remote quarries, always insisting that each of his works be labeled with the specific kind of stone he had used.
• The head, breasts, supporting elbow, and raised knee are all described in the sculpture, but other parts seem to flow together into an undulating mass suggestive of a hilly landscape.
• Our expectations about the solid and void are changed by the center's cavity.

• The first Spanish national pavilion was at the World's Fair.

• On April 26, 1937, the town of Guernica in the Basque region of Spain was attacked by German bombers, killing and wounding 1,600 people.
• For more than three hours, 25 bombers dropped 100,000 pounds of explosives on the town, while more than 20 fighter planes strafed anyone caught in the streets trying to flee destroyed or burning buildings.
• There were fires for three days.
• By the end of the attack, one third of the town's population was dead or wounded, and 75 percent of its buildings were destroyed.
• The world's shock worsened when it was revealed that the German commander had planned the massacre as a training mission for the German air force.
• Picasso had a subject for the fair.

• Picasso made the first sketches for his visual response to the 1 million protesters who marched in Paris on May 1.

• York is a powerful reminder of the brutal human cost of Picasso, but he rarely used specific or obvious symbolism in his art.

• The image was painted in black, white, and gray.
• The figures are frozen in stark black and white in the Americas as if caught by a reporter's camera.

• The Saxon national profile was only heightened by the variety of interpretations of these images.
• Some have seen the works of art by African Ameri horse symbols of Nationalist and Republican forces, vari cans, immigrants, women, and others.

• Specific meanings have been assigned to the lightbulb, javelin, dagger, lamp, and bird.
• Picasso refused to acknowledge any significance to any of the symbols.

• The formation of the nationwide New Negro move was one of the works prompted by this First Great Migration.

• The art is licensed by VAGA, New York, NY.
• Harlem's wealthy middle-class African-American South after Reconstruction, while the Ku Klux Klan members, community produced some of the nation's most talented hooded and on horseback, remind viewers of the 1920s and 1930s.

• In 1930, he was able to study as both a news reporter and a society photographer.

• At the height of the Great Depression, their new car was inspired by the story.

• She was a female figure of the center of African-American cultural life.

• In 1925, the painter Aaron Douglas moved her hand to the sky and balanced on the toes of New York City.
• She flies through the air.
• One of Haiti's first leaders of African heritage lived in La Citadelle, and the castle's silhouette style owes much to African art.

• Slaves are celebrating at the Eman nity Art Center.
• The eventu cipation Proclamation of 1863 caused hundreds of these centers to become centers of light.
• At the center, an orator points to the United States Capitol in the dancers and historians.

• The soldiers left the rence.

• Midwestern themes were developed by the Regionalists during the 1930s.
• In the 1930s, there were good and bad things about the heartland.
• Wood, who later taught at the University of Iowa, portrays an old man and his daughter standing in front of a Gothic Revival framed house.
• The clothes they wear are old-fashioned.

• The building was modeled on a modest small-town home in Eldon, Iowa, and the matriarch wore a homemade ricrac-edged apron.
• The daughter's sad face is similar to her father's; she is unmarried and likely to stay that way.
• Many young men fled the farms for jobs in Chicago in the 1930's, making it hard for husbands to come by in the Midwest.
• This painting is a tribute to the Flemish Renaissance painters that Wood admired.

• During the Great Depression, President Franklin D. Roosevelt established a number of programs to provide relief for the unemployed and to revive the nation's economy.

• The Public Works of Art Project gave employment to 4,000 artists who produced more than 15,000 works.
• The Section of Painting and Sculpture was established by the Treasury Department in October 1934.

• The FAP, pro ings, were each accompanied by a text.
• His themes include ducing a staggering 108,000 paintings, 18,000 sculptures, history of Harlem and the lives of Haitian revolutionary 2,500 murals, and thousands of prints, photographs, and American abolitionist posters, all of which became public property.
• In 1940-1941, Lawrence created his most expansive series of murals and sculptures.

• The doors of a South America, the Resettlement Agency (RA) and Farm Security ern train station are used by American migrants on their way to Chicago, New York, or St. Louis.

• The photographers were hired to document Louis.
• Lawrence's silhouette style, with the effects of the Depression across the country in photo its flat, bright shapes and colors, draws consciously and graphs available to this day, copyright-free, to any newspa directly--like that of Douglas--on African visual sources.

• There is tempera on masonite.

• There is oil on the board.

• The Figge Art Museum is successors to the Estate of Nan Wood Graham.

• The plight of migrant farm workers was documented in 1935 and 1939, but the make laborers who fled the Dust Bowl conditions of the Great shift tent in which the family was camped were not included.

• She cared for her subject, for whom she sought Federal aid, and she could fully constructed her photograph for maximum emotional not allude to the fact that Thompson had been a teenage impact.
• She focused on the mother or even that she was Cherokee.

• The composition refers to images of the Virgin Mary holding the Great Depression and the Child Jesus.
• The propaganda power of the visual image is demonstrated by 21-6) or perhaps sorrowful still.

• A salesclerk at Woolworth's earned only $11 a week during the Depression, but the FAP paid painters and sculptors about $20 a week to devote themselves full time to art.
• New York City's painters developed a group identity, meeting in the bars and coffeehouses of Greenwich Village to discuss art.
• The financial grounds on which New York artists built a sense of community allowed New York to supersede Paris as the center of the world of Modern art.

• Canada's great untamed wilderness was painted by Canadian artists in the 19th century to assert independence from European art.
• A number of Canadians used the academic realism they learned in Paris to paint realistic subjects, while others painted the Canadian landscape through the lens of Impressionism.

• Tom Thomson was a key figure in this movement.

• She said that they had been living on frozen vegetables.
• The children killed birds in this composition.
• She had just sold the tires from her tree and was going to buy food.
• She sat in that lean-to tent with her children against a lake background, huddled around her, and seemed to know that my pictures might help her, and so she helped me.
• There was an equal amount of hills and sky.
• One of his favorite subjects was the landscape of the Library of Congress.

• There is oil on the canvas.

• Emily Carr was born in Victoria, British Columbia and studied art in San Francisco, England and Paris.
• In the next 23 years, Carr visited more than 30 sites across British Columbia to make drawings and watercolors as a basis for oil paintings.
• Carr returned to Tom Thomson's former colleagues after a group of landscape painters established in 1920 by some cessful exhibition of her Native subjects.
• They opened a boarding house and painted their interest in painting.

• Carr was invited to participate in an exhibition of West Coast art at and powerfully sculptural style full of dark, brooding the National Gallery of Canada in 1927.
• In her book, Carr described the raven as old and rotting, but in the painting she shows it as strong and majestic, thrusting dynamically above the swirling vegetation, a symbol of enduring spiritual power and national pride.

• Oil on canvas is 341/4 x 447/8''.

• Her mixed heritage included a German father and Mexican mother.
• In 1920, the Mexican president wore a Victorian dress and the leader wore Mexican clothing to restore political order.
• She married Diego Rivera in the service of the people and state, and the painting shows her angry of his new government.
• Several Mexi were divorcing in 1939 while painting this picture.
• An art historian told her that the Mexican image of public buildings with murals celebrating the history, life, and work of the Mexican people was what Diego loved.
• He did not paint these artists.
• The new government believed that running between them begins at a miniature portrait of that the public could not understand.

• Diego Rivera as a boy held by the Mexican Frida, travels through Diego Rivera (1886-1957) was prominent in the Mexi the exposed hearts of both Fridas, and ends in the lap of can mural movement that developed from these com the European Frida, who attempts without success to stem He was in Mexico City at the Academia de San.
• She had a broken pelvis when she was 11 and lived in Paris at 17 and had a lifetime of surgeries.

• The work alludes to her constant pain and the other Mexican muralist.

• In Latin America, art in the nine eled to Italy to study Renaissance frescoes and the teenth century was dominated by the academic tra visited ancient Mexican sites to study indigenous mural dition.
• Many nations had thriving academies and large paintings.
• The history of Mexico was portrayed in brilliant colors by artists in the Latin Amer National Palace in Mexico City that used stylized forms.

• Artists painted murals in the United States after World War I.

• The poets derided their elders in poetry, the dancers enacted modern versions of traditional dances, and the composer played on stage in a bathrobe and slippers.

• One of Modern Art Week's organizers wrote a tongue-in-cheek, if radical, solution to Brazil's dependence on European culture in the 1920s.
• He suggested that the ancient Brazilians would eat the Portuguese explorers.
• He proposed that Brazilians get rid of European culture and then strengthen their Brazilianness by eating it.

• Tarsila do Amaral is the daughter of the coffee-planting aristocracy and studied in Europe with Fernand Leger.

• Tarsila collected.
• Oil on canvas is 34 x 29''.
• Latinoamericano is the subject of a can by Andrade.
• Guilherme Augusto do nibal is sitting in a caricatured Brazilian landscape.

• The collection of MALBA allows us to act like cannibals.

• The horrors of World War II surpassed those of World posers, and even a few scientists, who gathered in Havana War I.
• The man was grotesque to comprehend.
• "Yankee those killed in work camps and death camps (concentra imperialism), and dictatorship on any continent," ifesto said in 1927 after the loss of life in action.
• "Minor tion camps), those lost to starvation, and those lost in the ity, should pursue a new, popular, bombing of civilian targets, more than 30 million people," they said.

• After this manifesto was issued, the horror of the concentration camps was unimaginable.
• The impact of the dropping of nuclear bombs shook her when she returned home.
• The Cuban popular and folk arts were described.

• The horrors that haunted Francis Bacon were captured in his canvases.
• Until the 1940s, bacon produced very few pictures.

• During World War II, he was an air-raid warden and saw the impact of the bombing of civilians in London.
• The painting was inspired by Velazquez's portrait of Pope Innocent X and Rembrandt's painting of dripping meat.

• Art Informel was promoted by the French critic,Michel Tapie, who suggested that art should express an authentic concept of postwar humanity through simple, honest marks.

• Wols was born in Germany and left in 1943.
• Oil on canvas is 451/2 x 35''.

• The oil on canvas is 503/4 x 48''.

• All rights belong to the person.

• He fled to Spain but was arrested, stripped of his passport, and deported to France, where he was a stateless person.
• When the war ended, Wols returned to Paris and started painting again, applying paint with whatever came to hand, scrapering his heavy surfaces with a knife and allowing the paint to run.

• The French philosopher and novelist Jean-Paul Sartre temporarily supported Wols, but he died of food poisoning in 1951.

• In Cuba, the violence and anguish of his country's struggle against colonialism was embodied in the abstract and surrealist paintings of Wifredo Lam.

• He brought issues of identity and self-discovery to his art and was of mixed Chinese, Spanish, and African heritage.
• When the Nazis invaded France, he was forced to return to Cuba, where he studied at the National Academy.
• He was on the same ship as the leader of the Surrealist group, and disembarked at Havana.

• In the company of Alejo Carpentier and Lydia Cabrera, Lam explored his African-Cuban heritage.
• African-Cuban art and the spiritual imagery of the African-Cuban religion Santeria are reflected in his work.

• "Zambezia" was during the Second World War.
• Oil on canvas is 317/8 x 32''.

• Modern Art in Europe and the Americas was written for slaves who were brought to Cuba.
• I wanted to paint the drama of my country.

• Even though Argentina's fascist leader Juan Peron disliked Modern art, two groups of avant-garde artists formed immediately after the war.
• The best-known Latin American artist of the time was the Uruguayan, who established the "School of the South" in Montevideo.

• After the war, he returned to Europe, but his art was still based on the indigenous art of the Inka.
• He believed that ancient Uruguayan culture was a fertile ground for a new national and cultural visual identity.

• The United States recovered more oil from World War II.

• Europe did a better job of giving a gift than Mr. Joseph Cantor did.
• The rav 1974 spared its territory.

• The Americans who were part of military action in Europe were from the Solomon R. Guggenheim Foundation.

• The European art artists were disrupted by the war and Paris lost its avant-garde urban art center.

• Oil on board is mounted on a panel.

• European artists and writers fled to the United States during World War II because of archaic imagery and "primitive" symbolism.
• By 1941, the collective Mondrian made a connection among all people, and several used biomorphic forms or developed them to alter the character and artistic concerns of the art an individual symbolic language in their paintings.
• American artists were most affected by the statements on large canvases.
• The work of the European Surrealist artists in New York was destined to change art history.

• Though their project paintings a personal vision, the artistic identities by drawing from, but radical reimag Abstract Expressionists shared a commitment to two major ining, European and American Modernism--coming to be projects.

• It was not a formal exercise that would communicate universal ideas.

• The Gorky family fled to Russia in 1915 to make a new kind of art after the World War.

• Gorky escaped to the United States in 1920 after his mother died of starvation.
• The loss of Gorky's mother fills the Surrealist self-referential objects.
• He argued that the best paintings were the ones where he put idyllic images of his childhood no reference to the outside world, but had their own memorial to the people and places he meant and order.
• The early abstract expressionist has lost.

• The garden was created by the artist to create works that embodied universal symbolic forms.

• Oil on canvas is 78.7 x 99.1 cm.
• Acquired through the Bequest.

• Pollock moved beyond the clothing.
• The mythical garden floats on the strategy of automatic painting by placing a dense white ground.
• Forms, shapes, and colors come un stretched canvas on the floor and throwing, dripping, together in a bare-breasted woman to the left and the Holy and dribbling paint onto it to create abstract networks of Tree to the center.
• The painting suggests vital life forces, an ancient connection to the earth, and Gorky's vision of a lost world.

• Jackson Pollock is the most famous abstract expressionist.
• Pollock moved to New York in 1930.
• He was self-destructive from an early age, developing a drinking problem by 16 and being institutionalized for mental health problems at 26.
• Friends described two Pollocks, one shy and sober and the other obnoxious and drunk.
• He knew that visual images could tap into the primordial consciousness of viewers when he entered Jungian psychotherapy in 1939.
• Pollock was supported emotionally by his lover, the artist Lee Krasner.
• His most celebrated works were created at this time.

• At a certain moment the canvas began to appear in New York, the images and processes of the sand painters who development and purpose of Action painting were described by the author.
• He drew on Jung's theories of the col one American painter after another as an unconscious arena.
• Pollock was more than a space in which to reproduce, redesign, and sum of his influences.

• The stud triate artist Lee Krasner poured and ied in New York with Hans Hofmann.
• She moved in with dripped paint and Pollock 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 888-739-5110 When they moved to Long Island in 1945, she set up a small studio in a guest bedroom, where she produced small, tight, gestural paintings, arriving at artist's paint.
• Pollock's arcs and whorls of paint were described as chaotic in 1946, at the same time as nonrepresentational work.
• After Pollock's death, Krasner took plex paths and produced a series of large, dazzling ral over his studio.
• Pollock's compositions don't have the gestural paintings that marked her re-emergence into the hierarchy.

• Art historians refer to bold, sweeping curves as "all-over compositions" because of a new sense of liberation and the uniform treatment of the canvas from edge to edge with the forces of nature in bursting, rounded forms.
• Krasner wanted to paint, face rather than focus on one area.

• Pollock was a jazz grant from the Netherlands who settled in New York and listened to Kooning for many hours.
• His bebop was highly structured and controlled.
• His interests extended to Native American art, aspects of his composition appear spontaneously, they are which he associated with his western roots and the result of a lot of revision.

• The painting and sculpture committee received funds from the Lewis family.

• The portrayal of the woman is hostile, sexist, and powerfully sexual, full of implied violence and intense passion.
• The media and film have stereotypes.
• He was interested in both abstract and figuration throughout his career.

• A second generation of abstract expressionist paint ers assembled in the New York area in the 1950s, forming a close-knit community that organized discussion groups to share their ideas and galleries to exhibit their work.
• After studying at Smith College and the School of the Art Institute in Chicago, Joan Mitchell moved to New York.

• There is oil on canvas, 757/8 x 58''.

• Canada was the first country to see abstract expressionism.
• The French Canadian painter Jean-Paul Riopelle, who was born in Montreal, worked with the group of artists called Les Automatstes to create abstract paintings.

• The oil on canvas is 98.6 x 194.8 cm.

• She reminded her of the coast of Nova Scotia where she poured paint onto unprimed canvas and went to sketch.

• As the York School artists used abstract means to express self-expressive act of painting took over, new with an aesthetic question or image, which evolved as the York School artists used abstract means to express self-expressive act of painting took over.
• I have to change the basis of the direction in order to paint large, flat areas of color.
• I add to the canvas.
• I say contemplative moods.

• Mark Rothko had little formal art training, but by 1940 he was already making paintings that were influenced by European Surrealists and Jung's imagery.

• The image is from the National Gallery of Art, Washington.

• The broad field of red does not describe any form; it presents an absolute state of redness across a vast, heroic canvas, interrupted only by the zips of other colors that threaten, like a human flaw, to unbalance it.
• The present painter is concerned with the penetration into the world mystery, not with his own feelings or personality.

• Although some thought of his shapes as fundamental ideas expressed in sculptors, he was able to communicate both abstractly and rectangular form, expressionistically in three dimensions.
• The name "Color" comes from the fact that David Smith learned to weld and rivet while working at a field painting.
• He wanted to show his paintings at an automobile plant.
• There is oil on canvas, 953/8 x 2131/4''.

• Smith avoided Picasso.
• They sometimes look like they're making a mockery of traditional sculpture and created trial, but when they're outside, they're working out of standard industrial materials.
• He began to create sculptures that reflected the sun in different ways after seeing the marks made in War II.
• The sheets were fabricated to the artist's specifications.
• The sculptures are named after giant totemic figures and are meant to evoke the sculptures' organic nature when viewed close to range.

• The "Cubi" series was installed at New York.

• The Great Depression was associated with abstract expressionism.

• Explain how the avant-garde art movements form, content, and concept changed.

• Artists have created eloquent and moving expressions of the terrible violence of war and oppression.
• Discuss the political circumstances that led to the creation of these two examples and assess how they relate to the styles of these two artists.