The document discusses philosophical changes in art from the 18th century to the 20th century. It notes that the Romantics began emphasizing individual expression and the "now" over classical traditions. This focus on innovation and the present came to fruition in the 20th century with Modernism. Modernism philosophically emphasized scientific reasoning, avant-garde forms, and abstract reinventions of previous styles. The document then analyzes several influential 20th century art movements including Expressionism, Cubism, Futurism, Abstraction, Suprematism, and Dada/Surrealism and highlights pioneering artists associated with each movement.

1. • What would you consider
to be the top ten most
important events of the
20th century?
• In three sentence, how
would you describe the
philosophical change of
the 20th century from the
centuries before?

3. • Starting with the Romantics, a new
paradigm emerges between the “now” and
the “classic”
– The undertone of innovation has always
existed, but its analytical application in the
18th c.
– Comes to fruition (or fully operational) in
the 20th c.
• Modernus: means now, often a vulgar
connotation as opposed to classics
– However, expressionism and unique human
experience always undergird the art process
• Modernity: the focus on the here and now
• Modernism: the hope and transformative
imagination of the future

4. • A time of intense and exponential
CHANGE
• Characterized by massive paradigm
shifts due to
1. technology
2. Global Conflict
3. globalization
4. secularization
• Modernism philosophically
characterized by:
1. Strong emphasis on scientific
reasoning and objective knowledge
despite tendencies of nihilism
2. Satire, reinventions and abstractions
of previous movements
3. Development of avant-garde art
forms and self-consciousness
towards the new

5. • Self-portraiture provides a wide range of
information about the artist in addition to
physical appearance.
•
• Choose and fully identify two self-portraits, in
any medium, each from a different art-
historical period. Analyze how each self-
portrait conveys information about the artist
and his or her era. (30 minutes)

6. • Students have three tasks:
• (1) To fully identify two self-portraits, in any
medium, each from a different art-historical
period. (2) To analyze how each self-portrait
conveys information about the artist.
• (3) To analyze how each self-portrait conveys
information about the artist’s era.

7. • Fully identifies two appropriate self-portraits, in any medium, each from a different art-historical period. Provides
a full analysis of how both works convey information about the artist and his or her era. The lower score is earned
when the essay is somewhat unbalanced or has minor errors.
•
• 7–6 Fully identifies two appropriate self-portraits, in any medium, each from a different art-historical period.
Provides an analysis of how both works convey information about the artist and his or her era. The lower score is
earned when an essay is notably unbalanced or contains errors significant enough to weaken the analysis.
•
• 5 Identifies two appropriate self-portraits, in any medium, each from a different art-historical period.
• Identification may be incomplete or faulty. The essay fails to analyze how both works convey information about
the artist and/or the artist’s era. The essay may be wholly descriptive, unbalanced, and contain errors.
•
• Note: This is the highest score an essay can earn if it deals with only one appropriate choice fully and correctly.
•
• 4–3 Identifies two self-portraits, in any medium, each from a different art-historical period.
• Identification may be incomplete or faulty, and choices may be less appropriate. The essay is descriptive, and
discussion is unbalanced or general. The lower score is earned when the essay lacks meaningful discussion and/or
contains significant errors.
• OR
• Identifies only one appropriate choice. The discussion is not developed and contains errors. The essay is
descriptive, and the description is unbalanced or general. The lower score is earned when the essay lacks
meaningful discussion or contains significant errors.

8. 1. WWI (1914-1918): Ending of empires,
throwing Europe into a creative tumult
2. WWII (1939-1945): Deadliest human conflict.
Rise of U.S. as military world presence.
3. Ford’s Mass Car Production: Assembly line and
explosion of manufacturing. Mass
consumables.
4. Modern Performing arts(1910-1950): Blues,
Jazz and modern dance originate as an
American contribution to the art world.
Abstractions and critique of formalism.
5. Invention of Television (1920): communication
through mass consumption of images

9. 6. Woman’s Suffrage (1913-1960): Development of female
artists and rise of feminist cultural studies in equality.
7. Cold war (1945-1991): Standoff between NATO and
Communist countries. Precarious centering on Germany.
Idea of total global destruction.
8. Civil Rights Movement (1955-1968): Dismantling of
institutionalized racism. Outgrowth of multiculturalism
9. Development of Modern Medicine: Germ-theory of
disease. Polio vaccine, but also advent of super bacteria
and new disease threats (HIV).
10. Development of the Internet (1980’s-1990’s): Mass global
and instantaneous communication as a community and
information entity.

10. • Three important artistic strands of
thought at the turn of the century:
– Expressionism: Focus on human
emotion, agents of change, social
critique, relationships and passionate
physical contact
– Abstraction: Focus on the underlying
method of producing images.
Deconstruction of Elements and
Principles of Design.
– Fantasy: The labyrinth of the interior
mind. Freudian dreamscapes.
Connected to poetry and narrative.

11. • 1901-1906 exhibitions of van
Gogh and Cezanne in Paris and
Germany
– Deemed “wild beasts” (Fauves)
– Many younger artists, influenced
by the morbid, “decadent”
(Gothic revival) mood of 1890’s
pushed towards this radical
connection between line and
emotion
– The Post-Impression was
infiltrating to the general public.
It resonates profoundly.

12. • Heavily influence by Gauguin’s
“primitivism”
– Connects figure deconstruction to
classical compositions
– Bold, clear color swatches
– Essential forms only
– Artificial depth and plastic forms
• “What I am after, above all is
expression .. [But] ... expression does
not consist of the passion mirrored
upon a human face. . . . The whole
arrangement of my picture is
expressive. The placement of figures
or objects, the empty spaces around
them, the proportions, everything
plays a part

13. Woman with a Hat, 1905. San Francisco
Museum of Modern Art

14. The Dessert: Harmony in Red, 1908, Hermitage
Museum, Saint Petersburg

16. The Dance (first version), 1909, The Museum
of Modern Art, New York City

17. L'Atelier Rouge, 1911, oil on canvas, 162 x 130
cm., The Museum of Modern Art, New York City

18. • Founders of the “Die Bruke” or “The
Bridge”
– German expressionism focused on the
liberation of the person from the
confines of prior tradition
– Interacted with past traditions of Durer,
Grunewald, and Cranach
– Revitalized the woodcut
• Kirchner’s studio is pure
bohemian
– Encouraging spontenaity
• Nazis labeled him a degenerate
– Destruction of his paintings leads
to suicide
• “We want freedom in our work
and in our lives, independence
from older, established forces."

19. Self-Portrait as a Soldier (1915)

20. Street, Berlin (1913), one of a series on
this theme, depicting prostitutes

21. Brandenburger Tor, 1915

22. Potsdamer Platz, 1914

23. • A member of Die Brucke focusing
on printmaking and watercolour
– Flowers similar to Van Gogh
– Brilliant colors affixed to more
somber backgrounds
– Stark black and white woodblocks
• There is silver blue, sky blue and
thunder blue. Every colour holds
within it a soul, which makes me
happy or repels me, and which
acts as a stimulus. To a person
who has no art in him, colours are
colours, tones tones...and that is
all. All their consequences for the
human spirit, which range
between heaven to hell, just go
unnoticed

24. Emil Nolde, The Prophet, woodcut, 1912

25. • Austrian expressionistic artist,
poet and playwright
– Swirling portraits and
landscapes
– Dour and low chroma palette
– Emphasized depth perception
as the process of “seeing”
• Also a Nazi degenerate who
had to expatriate to Prague

27. • Founder of Der Blaue Reiter
group
– Influence of Seurat color
theory
– Synthesis of primitivism,
medieval art, and increased
abstractions
– Towards non-representational
• Kandinsky’s work focuses on
the encounter of visual art
and music (as opposed to
literature)

28. • The sun melts all of Moscow
down to a single spot that,
like a mad tuba, starts all of
the heart and all of the soul
vibrating. But no, this
uniformity of red is not the
most beautiful hour. It is only
the final chord of a
symphony that takes every
colour to the zenith of life
that, like the fortissimo of a
great orchestra, is both
compelled and allowed by
Moscow to ring out

29. Composition VII—according to Kandinsky, the
most complex piece he ever painted (1913)

30. On White II (1923)

31. Franz Marc. The Fate of the
Animals, 1913, Kunstmuseum Basel

32. Marsden Hartly. Marsden Hartley,
Portrait of a German Officer 1914

33. • Abstraction as a goal, not just
a refinement of a theory of
art
• Characteristics
– Simplify and flatten
– Primitive and harsh line quality
– No rational light source
– Introspective and parallel to
nature
• Analytic: break subject into
pieces
• Synthetic: take pieces to
make something

34. • Founder of Cubism
– Began in realism, moved to
somber and abstracted
“blue period”
– Close interaction between
Braque and Picasso
• Invented collage to create
synthetic cubism
– Astracted portraiture
through additive and found
art elements

35. Les Demoiselles d'Avignon (1907),
Museum of Modern Art, New York

36. Pablo Picasso. Portrait of Ambroise
Vollard. 1910. Oil on canvas. The Pushkin
Museum of Fine Art, Moscow, Russia.

37. Pablo Picasso. Still-Life with Chair
Caning. 1911/12. Collage of oil, oilcloth, and
pasted paper simulating chair caning on
canvas. Musée Picasso, Paris, France.

38. Georges Braque. Newspaper, Bottle, Packet of
Tobacco. 1914. Charcoal, gouache, pencil, ink
and pasted paper on cardboard. 52.4 x 58.6
cm. The Philadelphia Museum of Art,
Philadelphia, PA, USA.

39. • Draw a nightmare without
using any “natural” objects
(only non-representation
shapes).
• Include five different types
of elements/principles.
• Write a metaphor
sentence for nightmares

40. • The function and harmony
of color planes
• Short lived movement, but
influenceschm, Mark,
Leger, Chagall and Klee
• “But what is of great
importance to me is
observation of the
movement of colors.”

41. Simultaneous Contrasts: Sun and Moon
Robert Delaunay (French, 1885-1941)
Paris 1913 (dated on painting 1912). Oil on
canvas, 53" (134.5 cm) in diameter. Mrs. Simon
Guggenheim Fund

42. • Similar to Analytic cubism,
but focusing on the
transience of time
connected to motion, and
less on introspective
changes of perspective.
– Movement of subject, rather
than viewer
– Abstraction of potentiality

43. Boccioni, Umberto Dynamism of a Cyclist 1913 Oil on
canvas 27 1/2 x 35 3/8 in (70 x 90 cm) Private collection

44. The Traveler, 1915 Liubov Popova
Russian, 1889-1924 Oil on canvas
56 x 41-1/2 in. (142.2 x 105.4 cm)
Norton Simon Art Foundation
• Avant-guarde Cubist , Suprematist,
Constructivist female painter and
designer, one of the most
progressive voices of pre-
revolutionary Russia.
• Born to wealthy Moscow family,
traveled widely.
• The Traveler is Cubist w/ Futurist
influences of representing
dynamic motion in time and space.
• Abstracted form broken into
fragments, but we can discern
woman in black cape and hat,
wearing yellow beaded necklace,
carrying bright green umbrella,
traveling on a bus / train.
Glimpses of a railing, grass,
banners, show scenery. Spiral
center.

45. • Russian painter and art
theoretician.
• Pioneer of geometric abstract
art and avant-garde
Supremacist movement.
• Black Square was a
breakthrough in his career and
art in general.
• Black square = symbol of
supreme reality (feeling).
• White frame = boundary of the
universe.
• Simple yet profound, like
E=mc2
• White on White = purity
Malevich searches for the
ultimate painting
• Kasimir Malevich. Black
Quadrilateral, ñ. 1913-15.
• Kasimir Malevich. Suprematist
Composition: White on White.
1918
I felt only night within me and it was then
that I conceived the new art, which I
called Suprematism.

46. • Founder of metaphysical
painting (fantasy)
– Ominous scenes of deserted
piazzas
– Inner dream landscapes
with impending tension or
doom
– Deconstruction of
perspective theory
• Influences Surrealist
movement of the 1920’s

47. Giorgio de Chirico. Mystery and
Melancholy of a Street. 1914. Oil on
canvas. 88 x 72 cm. Private
collection.
• Familiar objects juxtaposed to
look alien and haunted.
• Unconscious mind
• 'Underneath this reality in
which we live and have our
being, another and altogether
different reality lies
concealed.' Nietzsche

48. • Russian-French, Jewish artist
working in virtually every
artistic medium (painting,
book illustrations, stained
glass, stage sets, ceramic,
tapestries and fine art
prints).
• Traveled in Eastern Europe
before WWI, basing his art
on Jewish folk culture.
• During modernism’s “golden
age” in Paris he “synthesized
the art forms of Cubism,
Symbolism, and Fauvism,
giving rise to Surrealism.
"When Matisse dies, Chagall will be
the only painter left who
understands what colour really is.“
–Picasso, 1950s

49. I and the Village. 1911. Oil on canvas.
191 x 150.5 cm. The Museum of
Modern Arts, New York, NY, USA.
• Soft, dreamlike images
overlapping in a continuous
space.
• Cap-wearing green-faced
Christian stares at a goat (smaller
one milked on its cheek) and
holds glowing tree.
• Background: houses near
Orthodox church, upside-down
female violinist, black-clothed
man w/scythe.
• Birthplace memories becoming a
“cubist fairy tale” reshaped by
imagination without regard to
natural color, size, or gravity.
• Seamless integration of E. Euro
folktales and culture (Russian
and Yiddish). Semiotic elements.
Groundbreaking whimsical,
frenetic, fanciful style.

51. • French Dadaist/Surrealist
• Influenced post WWI
Western Art. Advised
modern collectors like
Peggy Guggenheim,
influencing tastes.
• Challenged conventional
thought about artistic
processes and marketing.
• Made few artworks,
moving quickly through
avant-garde circles.
The creative act is not performed by the artist
alone; the spectator brings the work in
contact with the external world by
deciphering and interpreting its inner
qualifications and thus adds his contribution
to the creative act. - Marcel Duchamp

52. Marcel Duchamp
1915-23 Oil, varnish,
lead foil, lead wire,
and dust on two glass
panels 277.5 cm ×
175.9 cm (109.25 in ×
69.25 in) Philadelphia
Museum of Art,
Philadelphia

53. Marcel Duchamp.
Nude Descending a Staircase No. 2. 1912. Oil on
canvas, 58 x 35”. Philadelphia Museum of Art
• Modernist classic
• Rejected by Cubists and
caused a huge stir in Paris
and New York
• Abstract movements
• Ochres and browns
• Discernible body parts are
conical and cylindrical
abstract elements,
suggesting rhythm and
the figure merging into
itself.
• Dark outline contour body
• Pelvic thrust
• Counter-clockwise
movement

54. Marcel Duchamp. The Bride. 1912. Oil on canvas,
35 1/8 x 21 3/4”. Philadelphia Museum of Art
• A “factory girl”
• Machine = metaphor /
fetish for sexuality
• Woman reduced to
plumbing , satirizing
the scientific view of
humanity
• Shows the machine as
negative, leading to
WWI

55. George Bellows. Stag at Sharkey's. 1909. Oil on canvas, 36 ¼ x 48 ¼”. The Cleveland Museum of Art.
•American Realism:
Ash Can School
• Crude, urban,
working-class subjects

56. A “return to order”

57. • Picasso
• Braque
• Matisse
• Kirchner
• Kandinsky
• Developed artists start breaking the rules.
• Art no longer moves in a linear fashion:
multiple layers of varying depth that shift
together.

58. Pablo
Picasso. Three
Musicians.
Summer 1921.
Oil on canvas,
6’7” x 7’3 ¾”.
The Museum
of Modern
Art, NY
Synthetic
Cubism
(collage)
Harlequin
(Picasso),
Pierrot ,
and Monk
(two poet
friends)

59. Pablo Picasso. Mother and
Child. 1921-22. Oil on canvas, 38 x
28”. The Alex L. Hillman Family
Foundation, NY.
• Neoclassical style –
going back to
traditionalism???
• Strongly modeled,
heavy-bodied figures
(monumental /
colossal)
• Yet tender theme
• Inspired by a trip to
Rome and marriage
to Russian dancer
Olga Koklova

60. Pablo Picasso. Three Dancers. 1925. Oil
on canvas, 7’ ½” x 4’ 8 ¼”. The Tate
Gallery, London.
• Macabre dance
• Chilling depiction of a
love triangle between his
friends (R. Pichot,
L. Pichot’s wife Germaine,
C. Germain’s boyfriend
who shot himself after
failing to shoot Germaine,
25 years before Pichot’s
1925 death.
• Metamorphic figures
represent unexpected
possibilities of expression.

61. Pablo Picasso. Girl Before a Mirror.
March 1932. Oil on canvas, 64 x 51
¼”. The Museum of Modern Art,
NY
• Picasso’s mistress Marie-
Thérèse Walter
• Shows her day and night
self, tranquility and vitality,
transformation from
innocent girl to worldly,
sexual woman.
• Complex variant of
traditional Vanity (mirror
which usually shows death).
• Mirror shows supernatural
x-ray of girl’s soul, future,
and fate.
• She reaches to unite two
selves.
• Harlequin wallpaper: Picasso
is a silent witness to her
psychic and physical
transformations

62. Pablo Picasso. Guernica. 1937. Oil on canvas, 11’6” x 25’8”. Museo Nacional Centro de Arte Reina Sofía, Madrid.
On permanent loan from the Museo del Prado, Madrid.
•Bombing of small Spanish town by Ger/Ity
warplanes, allowed by Spanish Nationalist Forces 26
April 1937 during Spanish Civil War (Spanish ruler
Franco practices air bombing on his own people—
mostly women and children in this town).
•Commissioned mural for the 1937 World’s Fair, Paris.
•Shows tragedy of war, suffering of the individual
innocent civilians.
•Monumental anti-war symbol; embodiment of peace
•Black and grey like newspaper (see the print too?),
creates somber mood expressing pain and chaos
•Childlike drawings emphasize innocence. Shapes of
bodies express protest.
•Picasso saw women and children as the perfection of
mankind; an assault on them is an assault on the
core of mankind.
•Prophetic vision of nuclear doom in WWII.

63. Henri Matisse.
Decorative Figure Against
an Ornamental Background.
1927. Oil on canvas, 51 1/8 x 38 ½”.
Musée National d’Art Moderne
Paris
• Orientalist Odalisque
is also a “return to
order” characteristic
of art between the
wars.
• Some considered it
shallow and
decorative.
• New luxuriance
w/cubist discipline
(geometric
organization).

64. Ernst Kirchner.
Winter Landscape in
Moonlight.
1919. Oil on canvas,
47 5/8 x 47 5/8”. The
Detroit Institute of
Arts.
•Kirchner
returns to
landscape
paintings after
WWI ruined his
physical and
mental health.
•Peace and
wonderment
before nature.
•Ecstatic
rhythms.

65. Wasily Kandinsky.
Accented Corners.
No. 247. 1923. Oil on
canvas, 51 ¼ x 51 ¼”.
Private collection.
•1st purely abstract
works
•Russian student of
law and economics
•Taught design and
theory at the
Bauhaus.
•Augmented colour
theory with new
elements of form
psychology
•Geometric
•Relationship of
forms and colors,
their positions, and
overall harmony

66. Wasily Kandinsky.
Composition VII. 1913 –The most complex piece he says he ever
painted
•The sun melts all of
Moscow down to a
single spot that, like a
mad tuba, starts all of
the heart and all of the
soul vibrating. But no,
this uniformity of red is
not the most beautiful
hour. It is only the final
chord of a symphony
that takes every colour
to the zenith of life
that, like the fortissimo
of a great orchestra, is
both compelled and
allowed by Moscow to
ring out.” — Wassily
Kandinsky
Music inspires his abstraction, since music is abstract
by nature. It does not try to represent the exterior
world, but expresses in an immediate way the inner
feelings of the soul.

67. Fernand Léger. The City. 1919. Oil on canvas, 7’7” x 9’9”.
Philadelphia Museum of Art.
•Futurist influence
•Mechanized Utopia
•Controlled industrial
landscape
•Stable, not static
•Clean geo shapes of
modern machinery
•Monstrous figures
reflect the
ambivalence of his
experience of war.
...I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic
of light on the white metal. That's all it took for me to forget the abstract art of 1912–1913.
The crudeness, variety, humor, and downright perfection of certain men around me, their
precise sense of utilitarian reality and its application in the midst of the life-and-death drama
we were in ... made me want to paint in slang with all its color and mobility. --Leger after
nearly dying of a mustard gas attack by German troops at Verdun, 1916

68. Charles Demuth. I Saw the
Figure 5 in Gold. 1928. Oil on
composition board, 36 x 29 ¾”. The
The Great Figure
Among the rain
and lights
I saw the figure 5
in gold
on a red
fire truck
moving
tense
unheeded
to gong clangs
siren howls
and wheels rumbling
through the dark city
William Carlos Williams (1883-
1963) Sour Grapes: A Book of
Poems. Four Seas Company,
Boston, 1921

69. Charles Demuth. I Saw the
Figure 5 in Gold. 1928. Oil on
composition board, 36 x 29 ¾”. The
•Stieglitz group
•Developed
Precisionism (Cubist
Realism): depicts
urban and industrial
architecture.
•“Bill” = William Carlos
Williams
•5 repeated three
times = echo of the
fire truck in the night

70. Joseph Stella.
Brooklyn Bridge. 1917. Oil
on bedsheeting, 7’ x 6’4”.
Yale University Art Gallery,
New Haven, Connecticut
•O harp and altar, of the fury
fused,
(How could mere toil align
thy choiring strings!)
Terrific threshold of the
prophet's pledge.
Prayer of pariah, and the
lover's cry,—
Again the traffic lights that
skim thy swift
Unfractioned idiom,
immaculate sigh of stars,
Beading thy path—condense
eternity:
And we have seen night
lifted in thine arms.
"To realize this towering imperative vision in all its integral
possibilities ... I appealed for help to the soaring verse of Walt
Whitman and to the fiery Poe's plasticity. Upon the swarming
darkness of the night, I rung all the bells of alarm with the blaze of
electricity scattered in lightnings down the oblique cables, the
dynamic pillars of my composition, and to render more pungent
the mystery of the metallic apparition, through the green and red
glare of the signals I excavated here and there caves as
subterranean passages to infernal recesses."

71. Joseph Stella.
Brooklyn Bridge. 1917. Oil
on bedsheeting, 7’ x 6’4”.
Yale University Art Gallery,
New Haven, Connecticut
•Fascinated with
geometric quality of
Lower Manhattan
architecture.
•Cubo-futurism
•Sweeping diagonal
cables, downward
force, directional
energy
•Excitement and motion
of modern life.
•Bridge repeated in his
work = icon of stability
and solidarity

72. Piet Mondrian.
Composition with
Red, Blue, and
Yellow. 1930. Oil on
canvas, 20 x 20”.
Private Collection.
•Dutch
•Most radical
abstractionist
•De Stijl
(neoplasticism—
new plastic)
movement
•White ground,
vertical / horizontal
grid, 3 primary
colors = blueprint of
life
•Endless possibilities
w/these elements
that he struggled
with for the perfect
balance
"pure reality," =equilibrium "through the
balance of unequal but equivalent
oppositions."

73. Piet
Mondrian. Broadway
Boogie Woogie.
. 1942-43. Oil on
canvas, 50 x 50”. The
Museum of Modern
Art, NY.
•But in this
masterpiece later
in life, here is a
clear-real world
grid (blueprint) of
Manhattan and the
booggie woogie
music to which
Mondrian loved to
dance.

74. Ben Nicholson. Painted Relief. 1939. Synthetic board mounted on plywood, painted, 32 7/8 x
45”. The Museum of Modern Art, NY
•Inspired by Mondrian
•Painted reliefs (his wife was a
sculptor)
•Beauty of geometry in 3D

75. • fan·ta·sy [fan-tuh-see, -zee] Noun
• 1. imagination, especially when extravagant and
unrestrained.
• 2. the forming of mental images, especially wondrous
or strange fancies; imaginative conceptualizing.
• 3. a mental image, especially when unreal or fantastic;
vision: a nightmare fantasy.
• 4. Psychology . an imagined or conjured up sequence
fulfilling a psychological need; daydream.
• 5. a hallucination.

76. • writers and artists exploit accidental and incongruous
effects in their work
• programmatically challenge established canons of art,
thought, morality, etc.
• Anti-war
• Anti-art
• Seeks to ridicule the meaninglessness of modern world
• Anti-bougeouis
• Anarchistic
• a voyage into unknown provinces of the creative mind.

77. Max Ernst. 1 Copper Plate 1 Zinc Plate
1 Rubber Cloth 2 Calipers I Drainpipe
Telescope
1 Piping Man. 1920. Collage, 12 x 9”.
Estate of Hans Arp.
•Mechanical ingredients
•Remember Dada =
nonsense

78. Max Ernst. La Toilette de
la Mariée
(Attirement of the
Bride). 1940. Oil on
canvas, 51 x 37 7/8”.
Peggy Guggenheim
Collection, Venice
Ernst’s Decalcomania

80. • Salvador Dali was born in
Figueres, Spain on May 11,
2004
• He had an older brother named
Salvador who died 9 months
earlier. His family named him
Salvador also because they
believed he was his brother’s
reincarnation
• He attended drawing school at
a young age
• His first public exhibition was in
1919 (at age 15)

81. • In 1922, Dali moved to Madrid
and studied at the Academia
de San Fernando (School of
Fine Arts)
• He became known as eccentric
- long hair, side burns, coat,
stockings, knee breeches in a
late 19th century fashion. He
began experimenting with
Cubist style paintings;
however, he didn’t really know
what he was doing.

82. • Experimented with Dada (a
cultural movement in Switzerland
during WWI), which influenced
his work throughout his life
• He was kicked out of the
academy when he told his
professors that no one was
qualified enough to grade him
• He grew a flamboyant moustache
that later became iconic of Dali.

83. • 1929 - Dali worked on a short
surrealistic film called An
Andalusian Dog
• 1929 - He met his future wife Gala
• Began to emphasize surrealism - a
common theme in Dali’s paintings
• Dali’s most famous painting, The
Persistence of Memory, was
painted in 1931.

84. • In 1934, Salvador and Gala were
married.
• World War II was beginning in
Europe in 1940, so the Dalis
moved to the United States
• He began to get a reputation for
being very eccentric and
outrageous
• In 1942, he published his
autobiography, “The Secret Life
of Salvador Dali”

85. • In 1949, Dali went back to Spain
and stayed there, even throughout
the dictatorship of Franco
• He began to explore other artistic
realms, such as using optical
illusions, incorporating
math/science into his paintings,
using DNA as a subject, etc.
• His Catholic faith began to grow;
religion began to influence much of
his post WWII work.

86. Salvador Dalí. The
Persistence of Memory.
1931.

88. Rene Magritte. Les Promenades
d'Euclid. 1955

90. Frida Kahlo was born
Magdalena Carmen Frieda
Kahlo y Calderón on July 6
of 1907 in Coyoacán,
Mexico.

91. 1950 - 1954
Retrato de la Familia de Frida
Frida worked regularly on
this family tree portrait
during a long spell in the
hospital in 1950 and
continued to work on it
until her death in 1954.
When her older sister
Matilde died in 1951, she
stopped work on this
painting. The painting
remained unfinished at
the time of her death.

92. 1951
Retrato de Mi Padre"I painted my father Wilhelm Kahlo, of
Hungarian-German origin, artist-photographer
by profession, in character generous,
intelligent and fine, valiant because he suffered
for sixty years with epilepsy, but never gave up
working and fought against Hitler, with
adoration. His daughter Frida Kahlo".

93. Frida's mother was
unable to breastfeed
her because her sister
Cristina was born just
eleven months after
her.
Frida considered this
to be one of her most
powerful works and is
another painting in her
series to document
major events in her life.1937 Mi Nana y Yo

94. Mis abuelos, mis
padres y yo",
This is the first of two
family portraits in
which Frida was
tracing the history of
her ancestry.
She appears as a
little girl in the
courtyard of the Blue
House in Coyoacan,
Mexico, where she
was born.

95. 1.913
At the age of six she was stricken
with polio, which left her with a limp.
Her left leg looking thinner than the
other. In childhood, she was
nevertheless a fearless tomboy, and
this made Frida her father's favorite.
Kahlo hid this deformity wearing long
skirts.
1939 Las Dos Fridas
1932. Autorretrato en la frontera entre México y
Estados Unidos
After being in America for nearly three years,
Frida was growing homesick for Mexico.
Shortly after her divorce from Diego
Rivera, Frida completed this self-
portrait of two different personalities.
Frida's diary says this painting had its
origin in her memory of an imaginary
childhood friend. Later she admitted it
records the emotions surrounding her
separation and martial crisis.

96. 1922
Frida was enrolled in the Preparatoria,
one of Mexico's premier schools,
where she was one of only 35 girls.
Kahlo joined a gang at the school and
¨fell in love with the leader,
Alejandro Gomez Arias.
During this period, Kahlo also
witnessed violent armed struggles in
the streets of Mexico City as the
Mexican Revolution.
1928 Retrato de Alejandro Gómez Arias
The legend in the upper right corner of the
painting reads: "Alex, with affection I painted your
portrait, that he is one of my comrades forever,
Frida Kahlo, 30 years later".

97. 1926 El accidente ( Ex voto)

98. 1925
In September of this year, Kahlo was
riding in a bus when the vehicle
collided with a trolley car.
She suffered serious injuries in the
accident, including a broken
spinal column, a broken collarbone,
broken ribs, a broken pelvis,
eleven fractures in
her left leg, a crushed and
dislocated right foot and shoulder.
An iron handrail impaled
her abdomen, piercing her uterus,
which seriously damaged
her reproductive ability.
1944 La columna rota
In 1944 when Frida painted this self-portrait, her health
had deteriorated to the point where she had to wear a
steel corset. The straps of the corset seem to be all that
is holding the artist's broken body together and upright.
An Ionic column, broken in several places, symbolizes
her damaged spine.

99. 1925
Though she recovered from
her injuries and eventually
regained her ability to walk,
she was plagued by relapses
of extreme pain for the
remainder of her life.
.
She would undergo
as many as 35 operations
in her life as a result
of the accident,
mainly on her back and
her right leg and foot
At the bottom she added an inscription
that reads: "Mr. and Mrs. Guillermo Kahlo
and Matilde C. de Kahlo give thanks to
Our Lady of Sorrows for saving their
daughter Frida from the accident which
took place in 1925 on the corner of
Cuahutemozin and Calzada de Tlalpah."
1940 Retablo

100. After the accident, Kahlo turned her attention away
from the study of medicine to begin a full-time
painting career. The accident left her in a great deal of
pain while she recovered in a full body cast; she
painted to occupy her time during her temporary state
of immobilization.
1929 l'autobus

101. 1935 Unos Cuantos Piquetitos 1932 Henry Ford Hospital
Drawing on personal experiences including her troubled
marriage, her painful miscarriages, and her numerous
operations, Kahlo's works are often characterized by their
stark portrayals of pain.
On July 4th, 1932, Frida suffered a miscarriage in the
Henry Ford Hospital in Detroit. In this disturbing work,
Kahlo paints herself lying on her back in a hospital bed
after a miscarriage. The figure in the painting is
unclothed, the sheets beneath her are bloody, and a large
tear falls from her left eye.
A Few Small Nips
1935 Broken-hearted over her husband's affair with her
younger sister Cristina, Frida recreated her sorrow and
anger in this painting. Her own pain being too great to
depict, she projected it onto another woman's misfortune

102. Diego Rivera
He immediately recognized her talent
and her unique expression of a new
and uniquely Mexican aesthetic. He
encouraged her development as an
artist, and began an intimate
relationship with Frida.
They were married in 1929, to the
disapproval of Frida's mother. She
was 22 year old and he 43.
1937, Retrato de Diego Rivera
At the time this portrait was
painted Diego was 51 years old.
However, in this portrait he
appears to be much younger.
Also, Diego was tall, heavy and
larger than life.

103. 'I suffered two grave
accidents in my life. One in
which a streetcar knocked
me down... The other
accident is Diego.‘ F. K.
1943 Autorretrato como Tehuana
Diego en mis pensamientos
Pensando en Diego
Frida's husband, Diego
Rivera, continued to be an
incorrigible womanizer,
and Frida's desire to
possess him expressed
itself in this portrait.
Diego's miniature portrait
on her brow indicates
Frida's obsessive love for
the fresco painter….he is
constantly in her thoughts.

104. The couple eventually
divorced,
but remarried in 1940;
their second marriage
was as turbulent as the
first.
1931 Frida y Diego Rivera
This folkloric style double-
portrait may have been
based on their wedding
photograph. It was
completed about two years
after their marriage while
Frida and Diego were in
San Francisco. The
difference in height
between the couple is not
exaggerated.

105. 1937 Yo y Mi Muñeca
Due to the 1925 bus
accident, Frida was
unable to bear children
and up to this point had
lost 3 children.
As substitutes for
children she collected
dolls and kept many pets
on which she bestowed
her affection. In this self-
portrait, Kahlo is sitting
on the bed with one of her
dolls.

106. 1949 El abrazo de amor del Universo, la tierra, yo, Diego
y el sr. Xolot
Kahlo was
deeply
influenced by
indigenous
Mexican
culture
The subject of this painting
contains many elements
derived from ancient
Mexican mythology. Frida's
inability to bear children
led her to adopt a maternal
role towards Diego

107. 1933 Alla cuelga mi vestido
After more than three years in America, Frida wanted desperately to return
to her native Mexico. Diego, however, remained fascinated by the country
and his popularity and did not want to leave.
Frida started this painting while still in New York and finished it after she
and Diego returned to Mexico.

108. Bonito1940, Autorretrato con Bonito
Fifty-five of her 143 paintings are self-portraits
1938 Autorretrato con mono
(Levy Gallery de New York
December 8th, 1940, while in San Francisco, Frida
and Diego remarried. Shortly thereafter, Frida
received word that her father, Guillermo Kahlo, had
died. Frida returned to the family home in Coyoacán,
Mexico, to live. Shortly after her return, she painted
this self- portrait. In it she is dressed in black to
mourn the death of her father.

109. 1935 Autorretrato con Pelo Rizado
In the summer of 1934, Frida learned that
Diego was having an affair with her
younger sister Cristina. She was
emotionally devastated by the affair and
separated from Diego. In this painting,
she portrays herself with short curly
hair, most likely to spite Diego who was
very fond of her long flowing hair.
1938 Lo Que el Agua Me Dio
It is a symbolic work illustrating various events from
the artist's life and incorporates numerous elements
from her other works as well as some that appeared in
her later works. Frida gave the painting to her
photographer lover Nickolas Muray in payment for a
$400 debt she owed him.

110. 1940 Autorretrato con Pelo Corto
This was Frida's first self-portrait after
the divorce from her husband Diego.
The verse of a song painted across the
top of the portrait points to the reason
behind this act of self-mutilation:
"See, if I loved you, it was for your hair,
now you're bald, I don't love you any
more.".
After the divorce, Frida decided to
renounce the feminine image demanded
of her. She cut off her hair, gave up her
Tehuana costumes so like by Diego and
wore instead a man's suit. The only
feminine attribute she retained was her
earrings.

111. Active communist
sympathizers,
Kahlo and Rivera
befriended Leon Trotsky as
he sought political
sanctuary from Joseph
Stalin´s regime in the the
Soviet Union.
1937 Autorretrato (Dedicado A Leon Trotsky)
This painting is sometimes referred to as "Between
the Curtains". It is a self-portrait that Frida painted as
a gift to Leon Trotsky on his birthday. The paper she
is holding dedicates the portrait to Leon: "To Leon
Trotsky, with all my love, I dedicate this painting on
7th November 1937. Frida Kahlo in Saint Angel,
Mexico". The portrait is painted with warm and soft
colors, and Frida looks beautiful, seductive and self-
confident.

112. 1954
Frida Kahlo died on July 13,
supposedly of a pulmonary
embolism. She had been ill
throughout the previous
year and had a leg
amputated owing to
gangrene. However, an
autopsy was never
performed.
1943 Pensando en la muerte
During this period, Frida's health
had declined to the point where
she spent most of her days
confined to bed. Because of her
poor health, now and over the
years, death was always on her
mind as symbolized by the skull
and crossbones that appear in the
circular window on her forehead.

113. A few days before her death she had
written in her diary:
"I hope the exit is joyful;
and I hope never to return.”
1946 El árbol de la Esperanza
Frida painted this self-
portrait for her patron, the
engineer Eduardo Morillo
Safa, after a botched
operation in New York.
She wrote to him about the
painting and about the
scars "which those
surgeon sons of bitches
landed me with".

114. 1940 El sueño La cama
The pre-Columbian urn
holding her ashes is on
display in her former
home
La Casa Azul (The Blue
House) in Coyoacán,
today a museum
housing a number of her
works of art.
This painting is sometimes referred to
as "The Bed". In this painting, as well
as others, Frida's preoccupation with
death is revealed. In real life Frida did
have a papier-mâché skeleton (Juda)
on the canopy of her bed. Diego called
it "Frida's lover" but Frida said it was
just an amusing reminder of mortality

115. La casa azul
Museo Frida Kahlo

116. The Diego and Frida’s house
Museo Casa Estudio Diego Rivera. San Ángel
Juan O'Gorman

117. 1929 Autorretrato Tiempo Vuela
This self-portrait was
painted the year Frida
and Diego were married.
It portrays the Frida that
Rivera loved.
El arete de Frida Autorretrato

118. 1945 Sin Esperanza
Her doctor, Dr Eloesser,
prescribed complete bed rest
and a fattening diet. In this
painting, the artist portrays
what she considered to be a
"forced feeding" diet
In this painting of a young stag
fatally wounded by arrows, Frida
expresses the disappointment
which followed the operation on
her spine in New York in 1946,
and which she had optimistically
hoped would cure her of her back
pain.
1946 El Venado
Herico

119. 1947 El Sol y la Vida
Her obsession with
fertility was often the
subject of her paintings.
In this painting, the life-
giving sun is surrounded
by plants in the form of
erupting male penises
and female wombs
protecting a growing
fetus. This painting also
reveals Frida's sadness
over her infertility as
shown by the weeping
sun and fetus.

120. 1949 Diego y yo
Frida painted this self-portrait
during the period when her
husband, Diego Rivera, was
having a notorious affair with the
film star Maria Felix, a relationship
which provoked a public scandal.
The beautiful film star was also an
intimate friend of Frida's as well,
and though Frida pretended to
joke about the affair, as she had
about Rivera's other escapades,
this painting reveals her true
emotions. Frida's obsession with
Diego is symbolized by the small
bust of him on her forehead…he
being the obvious source of the
distress reflected in this painting.

121. 1951 Autorretrato con el Retrato del Dr. Farill
This painting is a portrait of Frida
with her surgeon Doctor Juan
Farill. In 1951 Dr. Farill performed
a series of 7 operations on
Frida's spine.
She remained in the hospital in
Mexico City for 9 months. In
November of that year Frida was
finally well enough to paint.
Her first painting was this self-
portrait which she dedicated to
Dr. Farill. "I was sick for a
year….seven operations on my
spine" she noted in her diary,
and "Dr. Farill saved me".

122. 1954 Autorretrato con el Retrato de
Diego en el Pecho y María
Entre las Cejas
After 1951, Frida was in such
severe pain that she was no
longer able to work without
taking
painkillers....sometimes with
alcohol. Her increasingly
strong medication may be the
reason for the looser, hastier,
almost careless brushwork,
thicker application of paint
and less precise execution of
detail which characterized her
late work.

123. 1954 Viva la Vida, Sandias
In the last years of her life,
Frida painted many still-lifes.
Eight days before she died,
she added a finishing touch to
this, her last painting, a still
life.
One last time Frida dipped her
brush into the red paint to
inscribe her name and
"Coyoacan 1954 Mexico" on
the foremost slice. Then, in
large capital letters, she wrote
the motto whose force makes
both her art and her legend
live: "VIVA LA VIDA", she
wrote, "LONG LIVE LIFE".

124. Frida a los 16
años
Foto por
Guillermo Kahlo
1924
Frida a los 20 años
Foto por Guillermo
Kahlo
1927
Frida a los 18
años
Foto por
Guillermo
Kahlo
1926
Photoalbum

125. Frida (primera fila a
la izquierda)
y sus hermanas
Matilde y Adriana,
dos primas y un tío
1913
Retrato de la
Família Kahlo:
Frida Vestida de
Hombre
Foto por
Guillermo Kahlo
1926
Frida y su
hermana Cristina
Nueva York
Foto por Nickolas
Muray
1946

126. Frida y Diego en el Día
de Su Boda,
21 de agosto de 1929
Foto por Victor Reyes
Frida y Diego
Coyoacán, México
Foto por Nickolas
Muray
1938

127. Frida en
Nueva York
1933
Frida en Nueva
York
Foto por
Lucienne Bloch
1933
Frida en Nueva
York
Foto por Julien
Levy

128. Frida en San Francisco
Foto por Imogen
Cunningham
1931
Frida Llevando un
Corsé
Decorado por Ella
Coyoacán, México -
1941
Frida en el Patio de la
Casa Azul
Coyoacán, México -
1950
Foto por Florence
Arquin

129. Frida Pintando
"Autorretrato Como Tehuana"
Foto por Bernard Silberstein
1943
Frida y Su Amante, el Fotógrafo
Nickolas Muray
Foto por Nickolas Muray
1941
Frida y Emmy Lou Packard
en el Jardín de la Casa Azul
Foto por Diego - 1941

130. Frida y Diego
Coyoacán, México - 1954
Frida y Diego
en el Patio de la Casa Azul
Coyoacán, México -1948

131. Frida y Diego en el Hospital ABC
de México- 1950
Foto por Juan Guzman
Frida en Su Lecho de Muerte
13 de julio de 1954
Coyoacán, México
Foto por Lola Alvarez

132. Self-Portrait with Thorn Necklace.
1940

134. Joan Miro. Composition. 1933

135. • Liubov Popova. Set design for
the Magnanimous Cuckold.
1922.

137. Paul Klee. Twittering Machine. 1922
Paul Klee. Park near Lu(cerue). 1938

138. • Expressionism is a term used to denote the use of
distortion and exaggeration for emotional effect, which
first surfaced in the art literature of the early twentieth
century.
• Expressionist painting typically show intense color,
agitated brushstrokes, and disjointed space.
• Expressionism distorts reality for emotional effect, to
evoke moods or ideas.
• Expressionism was a cultural movement expressing
emotionality in painting, literature, theatre, dance, film,
architecture and music.
• Antonín Matějček in 1910 called expressionism the
opposite of impressionism: "An Expressionist wishes,
above all, to express himself... (an Expressionist rejects)
immediate perception and builds on more complex
psychic structures.
• Chaim Sountine and Georeges Roualt are two famous
French Expressionists painters.
• "View of Toledo" by El Greco, 1595/1610 has been
pointed out to bear a particularly striking resemblance
to 20th century expressionism. Historically speaking it is
however part of the Mannerist movement.

140. Kathe Kollwitz.
Never Again War! 1924

141. George Grosz. Germany, a
Winter's Tale. 1918

142. • Draw a story (beginning,
middle, end) in the style
of Kandinsky.
• Choose three shapes and
5 line qualities
• Have a starting point, and
an ending point
• The rest is up to you!

143. •Cold War era post WWII
•Time of Western prosperity
•rebellious, anarchic, highly idiosyncratic, nihilistic
•Gestural abstraction (spontaneously dribbled, splashed
or smeared onto canvas)
•Emphasizes the physical act of painting itself
•Painting=the ritual act of transforming consciousness

144. Adolph Gottlieb.
Descent into Darkness. 1947
•Myth maker expressing his sense
of impending disaster
•Carl Jung believed universal
archetypes are imbedded in our
psyches
•Gottlieb uses pictographs (picture
writing) from Classical themes
because of their mysterious,
instinctive appeal
•We are cast into the dark,
primitive real of the subconscious
•Evil of war
•Grid of Mondrian, yet Surrealist
•Cut and reassembled anatomy,
but must be read section by
section.
•Free association = intuitive
response

145. Arshile Gorky.
The Liver Is the Cock's
Comb. 1944
•Armenian
immigrant to
America after
Armeian
genocide
•Personal
mythology
•Metamorphic
shapes
•Aggressive,
colorful,
dynamic
forms are
attractive
AND repulsive

146. • Drip painting
• Looks easy, but no one
has ever been able to
replicate the amazing
complexity of his drips
• Revolutionary
technique
• Emotional appeal
• ACT of painting with
full body
• Making is mark in an
existential world

147. I am nature

148. Jackson Pollock .
Autumn Rhythm:
Number 30, 1950.
1950
•Alive, Sensuous, Rich, Motion
•Energy he rides like a cowboy
•Frenzy of psychophysical action
•Field of combat
•Wholistic, decentered web
•Structured chaos; space without beginning or end, expanse of the west

150. Lee Krasner. Celebration. 1959-60•Pollock’s wife
•Obviously influenced by Pollock
•Her breakthrough is reintroducing the figure (only suggested in
Pollock’s work) back into Abstract Expressionism while retaining its
automatic handwriting (figure is more clearly suggested here)

151. Cave art Bathroom
graffiti

152. Willem de Kooning.
Woman II. 1952
• Energy, risk, jagged
welter of brushstrokes
psychic impulses,
gestural
• repainted repeatedly
and intensely
• Unleashed nightmarish
specter from deep in
subconscious
• Primordial goddess,
archetypal Woman

153. • Honestly, at this point, the Americans have
really taken over modern art…
• But….

154. Jean Dubuffet.
Le Metafisyx (Corps de
Dames).
1950
• champion of what he
called L'art brut, "art-
in-the-raw,“
• Ironic: trying to be an
amateur made him
professional
• 2nd only to Picasso in
output
• Rejects traditional
standards of beauty

157. Karel Appel.
Burned Face. 1961
• Dutch COBRA
movement
• Subject matter of
Dubuffet
• Vivid colors of De
Kooning
• Inspired by jazz
• Lurking figural
elements

158. • Irish figurative painter,
gambler, risk taker
• Bold, graphic,
emotionally raw imagery
• Abstract figures appear
isolated in glass/steal
cages against flat,
nondescript backgrounds
• Bleak chronicler of
human condition
"unlock the deeper possibilities of sensation."
Three Studies for Figures at the Base
of a Crucifixion, 1944

159. Francis Bacon.
Head Surrounded by Sides of
Beef.
1954
• Haunted by
Velazquez’ Pope
Innocent X
• screaming ghost
• Black void
• Beef taken from a
Rembrandt painting

161. • canvas is stained with thin, translucent color
washes
• Usually acrylic which can be thinned with
water and flows

162. •Subject: a picture without a specific
subject, but not without content;
•suggestion of transcendent light,
inner illumination, but going dark;
•a metaphysical longing to transcend
the physical world of matter;
•to go beyond the finite to the
infinite;
•the "Sublime,“ (represented by the
white band in the center).
Mrs. Morris is obsessed with
Rothko. Even Jude has
reached an overload of
spiritual transcendence and
has tranced out at LACMA.

163. Mark Rothko.
Orange and Yellow. 1956
•Style: stacked color blocks with
frayed edges set floating against a
veiled color field;
•a "soft" geometry without any hard
edges;
•does away with line;
•the color blocks expand across the
field almost to the canvas edge;
•wholistic;
•the colors look almost breathed on;
•not about individual gesture; more
about color and light.
•Which shape is on top of which? He
painstakingly blends the edges
between.

164. Mark Rothko.
White and Greens in Blue. 1957
•Context: post-war
existentialism (alienation in
the void;
•death as what makes life
meaningful);
•more than mere formalism;
•color and light as the
expressive vehicles of feeling
and epiphany;
•abstraction as a search for
essence and the Sublime.

165. Before his
death, he lost
his vision of
the white
band of light,
the sublime,
and
everything
went deep
red….

166. •He created a chapel of his artwork
•If you walk past it in the museum, it looks like the typical “joke” of modern art.
•You have to SIT FOR A LONG TIME AND STARE AT IT to get into it. It starts
flickering. You see the meaning of life.
•Mrs. Morris wrote her 10 page final research paper on Rothko….Therefore for
the context of this picture, to quote Jason:
Not every beholder responds
to the works of this withdrawn,
introspective artist.
For those
who do, the
experience is
akin to a
trancelike
rapture.

167. Helen Frankenthaler.
The Bay. 1963
• Six decades of
work
• Large scale
• Color Field
painting
• Soak-stain
process, then
crops and titles.
Always leaves
white breathing
space.
• Biomorphic
forms—nature
as felt, not seen

168. Morris Louis. Blue Veil. 1958-59
• Abstract veils of color
• Soak-stain method
• Secretive about process
• Directed flow of paint with long sticks
fastened with gauze
• Pigment and surface of the canvas
become one
• Form as content
• Logical and systematic (while
Frankenthaler is intuitive)

169. Less is more

170. Ellsworth Kelly. Red Blue
Green. 1963
• Fundamental aesthetic
values of art
• No content

171. Frank Stella. Empress of India. 1965
• Notice Jason can only
talk about its shapes and
how it’s made?
• Look at it. Enjoy the
aesthetic.

173. • Civil rights movement = search for artistic
identity. 3 tendencies:
• 1) Abstractionists: interested in personal
aesthetic (no such thing as “black” art, just
“good” art)
• 2) Representational styles create a more
direct political message
• 3) Decorative arts achieve a universal ethnic
statment

174. Romare Bearden.
The Prevalence of Ritual:
Baptism. 1964
•Collage technique
•Depicts “the life of
my people as I know
it. passionately and
dispassionately as
Brueghel. My
intention is to reveal
through pictorial
complexities the life
I know.”
•Intricate
composition
•Familiar tribal mask
forms
•Appeals to all races

175. William T. Williams.
Batman. 1979
•Like a jazz improvisation:
He interweaves his color
and brushwork within a
contrasting two-part
structure that permits
endless variations on the
central theme.
•Light, pattern, and
texture evoke a
landscape of the artist’s
memories of the South

176. Raymond Saunders.
White Flower Black
Flower. 1986
•Graffiti, church
facades, store
signs, restaurant
menus—random
motifs
•No meaning, free
association
•Representational
v. abstract
•“real” collage v.
“imitation”
graffiti
•Pure geometry v.
painterly gesture

177. • "Optical art is a method of painting concerning
the interaction between illusion and picture
plane, between understanding and seeing.“
• movement, hidden images, flashing and vibration,
patterns, or alternatively, of swelling or warping

179. Josef Albers.
Homage to the Square:
Apparition.
1959
•Color theory
w/geometric shapes
•Developed through
experimentation
and theory
•Push/pull of
contrasting,
complimentary
colors

180. Richard Anuszkiewicz.
Entrance to Green. 1970
•Albers’ student: but he
relaxed Albers’ self-
imposed restrictions
•Infinite recession of
rectangles towards center
•Gradual shift from cool to
warm tones
•Expressive intensity
•Push-pull mystical power

181. • Includes imagery from popular mass culture
(advertising, news, comics, mundane cultural
found objects, etc.)
• Sometimes visually removed from context
• Commercial art is our rich visual environment

182. Richard Hamilton.
Just What Is It That Makes
Today's
Home So Different, So
Appealing?
1956
•Yay for
commercial
culture!

183. Jasper
Johns. Three
Flags. 1958
•Meticulously and with great
precision paints familiar objects
•Image v. reality
•Unnatural, ridged flags don’t
move, but colors do.
•What is a flag? What is this
symbol?
•Picture = feat of imagination

184. Johns challenges our
perceptions of familiar objects.
Representation / abstraction?
What/who is Mr. Morris?
Subject = target

185. • Comic strip subject matter
• Hard-edged, precise compisitions
• Parodied and documented this style
• Pop Art is “industrial painting” –Roy
• Enlarged frames, balloons, simplified black
outlines, stylized forms, dots for printing
colors on cheap paper

186. Roy Lichtenstein.
Drowning Girl. 1963
•Instantly
recognizable
image (or
moment) –
damsel in
distress
•By making it
art, taking it out
of the context
of the whole
story, he makes
you realize this
is totally
remote from
real life

187. • Relationship between artistic
expression, celebrity culture,
and advertisement
• Openly gay before the gay
liberation movement
• Some of the most expensive
paintings ever sold
• Art = market culture

188. Andy Warhol.
Gold Marilyn Monroe. 1962.
•Media overkill
•Modern Madonna/ vanitas
(sins of flesh, immanence of
death)
•Person reduced to cheap
commodity
•Made impersonal by mass
production
•Photo-silkscreen mass
produced art (he paid others to
make it)
•De-personalized, anti-painterly,
anti-subjective, removes artist’s
personal touch (printing
process makes distinctions
between prints via smudges)

191. • Turns a photo into uniformly sharp focus.
• Articulates details lost in shadows
• Pictorial coherence through brilliant color

192. Don Eddy. New Shoes for H. 1973-74.

193. Richard Estes. The Candy Store New York City .1968
•Archaeologist of
modern urban life
•Arresting visual
experience of a humble
storefront

194. Richard Estes. Telephone Booths.

195. Audrey Flack. Queen.
1975-76
•Feminism:
•“traditional”
women’s crafts
(esp. textiles)
•Collage: Pattern
& Decoration
•Or painting
realism
•Queen =
extended
allegory, female
experience

196. • Reaction against conceptual and minimal art
• Bring back recognizable objects in vivid
colour!

197. Francesco Clemente.
Untitled. 1983
•Italian
•fearless in recording
urges and memories
that the rest of us
repress
•Art = cathartic
necessity that
releases but never
resolves impulses of
self-awareness
•Portraits suggest
soul bombarded by
taboo drives and
sensations
•Unsensual, yet
riveting subject
•Vivid nightmare
•Psychological terror

198. Anselm Kiefer.
To the Unknown
Painter. 1983
•German
•Seek to re-weave
threads of
broken history of
art, thanks to
Hitler
•This depicts a
memorial to the
painters whose
art was a
casualty of
Fascism

199. Susan Rothenberg.
Mondrian. 1983-84
•American
•Horse is her thematic
focus
•Here her portrait of
Mondrian shows him
coming out of a
nightmare ,as his art is
her antithesis

200. Jennifer Bartlett.
Water. 1990
•Turns Water
Lilies into a
Vanitas, playing
between 2 and
3D elements
•Removed from
reality so we’re
forced to
contemplate its
meaning

201. Elizabeth Murray.
More Than You Know. 1983
•Eerie 3D effect
•Unbearable tension
•Table is ready to
turn into a figure
with a skull-like
head
•Room reminds her
of where she sat
with her ill mother

202. Kay Walkingstick. On the Edge. 1989
•Cherokee
•Outpouring of grief after death of her
husband
•Left side shows her typical work
(suggests manmade feature in primitive
landscape like an ancient mound
builder),
•right side shows her torrent of anguish
•Shows contrasting aspects of nature as
spiritual center and generative force
(order + chaos, calm contemplation +
powerful emotion)