Early Twentieth-Century Art
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| 775138403 | Prairie Style | 1900-1917 Frank Lloyd Wright | |
| 775138404 | Fauvism | 1905 Matisse | |
| 775138405 | Expressionism | 1905-1930s Modersohn-Becker | |
| 775138406 | The Bridge | 1905, Kirchner | |
| 775138407 | The Blue Rider | 1911, Kandinsky, Marc | |
| 775138408 | Cubism | 1907-1930s, Picasso | |
| 775138409 | Futurism | 1909-1914, Boccioni | |
| 775138410 | Metaphysical Painting | 1910-1920s, DeChirico | |
| 775138411 | Suprematism | 1913-1920s, Malevich | |
| 775138412 | Constructivism | 1914-1920s, Tatlin | |
| 775138413 | Dada | 1916-1925, Duchamp | |
| 775138414 | DeStijl | 1917-1930s, Mondrian, Rietveld | |
| 775138415 | Bauhaus | 1919-1933, Gropius | |
| 775138416 | Precisionism | 1920s, O'Keeffe | |
| 775138417 | Mexican Muralists | 1920s-1930s, Rivera | |
| 775138418 | International Style | 1920s-1930s, Le Corbusier | |
| 775138419 | Surrealism | 1924-1930s, Dali, Kahlo, Miro, Oppenheim | |
| 775138420 | Art Deco | 1920-1930s, Van Alen | |
| 775138421 | Organic Art | Late 1920s-1930s, Brancusi, Moore | |
| 775138422 | Depression Era Art | 1930s, Hopper, Lange, Lawrence, Wood | |
| 775138423 | Historical Background | World War I and II, Great Depression, artistic expression flourished despite the tragedies, some movements fed on cataclysms | |
| 775138424 | Patronage | sponsored by cultivated and intellectual patrons who were members of the avant-garde, saw art as a way to embrace the modern spirit in a cultured way, Gertrude Stein, promoted artists through sponsorship and connections, MUSEUMS, became works of art in themselves, commissioned works of sculpture as well | |
| 775138425 | Armory Show | 1913, introduced modern art to American audiences, was reviled | |
| 775138426 | Advances in Architecture | ferroconcrete, cantilever, skeleton frameworks, cantilever, avoid historical associations | |
| 775138427 | Advances in Painting | color was used to evoke a feeling and challenge the viewer, perspective was violently titled, compositions were altered, abstraction became first feature of modern art, abstract form in center, frottage and collage techniques, relegated to children's art, experimentation led Europeans to draw inspiration from African cultures | |
| 775138428 | Abstraction | the simplifying of an observed reality so that the essence of an object is portrayed | |
| 775138429 | Advances in Sculpture | new materials like plastic, new formats like collages, mobiles, found object, ready-mades | |
| 775138430 | Fauvism | 1905, SALON D'AUTOMNE in Paris, thought paintings looked like they were created by "Wild Beasts', inspired by Gauguin and van Gogh, work exhibited in Paris, stressed painterly surface with broad flat areas, figure modeling, color harmonies | |
| 775138431 | Woman with a Hat | conventional composition, violent contrasts of color, energetic painterly brushwork, exhibited at 1905 Salon d'Automne, Matisse's wife |  |
| 775168490 | Die Bruke | "The Bridge", EXPRESSIONISM, 1905, bridge from traditional to modern painting, emphasized Fauve ideas expressed in violent juxtapositions of color, so purposely roused the ire of critics and the public | |
| 775168491 | Der Blaue Reiter | "The Blue Rider", EXPRESSIONISM, 1911, horses and the color blue, began to forsake representational art and move toward abstraction, intellectual and filled with theories of artistic representation, conceiving natural world beyond what was represented | |
| 775168492 | Concerning the Spiritual in Art | influential essay by Kandinsky, expressed his theories on color and form for the modern movement | |
| 775168493 | Self-Portrait with an Amber Necklace | MODERSOHN-BECKER, EXPRESSIONISM, 1906, similar to this one, unusual self-portrait, artist portrays herself as nude, presents two flowers, fertility and beauty, looks out at viewer, mixture of confidence, tenderness of humanity, thick paint application, interlocking surfaces of color | |
| 775168494 | Improvisation 28 | KANDINSKY, DER BLAUE REITER, 1912, movement toward abstraction, representational objects, title derived from musical compositions, articulated use of black lines, colors seem to shade around line forms |  |
| 775168495 | Large Blue Horses | MARC, DER BLAUE REITER, 1911, swirling shapes and dynamic compositions, suggests sweeping movement, emotional impact of blue color for horses |  |
| 775168496 | Street, Dresden | KIRCHNER, EXPRESSIONISM, 1908, uncomfortably close encounter with women on a Dresden Street, colors are nonrepresentational, but symbolic, expressive quality of horrified facial features and grim surroundings, titled perspective moves things closer |  |
| 775168497 | Cubism | Pablo Picasso in 1907, influenced by simple geometries of African masks, inspired to break down the human form into angles and shapes, achieving a new way of looking at the human figure from many sides at once, dominated by wedges and facets that simulate depth | |
| 775168498 | Analytical Cubism | highly experimental, shows jagged edges, sharp multifaceted lines | |
| 775168499 | Synthetic Cubism | initially inspired by collages, found objects and featured flattened forms | |
| 775168500 | Curvilinear Cubism | more flowing rounded response to the flattened and firm edges of Synthetic | |
| 775168501 | Les Demoiselles d'Avignon | PICASSO, CUBISM, 1907, first Cubist work, represents five prostitutes, poses are not traditionally alluring, awkward, expressionless, uninviting, three are more conservatively, two painted more radically, multiple views shown at same time, no real depth |  |
| 775168502 | Guernica | PICASSO, CUBISM, 1937, Painted for Spanish pavilion, 1937, reaction to Fascist bombing, done in black and white, usually not a symbolic painter, Pieta on left with stigmata, bull symbolizes brutality and darkness, fallen warrior holds broken sword, women with torch is allegory of Liberty, wounded figures rush in, perspective on bottom |  |
| 775168503 | Futurism | group of Italian artists came together to celebrate the scientific and technological progress of the modern world, glory and fascination with MACHINES, influenced by Cubists, enjoyed prismatic effects of representation | |
| 775168504 | Unique Forms of Continuity in Space | BOCCIONI, FUTURISM, similar to Nike, affected by the atmosphere around it, strides pridefully forward, 1913, bronze |  |
| 775168505 | Nude Descending a Staircase | DUCHAMP, 1912, Armory Show, depicts an assumed nude going down a flight of stairs, limited color range |  |
| 775168506 | Photo-Secession | Alfred Stieglitz, Gallery 291, most progressive art gallery in the US, showcased photographs beside avant-garde paintings | |
| 775168507 | The Steerage | STIEGLITZ, PHOTO-SECESSION, arranged little and allowed people and events to make their own compositions, diagonals and lines as framing elements, diagonals and framing effects of ladders, sails, steam pipes, etc., poorest people traveling from US to Europe, rejected immigration |  |
| 775168508 | Precisionism | loosely organized 1920s movement, stressed the flat precession of synthetic Cubism and interest in the sharp edges of machinery | |
| 775168509 | Light Iris | O'KEEFFE, 1924, PRECISIONISM, simplified monumental shapes, organic forms, minimal details, monumentality of delicate flower, broad planes of unmodulated color, titled perspective, erotic overtones, female sexuality, naturally beautiful flower |  |
| 775168510 | Dada | "hobby horse", nonsense word, rejected conventional methods of representation, conventional manner in which they were represented, disillusioned by the slaughter of WWI, oil and canvas abandoned, READY-MADES, did work on glass, challenged relationship between words and images, meaning contingent upon location or accident | |
| 775168511 | Fountain | DUCHAMP, DADA, ready-made sculpture, entered in a show, but was refused, R. Mutt was signed, urinal collects liquid, doesn't spout it |  |
| 775168512 | Ready-Made | a functional manufactured object that is displayed as a work of art for its unintentional aesthetic qualities. | |
| 775168513 | Metaphysical Painting | Italian movement, flourished in 1910s and 1920s, human beings cast in open and mysterious plazas of infinite space, introduction of alien elements, created enigmas, influenced by work of German philosophers, asks the viewer to interpret the meaning based on symbols, suggestions, and impressions | |
| 775168514 | Melancholy and Mystery of a Street | DECHIRICO, METAPHYSICAL, 1914, deep pull into space, shadowy eerie forms, create mystery and foreboding, juxtaposition of large dark spaces and open light vistas, empty van with nothing in it |  |
| 775168515 | Surrealism | inspired by Freud and Jung, sought to represent an unseen world of dreams, subconscious thoughts, and unspoken communication, starting the the theories of Breton, biomorphic and suggestive forms, veristic tradition of using reality-based subjects, looking at a painting's title confuses, meant to puzzle, challenge, and fascinate | |
| 775178340 | Two Children Are Threatened by a Nightingale | ERNST, SURREALISM, 1924, why is a nightingale out in the daytime? how could a bird frighten children so much? relative size between fence and children? shadowy figure in house? what will happen when the figure pushes the button? | |
| 775178341 | Persistence of Memory | DALI, SURREALISM, huge empty spaces suggested by vast landscape, drooping watches all tell different times, only life is the fly on watch, ants on closed watch fob, hallucinatory, bonelike, barren landscape, visual ironies |  |
| 775178342 | Painting | MIRO, SURREALISM, 1933, biomorphic shapes set on a series of simple background colors, harmonies are softly modeled, shapes suggest realistic objects, delineated by solid black outlines, some are filled in with black, amoeba-like shapes, forms interact in a free-flowing pattern |  |
| 775178343 | Lobster Tail and Fish Trap | CALDER, SURREALISM, mobile hung from ceiling, perfectly balanced and changing shape in the breeze, primary and neutral colors, biomorphic flat forms, MoMA |  |
| 775178344 | Alexander Calder | inventor of the mobile | |
| 775178345 | Object | OPPENHEIM, SURREALISM, said to have been done in response to Picasso's claim that anything looks good in fur |  |
| 775178346 | The Two Fridas | KAHLO, SURREALISM, 1939, juxtaposition of two self-portraits, left is Spanish lady in white lace, right is Mexican peasant, stiffness and provincial quality of Mexican folk art, two hearts are intertwined by veins that are cut by scissors, barren landscape, two figures sit against an active sky |  |
| 775178347 | Suprematism | powerful independent movement before the Russian Revolution, so named because they thought nonobjective reality was greater than anything else, produced canvases called "SUPREMACY OF PURE FEELING", forms float on white background, usually suspended in thoughtful arrangements, limited use of color, geometric shapes | |
| 775199166 | Airplane Flying | MALEVICH, SUPREMATISM, simple rectangular forms placed the white background, compositions asks us to contemplate relationship of forms, pure idealism of forms, said he wanted to "free art from burden of the object" |  |
| 775199167 | Constructivism | experimented with new architectural materials, assembled them in a way devoid of historical reference, Tatlin and others saw the new Russia as an idealistic center removed form historical reference and decoration, influenced by Cubists and Futurists, designed buildings with no precise facades, placed on dramatic use of materials | |
| 775199168 | Monument to the Third International | TATLIN, CONSTRUCTIVISM, commemorates Russian Revolution, believed abstract art represented new society built free of past associations, to have been made of iron and glass, Axis pointed to Polaris, three chambers were to rotate around a central axis, bottom glass structure, middle for administration, top information center, lacks main facade, never built, would have been world's tallest building |  |
| 775199169 | DeStijl | movement symbolized by MONDRIAN, reached its height between 1917 and 1930s, COMPLETELY ABSTRACT, make no reference to nature, painted on a white background, use black lines to shape rectangular shapes, primary colors, painted without modulation, perpendicular lines | |
| 775199170 | Composition in Black and White and Red | MONDRIAN, DESTIJL, only primary colors, severe geometry of forms, all right angles, gridlike, no shading |  |
| 775199171 | Schroder House | RIETVELD, DESTIJL, arrangement suggesting DeStijl paintings, geometric grid-like facade, asymmetrical interlocking planes, private rooms of house on bottom floor, free-flowing interior has partitions |  |
| 775199172 | Bauhaus | school of architecture and interior design, taught that all art forms should be designed as a unit, technology was embraced, students encouraged to understand all aspects of art, free combining of science and fine arts | |
| 775199173 | The Bauhaus | GROPIUS, BAUHAUS, building lifted off ground, seems to float, framing white horizontal string courses embrace the building, glass walls reveal classrooms beyond, devoid of embellishments or architectural motifs, "house of building" |  |
| 775199174 | International Style | Le Corbusier, house is a "MACHINE FOR LIVING", streamlined qualities of Bauhaus, celebrates clean, spacious white lines, skeleton system which holds the building up from within, great planes of glass wrap around, lack of architectural ornament and avoidance of sculpture and painting applied to the outside | |
| 775199175 | Villa Savoye | LE CORBUSIER, three-bedroom villa with servant's quarters, boxlike horizontal quality, main part of house lifted off ground, turning circle on bottom is carport, all space is utilized |  |
| 775199176 | Prairie Style | concerns a group of Chicago architects from 1900 to 1917, Frank Lloyd Wright, rejected the idea that buildings should be done in historic style, buildings should be in harmony with their site, complex irregular plans and forms that seemed to reflect contemporary painting, rectangles, squares, circles, botanical spaces, organic qualities of materials, believed to be most beautiful | |
| 775199177 | Cantilever | a projecting beam anchored without support, used by Frank Lloyd Wright | |
| 775199178 | Robie House | FRANK LLOYD WRIGHT, PRAIRIE STYLE, accent on the horizontal nature of the prairie reflected long ground-hugging lines of the building, cantilever construction, porches covered by long balconies, corners were turned with windows, roof angled to allow low winter sun to center, built without blinds or curtains in mind, entrance hidden from view |  |
| 775199179 | Falling Water | FRANK LLOYD WRIGHT, PRAIRIE STYLE, cantilevered porches extend over waterfall, accent on horizontal lines, architecture in harmony with site, living room contains glass curtain wall, floor of living room are made from stone, hearth is the center of the house, suppression of space devoted to hanging a painting, irregularity and complexity of ground plan |  |
| 775199180 | Art Deco | expresses refined taste in streamlined art, focus on industry, machine, and aerodynamics, developed in opposition to International Style, comes from 1925 Exposition, replaces vegetal forms of Art Nouveau with machine stylization, stylized automobile wheels and grills | |
| 775199181 | Chrysler Building | VAN ALEN, ART DECO, tallest building in the world at the time, lobby clad in rich mix of marble, onyx, etc., extensive use of streamlined metalwork in facade, car motifs dominate, metal hubcaps, gargoyles in form of radiator caps, stainless steel used for beauty of metal and easy maintenance |  |
| 775199182 | Organic Art | uses a few basic shapes and builds upon these, more symbolic than depictive, belief in the honesty of simple shapes, sleekness and roundness of forms, makes sculptures seem deceptively simple, show great understanding | |
| 775199183 | Bird in Space | BRANCUSI, ORGANIC, anchored onto marble base, figure soars up directly before us, not image of bird, impression of bird sweeping into sky, shiny bronze surface, famous trial over importation of object |  |
| 775199184 | Reclining Figure | MOORE, ORGANIC, 1947, did many on this theme, simplified forms with great areas of negative space, made of highly polished bronze, negative space emphasized, biomorphic forms, influenced by ancient Mayan figures | |
| 775211604 | Depression Era Art | American art recognized the plight of destitute, raised social issues and concerns, Documentary Photography, Lawrence's migration series, city life, country life, Harlem Renaissance | |
| 775211605 | Documentary Photography | a type of photography that seeks social and political redress for current issues by using photographs as a way of exposing' society's faults | |
| 775211606 | Migrant Mother | LANGE, DEPRESSION ERA, 1935, photographed migrant workers in California, children turn away, mother is symbol of despair and anxiety, yet has strength and determination, poverty expressed in rags the infant is wrapped in, documentary photography |  |
| 775211607 | Nighthawks | HOPPER, DEPRESSION ERA, simple, quiet composition, one that denotes tension, city location that seems empty and deserted, loneliness of modern life, we see through the glass window, no exterior door, three customers have no interaction, one counterman seems to listen, clarity of forms |  |
| 775211608 | Migration of the Negro | LAWRENCE, DEPRESSION-ERA, similar to this one, series of sixty paintings that depicts migration of African-Americans from rural South to urban North, overall color unity in the series unites each painting, forms hover in large spaces, flat simple shapes, unmodulated colors, collective African-American experience |  |
| 775211609 | American Gothic | WOOD, DEPRESSION-ERA, emphasized Midwestern subjects, Artist's sister and his dentist, meant to represent father-daughter, long oval heads, narrow chins, sloping shoulders, expression of disapproval or hostility, pitchfork design reflected in farmer's shirt, artist resisted interpreting the painting |  |
| 775211610 | Mexican Muralists | major revival, started doing old-age tradition of frescos, promoted a political or a social message, didactic paintings have unmistakable meaning rendered in an easy-to-read format, themes promote labor and struggle of the working classes, Socialist agenda | |
| 775211611 | Biomorphism | a movement stressing organic shapes that hint at natural forms | |
| 775211612 | Collage | a composition made by pasting together different items onto a flat surface | |
| 775211613 | Ferroconcrete | steel reinforced concrete, materials act together to resist building stresses | |
| 775211614 | Frottage | a composition made by rubbing a crayon or a pencil over paper placed over a surface with a raised design | |
| 775211615 | Harlem Renaissance | particularly rich artistic period in the 1920s and 1930s that is named after the African-American neighborhood in NYC where it emerged, marked by a cultural resurgence by African-Americans in painting, writing, music, and photography | |
| 775211616 | Mobile | a sculpture made of several different items that dangle from a ceiling and can be set in motion by air currents | |
| 775211617 | Regionalism | an American art movement from the early twentieth century that emphasized Midwestern rural life in a direct style |
