Term
| 29-2 HENRI MATISSE, Woman with the Hat, 1905. Oil on Canvas, 2′ 7¾″ × 1′ 11½″. San Francisco Museum of Modern Art, San Francisco (bequest of Elise S. Haas)Fauvism |
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Definition
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Term
| 29-1 HANNAH HHÖCH, Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany, 1919–1920. Photomontage, 3′ 9″ × 2′ 11½″. Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin. Dada |
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Definition
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Term
| 29-3HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on Canvas, 5′ 11″ × 8′ 1″. State Hermitage Museum, Saint Petersburg. Fauvism |
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Definition
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Term
| 29-4 ANDRÉ DERAIN, The Dance, 1906. Oil on Canvas, 6′ ⅞″ × 6′ 10¼″. Fridart Foundation, London. Fauvism |
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Definition
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Term
| 29-5 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on Canvas, 4′ 11¼″ × 6′ 6⅞″. Museum of Modern Art, New York. Die Brucke |
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Definition
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Term
| 29-6 EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left panel of a triptych, oil on canvas, 2′ 10″ × 3′ 3″. Hamburger Kunsthalle, Hamburg. Die Brucke |
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Definition
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Term
| 29-7 VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on Canvas, 3′ 7⅞″ × 5′ 3⅞″. Solomon R. Guggenheim Museum, New York (gift of Solomon R. Guggenheim, 1937). Der Blaue Reiter |
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Definition
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Term
| 29-9 KÄTHE KOLLWITZ, Woman with Dead Child, 1903. Etching and softground etching, overprinted lithographically with a gold tone plate, 1′ 4⅝″ × 1′ 7⅛″. British Museum, London. Der Blaue Reiter |
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Definition
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Term
| 29-10 EGON SCHIELE, Nude Self-Portrait, Grimacing, 1910. Gouache, Watercolor, and Pencil on Paper, 1′ 10″ × 1′ 2⅜″. Albertina, Vienna |
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Definition
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Term
| 29-10A LEHMBRUCK, Seated Youth, 1918. New Sachlichkeit |
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Definition
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Term
| 29-11 PABLO PICASSO, Gertrude Stein, 1906–1907. Oil on Canvas, 3′ 3⅜″ × 2′ 8″. Metropolitan Museum of Art, New York (bequest of Gertrude Stein, 1947. Pre-Cubism |
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Definition
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Term
| 29-12 PABLO PICASSO, Les Demoiselles d’Avignon, 1907. Oil on Canvas, 8′ × 7′ 8″. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest). Pre-Cubism |
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Definition
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Term
| 29-13 FRANK GELETT BURGESS, photograph of Pablo Picasso in his studio in the rue Ravignan, Paris, France, 1908. Musée Picasso, Paris |
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Definition
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Term
| 29-14 GEORGES BRAQUE, The Portuguese, 1911. Oil on Canvas, 3′ 10⅛″ × 2′ 8″. Kunstmuseum Basel, Basel (gift of Raoul La Roche, 1952). Cubism |
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Definition
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Term
| 29-16 PABLO PICASSO, Still Life with Chair-Caning, 1912. Oil, oilcloth, and rope on canvas, 10⅝″ × 1′ 1¾″. Musée Picasso, Paris. Cubism |
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Definition
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Term
| 29-17 GEORGES BRAQUE, Bottle, Newspaper, Pipe, and Glass, 1913. Charcoal and various papers pasted on paper, 1′ 6⅞″ × 2′ 1¼″. Private collection, New York. Cubism |
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Definition
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Term
| 29-18 PABLO PICASSO, Guernica, 1937. Oil on Canvas, 11′ 5½″ × 25′ 5¾″. Museo Nacional Centro de Arte Reina Soifia, Madrid. Cubism |
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Definition
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Term
| 29-19 PABLO PICASSO, maquette for Guitar, 1912. Cardboard, string, and wire (restored), 2′ 1¼″ × 1′ 1″ × 7½″. Museum of Modern Art, New York. Cubism |
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Definition
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Term
| 29-20 ALEKSANDR ARCHIPENKO, Woman Combing Her Hair, 1915. Bronze, 1′ 1¾″ × 3¼″ × 3⅛″. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest). Cubism |
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Definition
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Term
| 29-21 JULIO GONZÁLEZ, Woman Combing Her Hair, 1936. Iron, 4′ 4″ × 1′ 11½″ × 2′ ⅝″. Museum of Modern Art, New York (Mrs. Simon Guggenheim Fund). Cubism |
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Definition
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Term
| 29-22 FERNAND LEGER, The City, 1919. Oil on Canvas, 7′ 7″ × 9′ 9½″. Philadelphia Museum of Art, Philadelphia (A. E. Gallatin Collection). Purism |
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Definition
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Term
| 29-22A LÉGER, Three Women, 1921. Purism |
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Definition
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Term
| 29-23 GIACOMO BALLA, Dynamism of a Dog on a Leash, 1912. Oil on Canvas, 2′ 11⅜″ × 3′ 7¼″. Albright-Knox Art Gallery, Buf alo (bequest of A. Conger Goodyear, gift of George F. Goodyear, 1964). Futurism |
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Definition
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Term
| 29-24 UMBERTO BOCCIONI, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 3′ 7⅞″ × 2′ 10⅞″ × 1′ 3¾″. Museum of Modern Art, New York (acquired through the Lillie P. Bliss Bequest). Futurism |
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Definition
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Term
| 29-25 GINO SEVERINI, Armored Train, 1915. Oil on Canvas, 3′ 10″ × 2′ 10⅛″. Collection of Richard S. Zeisler, New York |
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Definition
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Term
| 29-26 JEAN (HANS) ARP, Collage Arranged According to the Laws of Chance, 1916–1917. Torn and pasted paper, 1′ 7⅛″ × 1′ 1⅝″. Museum of Modern Art, New York. Dada |
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Definition
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Term
| 29-27 MARCEL DUCHAMP, Fountain (second version), 1950 (original version produced 1917). Glazed Sanitary China with Black paint, 1’ high. Philadelphia Museum of Art, Philadelphia. Dada |
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Definition
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Term
| 29-27A DUCHAMP, L.H.O.O.Q., 1919. Dada |
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Definition
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Term
| 29-28 MARCEL DUCHAMP, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915–1923. Oil, lead, wire, foil, dust, and varnish on glass, 9′ 1½″ × 5′ 9⅛″. Philadelphia Museum of Art, Philadelphia (Katherine S. Dreier Bequest). Dada |
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Definition
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Term
| 29-29 KURT SCHWITTERS, Merz 19, 1920. Paper collage, 7⅛″ × 5⅞″. Yale University Art Gallery, New Haven (gift of Collection Société Anonyme). Dada |
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Definition
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Term
| 29-30 KAZIMIR MALEVICH, Suprematist Composition: Airplane Flying, 1915 (dated 1914). Oil on Canvas, 1′ 10⅞″ × 1′ 7″. Museum of Modern Art, New York |
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Definition
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Term
| 29-31 NAUM GABO, Column, ca. 1923 (reconstructed 1937). Perspex, wood, metal, glass, 3′ 5″ × 2′ 5″ × 2′ 5″. Solomon R. Guggenheim Museum, New York |
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Definition
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Term
| 29-32 VLADIMIR TATLIN, Monument to the Third International, 1919–1920. Reconstruction of the lost model, 1992–1993. Kunsthalle, Düsseldorf |
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Definition
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Term
| 29-33 ADOLF LOOS, garden facade of the Steiner House (looking northwest), Vienna, Austria, 1910 |
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Definition
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Term
| 29-34 JOHN SLOAN, Sixth Avenue and Thirtieth Street, New York City, 1907. Oil on Canvas, 2′¼″ × 2′ 8″. Philadelphia Museum of Art, Philadelphia (gift of Meyer P. Potamkin and Vivian O. Potamkin, 2000) |
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Definition
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Term
| 29-35 MARCEL DUCHAMP, Nude Descending a Staircase, No. 2, 1912. Oil on Canvas, 4′ 10″ × 2′ 11″. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection). Dada |
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Definition
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Term
| 29-36 ARTHUR DOVE, Nature Symbolized No. 2, ca. 1911. Pastel on paper, 1′ 6″ × 1′ 9⅝″. Art Institute of Chicago, Chicago (Alfred Stieglitz Collection) |
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Definition
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Term
| 29-37 MAN RAY, Cadeau (Gift), ca. 1958 (replica of 1921 original). Painted flatiron with row of 13 tacks with heads glued to the bottom, 6⅛″ × 3⅝″ × 4½″. Museum of Modern Art, New York (James Thrall Soby Fund) |
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Definition
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Term
| 29-38 MARSDEN HARTLEY, Portrait of a German Officer, 1914. Oil on Canvas, 5′ 8¼″ × 3′ 5⅜″. Metropolitan Museum of Art, New York (Alfred Stieglitz Collection) |
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Definition
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Term
| 29-39 STUART DAVIS, Lucky Strike, 1921. Oil on Canvas, 2′ 9¼″ × 1′ 6″. Museum of Modern Art, New York (gift of the American Tobacco Company, Inc.). © Estate of Stuart Davis/Licensed by VAGA, New York |
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Definition
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Term
| 29-40 AARON DOUGLAS, Noah’s Ark, ca. 1927. Oil on Masonite, 4′ × 3′. Fisk University Galleries, University of Tennessee, Nashville |
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Definition
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Term
| 29-40A DOUGLAS, Slavery through Reconstruction, 1934 |
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Definition
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Term
| 29-41 CHARLES DEMUTH, My Egypt, 1927. Oil on composition board, 2′ 11¾″× 2′ 6″. Whitney Museum of American Art, New York (purchased with funds from Gertrude Vanderbilt Whitney). Precisionism |
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Definition
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Term
| 29-42 GEORGIA O’KEEFFE, New York, Night, 1929. Oil on Canvas, 3′ 4⅛″ × 1′ 7⅛″. Sheldon Memorial Art Gallery, Lincoln (Nebraska Art Association, Thomas C. Woods Memorial Collection). Precisionism |
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Definition
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Term
| 29-43 ALFRED STIEGLITZ, The Steerage, 1907 (print 1915). Photogravure (on tissue), 1′ ⅜ × 10⅛″. Amon Carter Museum, Fort Worth |
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Definition
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Term
| 29-44 EDWARD WESTON, Pepper No. 30, 1930. Gelatin silver print, 9½″ × 7½″. Center for Creative Photography, University of Arizona, Tucson |
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Definition
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Term
| 29-44A WESTON, Nude, 1925 |
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Definition
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Term
| 29-45 FRANK LLOYD WRIGHT, Robie House (looking northeast), Chicago, Illinois, 1907–1909 |
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Definition
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Term
| 29-47 WILLIAM VAN ALEN, Art Deco spire of the Chrysler Building (looking south), New York, New York, 1928–1930 |
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Definition
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Term
| 29-48 GEORGE GROSZ, The Eclipse of the Sun, 1926. Oil on Canvas, 6′ 9⅝″ × 5′ 11⅞″. Heckscher Museum of Art, Huntington |
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Definition
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Term
| 29-48AGROSZ, Fit for Active Service, 1916–1917 |
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Definition
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Term
| 29-49MAX BECKMANN, Night, 1918–1919. Oil on Canvas, 4′ 4⅜″ × 5′¼″. Kunstsammlung Nordrhein-Westfalen, Düsseldorf |
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Definition
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Term
| 29-50OTTO DIX, Der Krieg (The War), 1929–1932. Oil and Tempera on wood, 6′ 8⅓″ × 13′ 4¾. Staatliche Kunstsammlungen, Gemäldegalerie Neue Meister, Dresden |
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Definition
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Term
| 29-51ERNST BARLACH, War Monument, Güstrow Cathedral, Güstrow, Germany, 1927. Bronze |
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Definition
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Term
| 29-52GIORGIO DE CHIRICO, The Song of Love, 1914. Oil on Canvas, 2′ 4¾″ × 1′ 11⅜″. Museum of Modern Art, New York (Nelson A. Rockefeller bequest) |
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Definition
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Term
| 29-53MAX ERNST, Two Children Are Threatened by a Nightingale, 1924. Oil on wood with wood construction, 2′ 3½″ × 1′ 10½″ × 4½″. Museum of Modern Art, New York |
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Definition
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Term
| 29-54Adolf Hitler, accompanied by Nazi commission members, including photographer Heinrich Hof mann, Wolfgang Willrich, Walter Hansen, and painter Adolf Ziegler, viewing the “Entartete Kunst” show on July 16, 1937 |
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Definition
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Term
| 29-55SALVADOR DALÍ The Persistence of Memory, 1931. Oil on Canvas, 9½″ × 1′ 1″. Museum of Modern Art, New York |
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Definition
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Term
| 29-56RENÉ MAGRITTE, The Treachery (or Perfidy) of Images, 1928–1929. Oil on Canvas, 1′ 11⅝″ × 3′ 1″. Los Angeles County Museum of Art, Los Angeles (purchased with funds provided by the Mr. and Mrs. William Preston Harrison Collection) |
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Definition
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Term
| 29-56AMAGRITTE, The False Mirror, 1928 |
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Definition
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Term
| 29-57MERET OPPENHEIM, Object (Le Déjeuner en fourrure), 1936. Fur-covered cup, 4⅜″ diameter; saucer, 9⅜″ diameter; spoon, 8″ long. Museum of Modern Art, New York |
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Definition
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Term
| 29-58JOAN MIRÓ, Painting, 1933. Oil on Canvas, 5′ 8″ × 6′ 5″. Museum of Modern Art, New York (Loula D. Lasker bequest by exchange) |
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Definition
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Term
| 29-59PAUL KLEE, Twittering Machine, 1922. Watercolor and pen and ink, on oil transfer drawing on paper, mounted on cardboard, 2′ 1″ × 1′ 7″. Museum of Modern Art, New York |
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Definition
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Term
| 29-59ALAM, The Jungle, 1943 |
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Definition
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Term
| 29-60PIET MONDRIAN, Composition with Red, Blue, and Yellow, 1930. Oil on Canvas, 1′ 6⅛″ × 1′ 6⅛″. Kunsthaus, Zürich. © Mondrian/Holtzman Trust c/o HCR International, VA, USA |
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Definition
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Term
| 29-61CONSTANTIN BRANCUSI, Bird in Space, 1924. Bronze, 4′ 2⅚″ high. Philadelphia Museum of Art, Philadelphia (Louise and Walter Arensberg Collection, 1950) |
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Definition
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Term
| 29-61ABRANCUSI, The Newborn, 1915 |
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Definition
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Term
| 29-62BARBARA HEPWORTH, Oval Sculpture (No. 2), 1943, cast 1958, plaster, 11¼″ × 1′ 4¼″ × 10″ Tate |
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Definition
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Term
| 29-63HHENRY MOORE, Reclining Figure, 1939. Elm wood, 3′ 1″ × 6′ 7″ × 2′ 6″. Detroit Institute of Arts, Detroit (Founders Society purchase with funds from the Dexter M. Ferry Jr. Trustee Corporation) |
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Definition
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Term
| 29-64VERA MUKHINA, The Worker and the Collective Farm Worker, Soviet Pavilion, Paris Exposition, 1937. Stainless steel, 78′ high. © Estate of Vera Mukhina/RAO, Moscow/VAGA, New York |
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Definition
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Term
| 29-65GERRIT THOMAS RIETVELD, Schröder House (looking northwest), Utrecht, the Netherlands, 1924 |
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Definition
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Term
| 29-66WALTER GROPIUS, Shop Block (looking northeast), the Bauhaus, Dessau, Germany, 1925–1926 |
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Definition
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Term
| 29-67LUDWIG MIES VAN DER ROHE, model for a glass skyscraper, Berlin, Germany, 1922 (no longer extant) |
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Definition
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Term
| 29-68LE CORBUSIER, Villa Savoye (looking southeast), Poissy-sur-Seine, France, 1929 |
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Definition
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Term
| 29-69EDWARD HOPPER, Nighthawks, 1942. Oil on Canvas, 2′ 6″ × 4′ 8⅙″. Art Institute of Chicago, Chicago (Friends of American Art Collection) |
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Definition
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Term
| 29-70JACOB LAWRENCE, No. 49 from The Migration of the Negro, 1940.1941. Tempera on Masonite, 1′ 6″ × 1′. Phillips Collection, Washington, D.C |
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Definition
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Term
| 29-71GRANT WOOD, American Gothic, 1930. Oil on beaverboard, 2′ 5⅞″ × 2′ ⅞″. Art Institute of Chicago, Chicago (Friends of American Art Collection) |
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Definition
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Term
| 29-72THOMAS HART BENTON, Pioneer Days and Early Settlers, fresco in the State Capitol, Jefferson City, Missouri, 1936. © T. H. Benton and R. P. Benton Testamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York |
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Definition
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Term
| 29-73JOSE CLEMENTE OROZCO, Epic of American Civilization: Hispano-America(panel 16), fresco in Baker Memorial Library, Dartmouth College, Hanover, New Hampshire, ca. 1932–1934 |
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Definition
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Term
| 29-74DIEGO RIVERA, Ancient Mexico, detail of History of Mexico, fresco in the Palacio Nacional, Mexico City, 1929–1935 |
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Definition
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Term
| 29-76DOROTHEA LANGE, Migrant Mother, Nipomo Valley, 1935. Gelatin silver print, 1′ 1″ × 9″. Oakland Museum of California, Oakland (gift of Paul S. Taylor) |
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Definition
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Term
| 29-77MARGARET BOURKE-WHITE, Fort Peck Dam, Montana, 1936. Gelatin silver print, 1′ 1″ × 10½″. Metropolitan Museum of Art, New York (gift of Ford Motor Company and John C. Waddell, 1987) |
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Definition
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Term
| 29-78ALEXANDER CALDER, Lobster Trap and Fish Tail, 1939. Painted sheet aluminum and steel wire, 8′ 6″ × 9′ 6″. Museum of Modern Art, New York |
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Definition
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Term
| 29-79FRANK LLOYD WRIGHT, Kaufmann House (Fallingwater; looking northeast), Bear Run, Pennsylvania, 1936–1939 |
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Definition
| http://college.cengage.com/nextbook/shared/art/kleiner_9780495915423/images/15423_29_P100-t2.jpg?token=27AF6B6EE7A1346C197DED71D2A871F6DA774EB175C9A1ADFC2B4772A02193389374247DC378A20FCCA77475AF11A585 |
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