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Auguste Renoir (French), Dance at the Moulin de la Galette, 1876, Impressionism
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Paul Cezanne (French), Mont-Saint Victoire, 1904-06., Post-Impressionism
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Analytic Cubism. Georges Braque (French), The Portuguese, 1911.
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Pablo Picasso (Spanish), Still Life with Chair Caning, 1912, oil on oil-cloth over canvas edged with rope, 29 x 37 cm (Musée Picasso), Synthetic Cubism
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Max Ernst, Europe After the Rain, 1940, Wadsworth Atheneum Museum of Art, Surrealism
(vocabulary: frottage)
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Salvador Dalí, Apparition of a Face and Fruit Dish on a Beach, 1938, Surrealism
(vocabulary: paranoic critical method)
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Rene Magritte, Euclidean Geometry, 1955, Surrealism
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Joan Miró, Woman with Blond Armpit Doing Her Hair by Starlight, 1940, Cleveland Museum of Art, Surrealism
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GerritRietveldt, Schroeder House, model & interior view, 1923-24, De Stijl
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GerritRietveld, Red & Blue Chair, 1917-18, De Stijl
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Theo Van Doesburg, Countercomposition, 1924, De Sitjl
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Piet Mondrian, Composition with Red, Blue, Black, Yellow and Grey, 1921, MOMA, De Stijl
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Natalia GONCHAROVA, Harvest, 1911, Constructivism
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Vladimir Tatlin, Monument to the Third International, model, 1917, Constructivism
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Kazimir Malevich, White on White Suprematist Composition, 1918, MOMA, Suprematism
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El Lissitzky, Beat the Whites with the Red Flag [Wedge], 1919, poster, Suprematism
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Naum Gabo, Kinetic Construction, [1920 ?], Russian avant-garde
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Walter Gropius, Fagus Shoe-Last Factory, 1912, Alfeld-an-der-Leine, Germany
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Walter Gropius, Dessau Bauhaus, 1926, Bauhaus |
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Bauhaus Curriculum, 1919-1927
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Preliminary Course taught by Josef Albers: constructions in paper with a set of problems, maximum of rigidity without waste, 1927
BAUHAUS
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Weimar Bauhaus, interior, Director’s Office, 1923
BAUHAUS |
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Ludwig Mies van der Rohe, German-American (1886-1969)
Plan for Glass Tower in Berlin, 1919 |
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| Frank Loyd Wright, Robie House, 1906, Chicago, Illinois, Prairie Style |
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| Frank Lloyd Wright, Kaufmann House (“Falling Water”), exterior views, 1936-39, Mill Run, Pennsylvania |
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Charles EdouardJeanneret (“Le Corbusier” (1887-1965)
Villa Savoye, 1929-31, restored 1993, Poissy-sur-Seine, France, International Style Architecture
(reinforced concrete supported by round concrete pilotis) |
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| Le Corbusier, Unite d’Habitation, Marseilles, 1946-52, International Style Architecture |
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| Mies van derRohe (2nd director of German Bauhaus ), Seagram Building, 1956-58, International Style Architecture |
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| Picasso, Girl Before a Mirror, 1932, (interwar period; Surrealism) |
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HENRI MATISSE, THE SWIMMING POOL, 1952,
PAPER CUTOUT, NINE-PANEL MURAL IN TWO PARTS, C. 54 FEET LONG
How do we understand the transition between this early and late work? |
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MAX BECKMANN, Night, 1918–1919, Late German Expressionism |
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| OTTO DIX, Der Krieg/The War, 1929–1932. Oil and tempera on wood, 6’ 8 1/3” x 13’ 4 3/4”, Late German Expressionism |
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EntarteteKunst (Degenerate Art) Exhibition
Munich 1937 |
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Still from Triumph des Willens/Triumph of the Will
dir. Leni Riefenstahl, Germany, 1935, 114 minutes, b&w. |
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ARSHILE GORKY, THE LIVER IS THE COCK’S COMB, 1944
(Surrealism; profound influence on Abstract Expressionism) |
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HANS HOFMANN, MEMORIA IN AETERNUM , 1962
(Key influence on development of Abstract Expressionism; develops theory of ‘push and pull’ regarding ‘interdependent relationships between form, color, and space’ in painting; close friend of Arshile Gorky) |
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POLLOCK, ONE: NUMBER 31, 1950, OIL AND ENAMEL PAINT ON UNPRIMED CANVAS, MOMA
Abstract Expressionism: Action Painting |
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ROTHKO, MAROON ON BLUE, 1957-60
Abstract Expressionism: Color Field Painting |
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| The paranoiac-critical method is a surrealist technique developed by Salvador Dalí in the early 1930s. He employed it in the production of paintings and other artworks, especially those that involved optical illusions and other multiple images. The technique consists of the artist invoking a paranoid state (fear that the self is being manipulated, targeted or controlled by others). The result is a deconstruction of the psychological concept of identity, such that subjectivity becomes the primary aspect of the artwork. |
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the technique or process of taking a rubbing from an uneven surface to form the basis of a work of art.
Created by Max Ernst |
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