The Artist As Adversary : Works from the Museum Collections (Including Promised Gifts and Extended Loans)

Home , Caresse Crosby, Warrington Colescott, William Gropper

The artist as adversary : works from the museum collections (including promised gifts and extended loans)

Author Museum of Modern Art (New York, N.Y.)

Date 1971

Publisher The Museum of Modern Art

ISBN 0870702262

Exhibition URL www.moma.org/calendar/exhibitions/1819

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

THE ARTISTAS ADVERSARY

Works from the MuseumCollections (Includingpromised gifts and extendedloans)

July I - September27, 1971

This exhibitionis supportedby a grant from the NationalEndowment for the Arts in Washington,D.C., a FederalAgency created by an Act of Congressin 1965.

THE MUSEUMOF MODERNART, NEW YORK TRUSTEESOF THE MUSEUMOF MODERNART

David Rockefeller,Chairman; Henry Allen Moe, John Hay Whitney,Gardner Cowles,Vice Chairmen;William S. Paley,President; James Thrall Soby, Mrs. BlissParkinson, Vice Presidents;Willard C. Butcher,Treasurer; Robert 0. Anderson,Walter Bareiss, Robert R. Barker,Alfred H. Barr,Jr.,* Mrs. ArmandP. Bartos,William A. M. Burden,J. FredericByers III, Ivan Chermayeff,Mrs. KennethB. Clark,Mrs. W. MurrayCrane,* John de Menil, Mrs. C. DouglasDillon, Mrs. Edsel B. Ford,Gianluigi Gabetti, GeorgeHeard Hamilton,Wallace K. Harrison,*John B. Hightower,Mrs. WalterHochschild,* James W. Husted,*Philip Johnson, Mrs. FrankY. Larkin,Eric Larrabee, GustaveL. Levy,John L. Loeb,Ranald H. Macdonald,*Mrs. G. Macculloch Miller,*J. IrwinMiller, Mrs. CharlesS. Payson,*Gifford Phillips, Mrs. John D. Rockefeller3rd, NelsonA. Rockefeller,Mrs. WolfgangSchoenborn, Mrs. BertramSmith, Mrs. AlfredR. Stern,Mrs. DonaldB. Straus,Walter N. Thayer,Edward M. M. Warburg,*Clifton R. Wharton,Jr., MonroeWheeler* *HonoraryTrustee for Life

Copyright1971 by The Museumof ModernArt AII rightsreserved Libraryof CongressCatalog Card Number76-164876 ISBN0-87070-226-2 The Museumof ModernArt II West 53 Street,New York, N.Y. 10019 Printedin the UnitedStates of America CONTENTS

INTRODUCTION 5 STATEMENTSBY THE ARTISTS 10

CATALOGUEOF THE EXHIBITION 22

INTRODUCTION

Few modernar+ists have remaineddisengaged from the socialand political issuesand crisesof their day, and most have sympathizedwith liberal, radical,revolutionary, or Utopianprograms. Some have been activethrough out their lives,some for shorterperiods; others have been galvanizedby a specif ic event. While many, conceivingtheir art to be a personal,individual, and strictlyaesthetic activity, have maintaineda separatenessbetween it and their publicrole, others have linkedsocial programs and politicalaims to their aesthetictheories. The Futuristsissued manifestos endorsing war, militarism,and patriotismas well as anarchismand rebellion(and "contempt for women"),proposing at the same time to overthrowbourgeois ideals of art. The Dada artistsexalted the irrationalto expresstheir rejectionof con ventionalideas of "goodtaste" and the middle-classfaith in reasonwhich they blamedfor the senselesskilling in World War I. In spiteof some Marxistsympathies, the Surrealistpainters and sculptors,basically apoliti cal, rejectedthe Stalinistdogma of socialistrealism and createdan art subversivein contentrather than subjectmatter to furthertheir revolution ary goals. Ardentlysupporting the idealsof the RussianRevolution, the Constructivists offereda revoIutionaryart form as the equivalentin the visualarts of revoIutionary politicalideals. The abstractart of the de Stijlmovement, based on principlesof purityand balance,symbolized an ideal,harmonious society of the future. Exceptfor the GermanDadaists, the criticalattitudes toward society of these and of many other artists have been implicitrather than explicit. But the modernperiod has also produceda largebody of works in which the stateof the world,political and militaryinstitutions and events, socialinjustices, constitute the subjectmatter. It is with art of this kind that the presentexhibition is concerned. Whetherby meanso.f allegory, metaphoror symbol,irony, satire both humorousand bitter,cold realismor expressiveemotionalism, polemics or propaganda,these works are explicitin their attitudesof dissent,protest, or attack. Some of the artistshave been motivatedby a deep-seated,consistent desire to reform. Others,under the stimulusof criticaltimes, have producedisolated works of protestas acts of conscience.Some are indignantand condemnatory,some are meditative, some are hortatory,some are deadpan,but none are noncommittal. In the introductionto his Art and Alienation:The Role of the Artist , in Society Sir HerbertRead wrote in 1967:"The possibilityof alienation existswhenever social and politicaldevelopments create feelings of anxiety and despair,of rootlessnessand insecurity,of isolationand apathy. Life itselfis tragic,and a profoundart alwaysbegins with this realization. In the past it was stillpossible for the alienatedartist to addresshis feliow-menin a traditionallanguage of symbolicforms, but to have lostthis advantageis the peculiarfate of the modernartist: the linguafranca of visualsymbols no longerexists." The nineteenthcentury in Francesaw the accessionof the middleclass to a positionof dominancethrough the Revolutionof 1830and the establish ment of a capitalisteconomy as a resultof the IndustrialRevolution. About

5 the middleof the century,another revolution - in the visualarts - began to take place. These three revolutionsproduced a seriousbreach between the artistand the middleclass. As it gained in powerand affluencethe bourgeoisie,like all establishments,became entrenched and increasingly resistantto change. The artists,on the other hand, becamemore and more involvedin revolutionizingthe ways of seeingart, in isolatingand defin ing those peculiarattributes which distinguishthe visualarts from other art forms. They came to regardtheir own worldof feelingas more important than society's,and to considertheir art a private,asocial concern. In this processthe work of art itselfbecame more interestingand important than its subjectmatter. The middleclass and by extension,officialdom, clingingto the sanctionedart of the academies,began to see the artistas a radicalwho threatenedall the traditionalvalues of art and society. Dis illusionedwith middle-classdevotion to materialprosperity and conformity as well as middle-classnotions about art, the modernartist took on the role of outsiderand visionary,and thus lostthe supportof the only class from which he couldexpect patronage. But as the twentiethcentury has advanced,this gap betweenthe artist and the middleclass has been narrowed. Coursesin the historyand appre ciationof modernart are offeredin schoolsand universitieseverywhere; commercialgalleries where artistscan exhibitand sell their work have mushroomed;and improvedtechnology in printingand color photographyhas broughtmodern art in booksand reproductions to millionswho do not have accessto the originals. At the same time,the senseof alienationwhich had been peculiarto the artistand the intelligentsiais apprehendedas theirown conditionby an ever-growingnumber of others. "Neverbefore in the historyof our Westernworld," Read continued,"has the divorcebetween man and nature, betweenman and his fellow-men,between individual man and his 'self-hood' been so complete."A senseof crisisand mood of rebellionhas intensified, not only amongthe studentsand the young but amongothers who until rela tivelyrecently felt that the problemsof the countryand the world,though serious,even desperate,were withinthe powersof governmentsto solve. The catalysTSof this transformation of attitudehave been firstthe atom bomb,then the Vietnamwar. The latterhas provokeda crisisof conscience amongartists as has perhapsno other event sincethe SpanishCivil War. But this time the outcrycomes from a much wider spectrumof the populace. The protests,particularly in the UnitedStates, raise questions of the moralityof this war and of all war, of its physicaland psychological destructivenessto soldiersand civilians,of the diversionof government concern,energy, and resourcesfrom festeringdomestic problems of poverty, racialinjustice, the relatedbreakdown of respectfor constitutedauthority, the destructionof the naturalenvironment in the name of speed,present comfort,convenience, and profit. Mistrustof the government'swill or abilityto find solutionsto these and many other ills has led more and more Americancitizens to protestthis failureby meansof demonstrations,acts of civil disobedience,riots, illegal and violentacts, and to questionboth the systemof governmentand the valueson which it is based. The past centuryhas not been lackingin occasionsfor an art of social criticism:the Civil War in Americafollowed by the periodof Reconstruc tion, the FirstWorld War, the rise of totalitariandictatorships, an economicdepression, World War II and its tragicending at Hiroshimaand Nagasaki,the wars in Koreaand Vietnam,deeply divisive social and racial

6 problems,the assassinationsof leadingpublic men. The presentexhibition bringstogether works rangingin date from 1863to 1971,in which subjects such as these,and others lessworld-shaking, have been explicitlyaddressed. Limitedto the Museum'sown collections,promised gifts, or extendedloans (suchas PabloPicasso's studies relating to his GUERNICAmural, all in the Museum'scustody since 1939),it is necessarilyan arbitrarypresentation and in no sensea comprehensivehistorical survey. Each visitorwill find his own omissions. But likeprevious exhibitions drawn from the Museum collections- The 1960s(1967), Word and Image(1968), Jean Dubuffet(1968), and The New AmericanPainting and Sculpture:The FirstGeneration (1969) - The Artistas Adversaryenables the Museumto show,together'with a number of familiarworks, many which cannotbe continuouslyon view. It combines with paintings,sculpture, drawings and prints,works from the collections of photographyand architectureand design. A numberof the artistsin this exhibitionhave writtencogently, sometimeshumorously, and, not infrequently,contradictoriIy, aboutart and politicalor socialcommitment. Some have discussedtheir own programsas artists,or by theircomments have illuminatedparticular works in the exhibition.A selectionof these writingsand remarks,together with poems by Picassoand David Smithwritten to accompanyspecific works, follows the Introduction. Not surprisingIy, war is the dominantsubject in the exhibition.The techniquesand machinery,the enemiesand uniformschange, but the conse quencesof war do not, and the artistneed presumeno specialknowledge on the part of his public in condemningits outrages. With few exceptions- of which FranciscoGoya and JacquesCallot are the most often cited - artists of the past tendedto see war and revolutionaryupheaval in terms of victory or defeat,bravery or treachery,glory or tragedy,but rarelyin termsof deathand inhumanity.From the earliestworks in the show - battleground photographsof the AmericanCivil War by TimothyO'Sullivan and J. Reekie publishedby their employerand feIIow-photographer, Alexander Gardner - to prints,posters, and photographsdealing with the VietnamWar by Carlos Irizarry,William Weege, Rudolf Schoofs, Larry Burrows, Cristos Gianakos, SeymourChwast, and others,the aim is, in Gardner'swords, to show "the blankhorror and realityof war, in oppositionto its pageanty."The humanwastefulness of war also informsthe compassionatedespair of George Rouault'sMISERERE prints, the grotesquerealism in Otto Dix's WAR etchings, the blackhumor of GeorgeGrosz and John Heartfield.Outraged by a parti cularevent, Picasso created a mural symbolicof all acts of war and brutality- the most famoussuch image in our century. The GUERNICAstudies in the exhibitionilluminate its genesisand revealPicasso's passionate involvementwith its theme,which he continuedto exploreafter completing the mural. It is recalledin the paletteand compositionof THE CHARNEL HOUSEof 1945,his requiemfor the victimsof WorldWar II gas chambers. Joan Miro, as deeplymoved as Picassoby the devastationsof the Spanish Civil War in his native land,used the metaphorof a still lifeof humble objectsin an apocalypticlandscape to expresshis anguish. In powerful allegories,one explicit,the other allusive,Peter Blumeand Max Beckmann dealtwith the menaceof fascism,the offspringand progenitorof war. The visionof the artist is combinedwith that of the reformerin photographsby Jacob Riis and LewisHine aimedat bringingto the attention of the authorities,before and afterthe turn of the century,the inhuman

7 conditionsof big-cityslums and the abuseof child laborin America. In the mid-thirties,as agentsof the government,the photographersDorothea Lange,Walker Evans and ArthurRothstein joi.ned in the effortto show the publicwhat had to be corrected: the hopelesspoverty of the ruralAmerican, displacedby Depression,flood, and drought. Part of this same cadre was Ben Shahn,painter, printmaker, poster artist,and photographer,who was moved by the Sacco-Vanzetti case to con secratehis art to public issuesand eventsof his time. WilliamGropper and Jack Levine, togetherwith Shahn,are most frequentlyassociated with the art of politicaland socialsatire in America. Much strongpainting and sculpturein this vein has also been made by youngerartists. The South Americans,Fernando Botero and Marisol,are gentle in their ridiculeof presidents;Jim Dine and TadanoriYokoo are less respectful.Edward Kienholz, Robert Indiana,and Peter Saul deal with some of the familiar frailtiesof Americanmores. The tragedyof the blackman in Americaand his deceivedhopes of findinga better life in the North afterWorld War I are compassionately relatedby Jacob Lawrencein his sixty-partnarrative, THE MIGRATIONOF THE NEGRO.Younger artists such as BennyAndrews, Malcolm Bailey, Warrington Colescott,the photographersElliott Erwitt, Ben Fernandezand DeclanHaun, have also dealtwith racialoppression. Prints,posters, and photographsare often more effectivethan paintings or sculpturein transmittingthe immediacyof the artist'sconviction and ardorto his public. They can be producedin quantity,disseminated widely and presentedwith greaterease outsidethe formalsetting of a museumor gallery. Much of the most vigorousresponse to currentproblems has been executedin these mediums. Severalof the postersin the exhibitionhave been done collectivelyor by workshops. The idealof a popular,collective, and publicart was put intopractice in Mexico. Probablythe most successfulintegration of art with social purposeon a nationalscale occurred in Mexicobeginning with the Revolution ary period (1910-19)and continuingwith vigor intothe decadesfollowing the successof the Revolution.Whether committed to an ideologyor an ideal the Mexicans- from the influentialturn-of-the-century popular printmaker, Jose GuadalupePosada, through the triumvirateof giants,Jose Clemente Orozco,Diego Rivera,and David AlfaroSiqueiros, to the printmakers LeopoldoMendez and Jose Chavez-Morado- dealtdirectly and powerfully with the subjectmatter of their own revolutionaryage. Pledgedto an art for the people,working collectively on occasion,they revivedthe mural and the printedbroadside as formsof publicart, and broughtthem to a perfection achievednowhere else in moderntimes. Jacob Burckhardtwrote that "art bounddown to facts,stiI I more to thoughts,is lost." The optimisticbanalities of socialistrealism in the SovietUnion, the art of Nazi Germany,the cardboardsentiment of some social commentaryin the thirtiesin America,and the boringone-dimensionality of war-timepropaganda art lefta heritageof distrust.ofart representingtopi cal subjectsafter the SecondWorld War. For many, too, the photographhad longsince relievedthe other arts of this function(and it is not surpris ing that much recentart of engagementmakes use of photographicimages). In this situationthe artistat the beginningof the seventieswho seeks to deal in his art with the crucialpublic issues of today facesa challenge. His dominantheritage is an abstractart, to which has been addedmore

8 recentlythe figurationof pop art. But thesemodes do not throughtheir form and contentconvey a significantimplicit criticism of societysince so much of the publicno longersees them as inimicalto its values. Indeed,almost as fast as the artistcreates, the publicbuys; or crowds intomuseums to see what it cannotafford to buy. Rejectingthe transformationof art intocommodity, and the values which informmuch of the collectingof art today,some youngerartists now work in ways that do not produceobjects which can be collectedor hung in apartmentsor museums. Many others,however, are tryingto find a new "linguafranca of visualsymbols," by whichthe formalheritage of modern art can be integratedwith an art of engagement. For art, likethe times, is alwayschanging. One of the wall slogans of the May 1968Paris studentrevolt - recallingthe famousFuturist com parisonof the VICTORYOF SAMOTHRACEwith a speedingautomobile - declared that "the most beautifulsculpture in the world is a pavingstone, the heavypaving stone thrown in a policeman'sface." While not necessarily rejectingthe kineticgesture in art, many artiststoday give evidencethat there can be other, lessviolent means by which art can confrontthe menac ing problemsof our time.

BetsyJones, Director of the Exhibition

9 STATEMENTSBY THE ARTISTS

Pablo Picasso

What do you think an artist Is? An Imbecilewho has only his eyes If he's a painter,or ears If he's a musician,or a lyreat every levelof his heart if he's a poet,or even, if he's a boxer,just his muscles? On the contrary,he's at the same time a politicalbeing, constantly alive to heart-rending, fieryor happyevents, to which he respondsin every way. How would it be possibleto feel no interestin other peopleand by virture of an ivoryindifference to detachyourself from the lifewhich they so copiouslybring you? No, paintingis not done to decorateapartments. It is an instrumentof war for attackand defenseagainst the enemy.

(Textof a writtenstatement given by the artistto SimoneTery duringher interviewwith him publishedin LettresFrancaises (Paris),March 24, 1945)

THE DREAMAND LIE OF FRANCO

fandangoof shiveringowls souseof swordsof evil-omenedpolyps scouring brushof hairs from priests'tonsures standing naked in the middleof the fryir>g-pan- placed upon the ice cream cone of codfishfried in the scabs of his lead-oxheart - his mouth full of the chinch-bugjelly of his words - sleigh-beilsof the plateof snailsbraiding guts - littlefinger in erection neithergrape nor fig - commediadel I'arte of poor weavingand dyeingof clouds- beautycreams from the garbagewagon - rape of maids in tears and in snivels- on his shoulderthe shroudstuffed with sausagesand mouths- rage distortingthe outlineof the shadowwhich flogs his teeth driven in the sand and the horseopen wide to the sun which reads it to the fliesthat stitchto the knotsof the net full of anchoviesthe skyrocketof lilies- torchof licewhere the dog is knot of rats and hiding-placeof the palace of old rags -.the bannerswhich fry in the pan writhe in the blackof the ink-sauceshed in the dropsof bloodwhich shoot him - the streetrises to the cloudstied by its feet to the sea of wax which rots its entrailsand the veil which covers it singsand danceswild with pain - the flightof fishing rods and the alhiguialhigui of the first-classburial of the movingvan - the brokenwings rollingupon the spider'sweb of dry breadand clear water of the paellaof sugarand velvetwhich the lashpaints upon his cheeks- the lightcovers its eyes beforethe mirrorwhich apes it and the nougatbar of the flamesbites its lipsat the wound- criesof childrencries of women criesof birdscries of flowerscries of timbersand of stonescries of brickscries of furnitureof beds of chairsof curtainsof pots of cats and of paperscries of odorswhich claw at one anothercries of smoke pricking the shoulderof the crieswhich stew in the cauldronand of the rain of birds which inundatesthe sea whichgnaws the bone and breaks its teeth bitingthe cottonwool whichthe sun mops up from the platewhich the purseand the pockethide in the printwhich the foot leavesin the rock. (Poemby the artist)

10 David Smith

DEATH BY GAS

The spectresprays heavy gas - the motherhas fallen- flamingand eaten lungsfIy to spacewhere planetsare masked. Two bare chickensescape in the same apparatus.The death venuson wheelsholds aloft the foetus who, from environment,will be born masked. The immunegoddess in the boat hangsto the handleof a tattered umbrella... She wears a chastitymask and blowsher balloon. The peach pits were saved in the lastwar. (Textby the artistaccompanying DEATH BY GAS in the catalogueof the , exhibition,Medals for Dishonor held at the WillardGallery, New York, November1940)

Peter Blume

JACK-IN-THE-BOX(study for THE ETERNALCITY) Mussolini'spropagandists went aroundbrazenly putting up distortedand exaggeratedeffigies of this ham. They were frighteningIy bad, not at all impressive.I rememberthat to celebrate10 yearsof FascismMussolini had the city coveredwith shamelessstatues of himself;one papiermache figure of him was reallysomething like the jack-in-the-box.It didn't look like man or beast,a ghastlyflimsy fagade. He had himselfposing likethat all over the place. It was my intentionto make the jack-in-the-boxabsolutely falseand unsympatheticto everythingelse in the picture,and this was one of the problemsof the painting. I made the red lipsclashing with the greenof the head,a colorthat was stridentand like nothingelse in the picture- antithesis,dissonance. It hurt me aestheticallyto paintthe head, but no compromisewas possible... it was the absenceof harmonyI sought. I was awareat the time that in paintinga pictureof this sor*t there were thingsmuch more important.thanharmony.

INSURRECTION(study for THE ETERNALCITY)

The curiousdesigns of the helmetson the soldiersin the centerof the Forum: they are Britishhelmets, not the Italianones that come loweron the head. They seemedmore suggestivethan the Italianones.... The helmet changedfrom the Britishtype to the Germantype duringthe courseof the painting. Perhapsthe growingmenace of Germanfascism during that period wouldexplain the change. It is also indicativeof the uni versa I danger.... The scenecomes from a passagein Trotsky's"History of the RussianRevoluti duringthe generalstrike in St. Petersburgbefore the Kerenskyrevolution. As I rememberthe scene ... the Cossackswere on horsebackand formeda phalanxto breakup the demonstratingstrikers. The men were intimidated by force,but the women brokethrough under the belliesof the horsesand appealedto the rank and file.... This scene in the Forumcarries the specialburden of dealingwith a futureevent in the realmof political prophecy. Theoreticallythe breakdownof an authoritarianregime will come as a resultof simultaneousand overwhelminginternal pressure. I am much more excitedby the ideasthat occurredto me which I am tryingto make authenticthan by rationalizing,or creatinga correctpicture politicallyor historically.I am not deeplyconcerned with that.

(Excerptsfrom an interviewat the Museumof ModernArt, New York, January 1943) y

WiIIiam Gropper THE SENATE

The U.S. Senateand the Houseof Representativeshad had such an influence on Americanlife, good and bad, that it even affectedthe artistsand the culturaldevelopment of our country. No matterhow far removedfrom poli tics artistsmay be, it seemsto strikehome. Only recentlyone blasting speechof a reactionaryrepresentative resultedin not only doingaway with the Sectionof Fine Art, but also dismissingthe GraphicDivision of the OWI and nullifyingart reportagefor the War Department. In my painting of the Senate,I have portrayedthe type of representative that is opposed to progressand culture.

(Froma questionnairefrom the artist,March 1945)

A longtime ago I was assignedby VanityFair to cover the Senate. I stayedtwo or three weeks and paintedthe Senateas I saw it. I think the UnitedStates Senate is the best show in the world. If peoplesaw it, they would know what their governmentis doing ... so I did one or two Senates,and now I will do a Senateonly when a Senatormakes a speechthat makes me mad.

. (FromAugust L. Freundlich,William Gropper: Retrospective Catalogueof one-manshow held at five museums,February I968-February 1969)

Jack Levine

I find my approachto paintinginseparable from my approachto the world. Justiceis more importantthan good,looks. The artistmust sit in judgment and intelligentlyevaluate the case for any aspectof the world he deals with. The validityof his work will rest on the humanityof his decision. A paintingis good for the very same reasonthat anythingin this world is good. I feel the sordidneglect of a slum sectionstrongly enough to wish to be a stewardof its contents,to enumerateits' increment—newspaper, ciga rettebutts, torn posters,.empty match cards,broken bottles, orange rinds, overflowinggarbage cans, flies,boarded houses, gas lights,and so on— to presentthis picturein the very placeswhere the escapistplans his flight. That part of my work which is satiricalis basedon observations gatheredin countlesshours, hanging around street corners and cafeterias. There I often hear from urbaneand case-hardenedcronies about crookedcon tractors,ward heelers,racketeers, minions of the law and the like. It is

12 my privilegeas an artistto put these gentlemenon trial,present them, smiles,benevolence and all, In my own terms. If my frostyold -gentlemanin eveningclothes beams with his right eye and has a cold fishy stare in his left,that is not an accident. If a policemanreposefully examinesa hangnail,that is not necessarilythe sum total of his activity. In this case, it is an enforcedgenre to familiarize the spectatorwith the officer,to pointout that he, too, has his cares and woes. The mechanismis one of playinga counter-aspectagainst the original thesis,leaving it up to the spectatorto judgethe meritsof the case. My experienceis that generallythe thesis is readilyunderstood. I paintthe poor and the rich, in differentpictures, and give them differenttreatment. I think this is as it shouldbe. From, ( Americans1942, 18 Artistsfrom 9 States editedby DorothyC. Miller. The Museumof ModernArt, 1942)

George Grosz

Today art is absolutelya secondaryaffair. Anyoneable to see beyondtheir studiowalls will admitthis. Just the same,art is somethingwhich demands a clearcutdecision from artists. You can't be indifferentabout your posi tion in this trade,about your attitudetoward the problemof the masses,a problemwhich is no problemif you can see straight. Are you on the side of the exploitersor on the side of the masseswho are givingthese exploiters a good tanning? You can't avoidthis issuewith the old rigamaroleabout the sublimity and holinessand transcendentaI characterof art. These days an artist is boughtby the best-payingjobber or maecenas- this businessof commissions fs called in a bourgeoisstate the advancementof culture. But today's paintersand poets don'twant to know anythingat a II aboutthe masses. How else can you explainthe fact that virtuallynothing is exhibitedwhich in any way reflectsthe idealsand efforts,the will of the aspiringmasses. The artisticrevolutions of paintersand poetsare certainlyinterest ing and aestheticallyvaluable - but still, in the lastanalysis, they are studioproblems and many artistswho earnestlytorment themselves about such mattersend up by succumbingto skepticismand bourgeoisnihilism. This happensbecause persisting in their individualisticartistic eccentricities they never learnto understandrevolutionary issues with any clarity;in fact,they rarelybother with such things. Why, there are even art-revolu tionarypainters who haven'tfreed themselves from paintingChrist and the apostles;now, at the very time when it is their revolutionaryduty to doubletheir effortsat propagandain order to purifythe worldof super naturalforces, God and His angels,and therebysharpen mankind's awareness of its true relationshipto the world ... I want everyman to understand me-withoutthat profundityfashionable these days, withoutthose depths which demanda veritablediving outfit stuffed with cabalisticand meta physicalhocus-pocus. , (FromGeorge Grosz, Zu meinenneuen Bildern 1921. This translationby VictorH. Miesel,published in his Voicesof GermanExpressionism, Prentice- Hail, 1970)

13 I am convincedthat the journalistwork of a good, politicallyeducated artist is very importantand necessary.One can of course,also retreat, with or withoutrancor, into oneself, in nihilisticscepticism, rising above the activestruggle against stupidity, on the groundthat this struggleis ridiculousand useless. Most of the so-calledintellectuals do just this at present. Themselvesmembers of this "justemilieu", they do nothingto help eradicateits injustices.Alternatively, if they try to 'helpthey do it in an obsolete,arrogant manner that is besidethe point in our mechanized age. And the sharpestintellectual blows remainineffectual—the enemy does not feel them. And the enemy is the compactmajority—the brutalstupidity of the masses. It is, of course,not quiteeasy to step down from the "height"of long yearsof intellectual,individual development into the area of daily battle. It requiresactive, vital strengthwithout cowardice. I considerdrawing a good tool in the struggleagainst the current versionof the MiddleAges. I am glad to be a consciousmoralist and satir ist,and I see some proofof the necessityof my work in the very rejection by omniscientscornful critics who stand "abovethe battle." Alas it is true that most of the so-caIled artiststoday know only formalproblems; all battle-shyand anarchic,they manifestthe typicalreflexes of a period which,despite the highestdevelopment of technique,cannot even manageto organizeits productiondecently. All we have today is our stomach,our bank book,our car in every kraal. The long-earedmultitude with its head sets and its pride in technicalpre cision,is yet incapableof makingany senseout of all this technological insanity.Thus we squaton top of one another,like worms we slave for the entrepreneurin his sweatshop, or kill ourselvesto beat the'latesttrack recordby half a second. Betweenthe entrepreneurand us standsthe artist, uncertainof his socialfunction, or linkedby a thousandthreads to the amusementindustry. Intellectualbedbugs, having sucked dry the stale rem nantsof all cultures,play a grotesquerole in the smallanemic circles of today'ssociety. It is a fact: in this societythe creativeartist, in the old sense,has losthis usefulness.

(FromGeorge Grosz, Per Spiesser-SpieqeI (Imageof the GermanBabbit). Arno Press reprint1968, of the revisededition published by Carl Reissner,, Dresden,1932 (originaledition 1925), with translationfrom the Germanby AlfredWerner)

Ben Shahn

I told some Wisconsinstudents once when they askedme whetherI thought a painterought to have "socialsignificance" in his paintingto achieve greatnesstoday, that obviouslyI did think so. But I also said that whetheran artistpaints a bowl of pansies,or whatever,the "significance" of his work dependsupon whetherit expandsthe scopeand perceptionsof the peoplewho beholdit.. I'llqua I ify that ... by sayingthat j_f_we were Iiving in a stableand fairlysecure society, it would not be incumbenton the artistto emphasize any particularphase of the lifearound him. However,we're not. We live in a time of turmoil,too susceptibleto drasticand deplorablechanges. I

14 feel that the painterwho can, undersuch circumstances,concern himself with a bowl of pansies(or a "pure"abstraction) is dodgingissues and is afraidto participatein the lifearound him. I'm certainlyno Existential ist,but I find myselfturning to theirword "I'engagement,"which implies the obligationand need of the individual(working in co-operationwith others)to do somethingabout the eviIs of his time. It might be noted,too, that the Existentialistsregard America as "curiouslydisengaged." I think it is incumbentupon the artistnot to be disengaged;and I am not.

(FromSelden Rodman, "Ben Shahn: Painterof America,"Perspectives USA. No. I, Fa1 I 1952,pp. 92-93)

Pablo Picasso

The Spanishstruggle is the fightof reactionagainst the people,against freedom. My whole lifeas an artisthas been nothingmore than a continu ous struggleagainst reaction and the deathof art. How couldanybody think for a momentthat I could be in agreementwith Reactionand Death,against the people,against freedom? When the rebellionbegan, the legallyelected and democraticRepublican Government of Spainappointed me directorof the PradoMuseum, a post which I immediatelyaccepted. In the panelon which I am workingand which I shallcall "Guernica"and in all my recentworks of art, I clearlyexpress my abhorrenceof the militarycaste which has sunk Spain in an oceanof pain and death . (Froma statementissued in May or June, 1937,at the time of an exhibition of Spanishwar postersin New York underthe auspicesof the NorthAmerican CommitteeTo Aid SpanishDemocracy and of the MedicalBureau to Aid Spanish Democracy)

KatheKoI Iw itz

When I know I am workingwith an internationalsociety opposed to war I am filledwith a warm senseof contentment.I know,of course,that I do not achievepure art in the senseof Schmidt-RottIuff's, for example. But still it is art. Everyoneworks the best way he can. I am contentthat my art shouldhave purposesoutside itself. I would liketo exert influencein these times when humanbeings are so perplexedand in need of help. , (Journalentry, November 1922. From Voicesof GermanExpressionism Victor H. Miesel,editor, Prentice-Hall, Inc., Englewood Cliffs, New Jersey,1970)

15 A HARVESTOF DEATH,GETTYSBURG, PENNSYLVANIA (photograph by T.H. O'Sullivan)

A battlehas been often the subjectof elaboratedescription, but it can be describedin one simpleword, devi Ii shI and the distorteddead recallthe an cient legendsof men torn in piecesby the savagewantonness of fiends.Swept down withoutpreparation, the shatteredbodies fall in all conceivableposi tions.The rebelsrepresented in the photographsare withoutshoes. These were alwaysremoved from the feet of the dead on accountof the pressingneed of the survivors.The pocketsturned insideout also show that appropriation did not ceasewith the coveringof the feet. Around is scatteredthe litter of the battle-field,accoutrements, ammunition, rags, cups and canteens, crackers,haversacks, etc., and lettersthat may tell the name of the owner althoughthe majoritywill surelybe buriedunknown by strangersand in a strangeland. Killedin the franticefforts to breakthe steady linesof an army of patriots,whose heroismonly excelledtheirs in motive,they paid with lifethe priceof their treason,and when the wickedstrife was finished,found nameless graves, far from home and kindred. Such a pictureconveys a usefulmoral: It showsthe blankhorror and realityof war, in oppositionto its pageantry. Here are the dreadfulde tails: Let them aid in preventingsuch anothercalamity falling upon the nation. , (From Gardner'sPhotographic Sketch Book of the War VoIume I, Philip& Solomons,Washington, D.C., 1866)

DavidDouglas Duncan

I wantedto show what war does to a man. I wantedto show the comradeship that bindsmen togetherwhen they are fightinga commonperil. I wantedto show the way men live,and die, when they know death is amongthem, and yet they still find the strengthto crawl forwardarmed only with bayonetsto stop the advanceof men they have neverseen, with whom they have no immedi ate quarrel,men who will kill them on sight if given firstchance. I wantedto show the agony,the suffering,the terribleconfusion, the heroism which is everydaycurrency among those men who actuallypull the triggers of riflesaimed at othermen knownas "the enemy." I wantedto tell a story of war, as war has alwaysbeen for men. Only their weapons,the terrain, the causeshave changed.

! (FromDavid DouglasDuncan, Thi s is War New York, Harpers,1953)

BenedictJ. Fernandez

What I am tryingto do with my photographsis to show what'sgoing on in a free society,letting those peoplewho are the masses,who are ambivalentto the ideaof freedom,who love it and hate it as it goes along,just look- here'swhat's going on. Decidefor yourselves.Put yourselveswhere you'd

16 liketo be. Use my photographsfor your inspiration.In other words,the book is just one more tool to wake up a groupof peoplewho are quiet. That's all. My idea in takingthese pictureshas been to determinewhen an individ ual stepsout and says,"I protest"- no matterwhat it is about. Because when somethingclicks, whatever it is, the individualchanges as a person. Unfortunately,the majorityof peopleall over the world,not only in America, step aside and say, "Betteryou than me; don't breakmy bubble." In other words,most peoplejust sit and go alongwith the ride. But this book, in a sense, is peoplesaying, "This is where I change." It all comes back to the momentof an individualstepping out and really, truly believingas an individual.My book is peoplewho have steppedout. Maybe they'llchange, maybe they won't. But this is what they lookedlike when they did. Maybe some peoplewill lookat my pictures,get incensed, and do somethingabout it. Maybe they'llstep out.

(FromBenedict J. Fernandez,In Opposition- Imagesof AmericanDissent in , the Sixties Da Capo Press,New York, 1968.)

W. EugeneSmith

I wouldthat my photographsmight be, not the coverageof a news event but an indictmentof war - the brutalcorrupting viciousness of its doingto the minds and bodiesof men; and, that my photographsmight be a powerful emotionalcatalyst to the reasoningwhich would help this vile and criminal stupidityfrom beginningagain. (1945) Each time I pressedthe shutterrelease it was a shoutedcondemnation hurled with the hope that the picturesmight survivethrough the years,with the hope that they mightecho throughthe mindsof men in the future- causing them cautionand remembranceand realization.(Saipan, 1944) , (FromW. EugeneSmith: His Photographsand Notes with an afterwordby LincolnKirstein. New York, 1969. An ApertureMonograph, Aperture, Inc.)

Jose ClementeOrozco

I beganwork as a cartoonist. It was then that I foundout how a political newspaperwas run. The editorsmet with the directorand discussedheatedly the daily publicevents, and the discussionsoffered sufficient light for pertinentarticles and cartoons. The scapegoats,naturally, were political personagesof the first rank....Instead of workingfor an oppositionnews paper, I might have joinedthe staffof a governmentone, and then the scapegoatswould have been on the other side. Artistshave not, nor have they ever had, "politicalconvictions" of any kind,and those who think they have such convictionsare not artists. , (FromJose ClementeOrozco, "Fragments of an Autobiography,"Maqazi ne of Art New York, December1942)

17 Anyonewho says I am an anarchistdoes not know me. I am a partisanof absolutefreedom of thought,a true free-thinker. Neitheran anarchist nor a dogmatist,neither an enemyof hierarchiesnor a hanger-onof un shakabledogmas. I believein critcismas a duty of the mind, and in its expressionin art....This exhibitionexpresses political points of view, but it has no politicaltendency and even lesspolitical sectarian ism.

(interviewabout his exhibitionat the EscuelaNacional published in Tiempo, September13, 1946)

Proletarianart consistedin picturesof workerson the job, and it was supposedlyintended for them. But this turnedout to be an error,since a workerwho has spenteight hours in the shop takes no pleasurein coming home to a pictureof workerson the job. He wants somethingdifferent, which has nothingto do with work but servesthe purposesof repose. On the other hand the comicalthing about It all was that the bourgeoisbought proletarianart at fancyprices, though it was supposedto be directedat them, and the proletarianswould gladlyhave boughtbourgeois art if they had had the money and, for want of it, foundan agreeablesubstitute in cal endar chromos: aristocraticmaidens indolently reclining on bearskinrugs, or a most eIegant-Iooking gentlemankissing a marquiseby the lightof the moon on a castleterrace. The halls in bourgeoishomes are full of prole tarianfurniture and objects,like sleeping mats, cane-bottomedchairs, clay pots and tin candlesticks;whereas a worker,as soon as he has money enough to furnishhis house,buys a pullmansofa in heavyvelvet, a breakfastset, or a set of those extra rare piecesof furniturebuilt of niekeI-pIated iron tubings,thick crystals,and beveledmirrors. Instancesof the arts exertinga decisiverevoiutionary influence upon the spectatormust be conditionedby some factorsas yet unknownand others of a purelyfortuitous nature. Hearingthe "International"or the national anthemsung by twentythousand people in the plaza,while the flagsare ripplingin the sunshineand the bellsare soundingand the sirensare deaf ening us, is not the same thing as hearingit all alone,at home,on the phonograph. It must be rememberedfurther that only a lineseparates the sublime from the ridiculous,and many works, insteadof drawinga cry of indigna tion or enthusiasmfrom us may provokeonly a laugh. , (FromJose ClementeOrozco: An Autobiographytranslatedby RobertC. Stephenson,University of Texas Press, 1962)

18 SOCIAL,POLITICAL AND AESTHETICDECLARATION FROM THE SYNDICATEOF TECHNICAL WORKERS,PAINTERS AND SCULPTORSTO THE INDIGENOUSRACES HUMILIATEDTHROUGH CENTURIES;TO THE SOLDIERSCONVERTED INTO HANGMEN BY THEIR CHIEFS;TO THE WORKERSAND PEASANTSWHO ARE OPPRESSEDBY THE RICH;AND TO THE INTELLECTUALS WHO ARE NOT SERVILETO THE BOURGEOIS:

We are with those who seek the overthrowof an old and inhumansystem within whichyou, workerof the soil,produce riches for the overseerand politi cian,while you starve. Withinwhich you, worker in the city, move the wheelsof industries,weave the cloth,and createwith your handsthe modern comfortsenjoyed by the parasitesand prostitutes,while your own body is numb with cold. Withinwhich you, Indiansoldier, heroically abandon your landand give your life in the eternalhope of liberatingyour race from the degradationsand miseryof centuries. Not only the noble laborbut even the smallestmanifestations of the materialand spiritualvitality of our race springfrom our nativemidst. Its admirable,exceptional and peculiarability to createbeauty—the art of the Mexicanpeople—is the highestand greatestspiritual expression of the worId-tradition which constitutesour most valuedheritage. It is great becauseit surgesfrom the people;it is collective,and our own aesthetic aim is to socializeartistic expression, to destroybourgeois individualism. We repudiatethe so-calledeasel art and all such art which springs from uItra-inteIIectuaI circles,for it is essentiallyaristocratic. We hail the monumentalexpression of art becausesuch art is public property. We proclaimthat this beingthe momentof socialtransition from a decrepitto a new order,the makersof beautymust investtheir greatest effort in the aim of materializingan art valuableto the people,and our supremeobjective in art, which is today an expressionfor individual pleasure,Is to createbeauty for all, beautythat enlightensand stirsto struggIe. (Thismanifesto, largely the work of DavidAlfaro Siqueiros, was issuedin 1922over the signaturesof Siqueiros,Jose ClementeOrozco and Diego Rivera, amongothers. The presenttranslation, by GuillermoRivas, first appeared in MexicanLife, December 1935.)

RobertMotherwell

The functionof the modernartist is by definitionthe felt expressionof modernreality. This impliesthat realitychanges to some degree.... There is a break in moderntimes betweenartists and other men without historicalprecedent in depth and generality.Both sidesare woundedby the break. There is even hate at times,though we all have a thirstfor Iove. The remotenessof modernart is not merelya questionof language,of the increasing"abstractness" of modernart. Abstractness, it is true, exists,as the resultof a long,specialized internal development in modern artisticstructure.

19 1 But the crisis is the modernartists rejection,almost ?n toto, of the valuesof the bourgeoisworld. In this world modernartists form a kind of . spiritualunderground ... Modernart is relatedto the problemof the modern individual'sfreedom. For this reasonthe historyof modernart tends at certainmoments to become the historyof modernfreedom. It is here that there is a genuinerapport betweenthe artistand the workingclass. At the same time, modernartists have not a social,but an individualistexperience of freedom.... The socialcondition of the modernworld which gives everyexperience its form is the spiritualbreakdown which followedthe collapseof religion. This conditionhas led to the isolationof the artistfrom the rest of soci ety. The modernartist's social history is that of a spiritualbeing in a property-loving world. No synthesizedview of realityhas replacedreligion. Scienceis not a view, but a method. The consequenceis that the modernartist tends to becomethe lastactive spiritual being in the great world.... In the spiritualunderground the modernartist tends to be reducedto a singlesubject, his ego.... This situationtells us whereto expectthe successesand failuresof modernart. If the artist'sconception, from temperamentand conditioning,of freedomIs highlyindividualistic, his egoismthen takes a romanticform.... If the artist,on the contrary,resents the limitationsof such subjectivism,he tries to objectifyhis ego. In the modernworld, the way open to the objectivizationof the ego is throughform. This is the tendencyof what we call, not quiteaccurately, abstract art. Romanticismand formalismboth are responsesto the modernworld, a rejection, or at leasta reduction,of modernsocial values. Hencethe relativefailure, of Picasso'spublic mural of the SpanishRepublic's pavilion in the Paris . Exposition,The Bombingof Guernica HencePicasso's great successes,given his great personalgifts, with the formaland emotionalinventions in cubism, , the papiercolle and even in many of the preliminarydrawings for Guernica: here it is a questionof Picasso'sown genius. In the publicmural, it is a questionof his solidaritywith other men. Picassois cut off from the great socialclasses, by the decadenceof the middle-classand the indifferenceof the working-class,by his own spiritualityin a property-ridden world. . Guernica is thereforea tour de force It expressesPicasso's indignation, as an individual,at publicevents. In this it is akin to Goya'sLos . Desastresde la Guerra The smallerformat of etchings,or even of easel paintingsis more appropriate.... The mural form,by virtueof its size and publiccharacter, must speak for a whole society,or at the very least,a whole class. Guernicahangs in an uneasyequilibrium between now disappear ing socialvalues, i.e., moral indignationat the characterof modern life- , what Mondriancalled the tragic as opposedto the eternaland the formal, the aestheticsof the papier coIIe. We admirePicasso for havingcreated Guernica. We are moved by its intent. Yet how accurately,though intuitively,art measuresthe contra dictionsof life. Here a contradictionexists. So longas the artistdoes not belong,in the concretesense, to one of the great historicalclasses of humanity,so longhe cannotrealize a socialexpression in all publicfull ness. Which is to say, an expressionfor, and not against. The artist is greatestin affirmation.This isolationspiritually cripples the artist,and sometimesgives him, at present,a certainresemblance to Dostoyevsky's id iot. The htstoryof Picasso,from one pointof view, is that of his effort

20 not to be limitedto the strictlyaesthetic, not to strip his art bare of a full socialcontent, and contemplateher merelyunder the eternalaspect of beauty. He would not so impoverishhimself.... It was the latePiet Mondrianwho acceptedthe impoverishmentof his art involvedby the rejectionof socialvalues. He was perhapsless opposed to ordinarylife than indifferentto its drama. It was the eternal,the "universal,"in his terminology,which preoccupiedhim: he had an affinity with orientalsaints, with, say, Mallarme. It was Mondrianwho accepted most simplythat debasedsocial values provide no socialcontent.... . The artist'sproblem is with what to identifyhimself The middle-class is decaying,and as a consciousentity the working-classdoes not exist. Hencethe tendencyof modernpainters to paint for each other.... The preponderanceof'modern artists come from the middle-class.To this classmodern art is alwayshostile by implication,and sometimesdirectly so. Even beforethe socialists,the artistsrecognized the enemy in the middleclass. But beingthemselves of middle-classorigin, and leadingmiddle- class lives- certainlynot the livesof the proletariat- the artist in a certainsense attacks himself. He undermineshis own concretefoundation. He is then led to abstracteternal goods from reality. Here beginsthe rise of abstractart. All art is abstractin character. But it is especiallyin moderntimes that afterthe operationof abstractionso littleremains. The artist'shostility for the middle-classis reciprocated.... In the face of this hostility,there have been three possibleattitudes of which the artistwas not alwaysconscious; to ignorethe middle-classand seek the eternal,like Delacroix, Seurat, Cezanne, the cubists,and their heirs;to supportthe middle-classby restrictingoneself to the decorative,like Ingres,Corot, the Impressionistsin general,and the fauves;or to oppose the middle-class,like Courbet, Daumier, Pissarro, Van Gogh, and the Dadaists. The lastclass tends to be destroyedby the struggle. Some artistslike Picasso,have had all three relationsto the middle-class. Actually,nearly all modernpainters have been rejectedby the middleclass untiltheir works gaineda property-value.Henri Maffsse had to resist a careeras a Salonpainter; Manet and Degas were involvedin the impression ist'sfight; Rouaultis not mentionedin a recentcomprehensive work on modernCatholic painting. The sentimentaland academicpainting which the middle-classreally likesdisappears with its patrons...thematerialism of the middle-classand the inertnessof the working-classleave the modern^ artistwithout any vitalconnection to society,save that of the opposition; and...modernartists have had, from the broadestpoint, to replaceother socialvalues with the strictlyaesthetic.... This formalismhas led to an intolerableweakening of the artist'sego; but so longas modernsociety is dominatedby the loveof property- and it will be, so longas propertyis the only sourceof freedom- the artisthas no alternativeto formalism. He strengthenshis formalismwith his other advantages,his increasedknow ledgeof historyand modernscience, his connectionswith the eternal,the aesthetic,his relationswith the folk (eg.,Picasso and Miro),and, finally his very oppositionto middle-classsociety gives him a certainstrength. Untilthere is a radicalrevolution in the valuesof modernsociety, we may lookfor a highlyformal art to continue. We can be gratefulfor its extraordinary technicaldiscoveries, which have raisedmodern art, plastically speaking,to a levelunreached since the earlierRenaissance. (From"The ModernPainter's World," Dyn, VI, 1944;reprinted in Barbara . Rose,editor, Readings in AmericanArt Since 1900: A DocumentarySurvey New York, FrederickA. Praeger,1968)

21 CATALOGUEOF THE EXHIBITION

Althoughthe exhibitionis restrictedto works in the Museum'sCollections, promisedto them or on extendedloan, one exceptionto this limitationwas made in order to unitetwo halvesof one work,the 60-partseries by Jacob Lawrenceentitled THE MIGRATIONOF THE NEGRO,which has not been seen in its entiretyin New York since the artist'sone-man show at the Museum in 1944. For her generouswillingness to lendthe 30 panels in the Phillips Collection,Washington, D.C., I am very gratefulto Mrs. DuncanPhillips. In selectingthe show, I dependedgreatly on the knowledgeand advice of the staffsof other curatorialdepartments. My thanksare due in partic ular to Riva CastIeman, AssociateCurator of Printsand IllustratedBooks, and HowardenaPindell, Assistant Curator of Printsand IllustratedBooks, for helpingto choosefrom the Museum'svery largecollection of prints. Peter C. Bunnell,Curator of Photography,and John Garrigan,Assistant Curatorof GraphicDesign, provided crucial guidance in the selectionof photographsand posters. ElaineC. Johnson,Associate Curator of Painting and Sculpture,and Joan Rosenbaum,Curatorial Assistant in the Department of Paintingand Sculpture,gave me the benefitof their specialknowledge of the DrawingCollection, and LudwigGlaeser, Curator of Architectureand Design,also contributedwelcome advice and assistance. I am especially gratefulto Nancy Karumba,Curatorial Assistant in the Departmentof Paint ing and Sculpture,for her constantand efficientcollaboration in all aspectsof the show'sorganization, and to WilliamS. Lieberman,Director of the Departmentof Paintingand Sculpture,far his supportthroughout.

When an artist is representedby work in more than one medium,biographical data is givenwhere his name firstappears. Unlessenclosed in parentheses, datesappear on the works themselves.Watercolors, collages, drawings, prints,and postersare on paper unlessotherwise noted. Dimensionsare in inchesor, in some cases,feet and inches. Heightprecedes width; in the case of some sculptures,depth is also given. The year of acquisitionis given at the end of each catalogueentry. Where an accessionnumber appears, the year is indicatedby the finalor middleset of digits;for example, 6.42.1-3refers to a three-partwork, the sixthacquistion made in 1942. B.J.

22 PAINTINGS,.SCULPTURE, AND DRAWINGS

BennyAndrews. American,born 1930. I. NO MORE GAMES. 1970. Oil and clothon canvas; diptych,panels f 8' 4 7/8" x 49 7/8" and 8 4 7/8" x 51". Purchase.35.7la-b

MalcolmBailey. American,born 1937. 2. HOLD, SEPARATEBUT EQUAL. (1969). Syntheticpolymer paint, presstype, watercolor,and enamelon compositionboard, 7' x 48". Mrs. John R. JakobsonFund. 386.70

Ernst Barlach. German,1870-1938. 3. HEAD (detailof WAR MONUMENT,Gustrow Cathedral). (1927).Bronze, 13 1/2 x 13 5/8 x 14 5/8". Gift of EdwardM. M. Warburg. 521.41. Note: The full figureof which this head is a detailhung in the Cathedralof Gustrowuntil 1937when it was removedby the Nazis and melteddown. A secondcast, saved from destruction,was installedin the Antoniterkirche in Cologneafter World War II, and a third was newlycast to replacethe lostone in GustrowCathedral.

Max Beckmann. German,1884-1950. Worked in Amsterdam1936-47; in U.S.A. 1947-50. 4. DEPARTURE.(1932-33). Oil on canvas;triptych, center panel, THE HOMECOMING,7' 3/4" x 45 3/8"; leftpanel, THE CASTLE,and rightpanel, THE STAIRCASE,each 7' 3/4" x 39 1/4". Given anonymously(by exchange) 6.42.1-3. Note: When Beckmannshipped DEPARTURE out of Germanyin 1937he describedit on the exportpapers as "Scenesfrom Shakespeare's Tempest"to misleadthe Nazi customsofficials.

Peter Blume. American,born Russia 1906. To U.S.A. 1911. 5. BEGGARWOMAN (studyfor THE ETERNALCITY). 1933. Pencil,II 3/4 x 9 3/8" (sheet).Gift of Edgar Kaufmann,Jr. 242.54 6. ELEM0SINA (studyfor THE ETERNALCITY). 1933. Pencil,14 1/8 x II 1/4" Gift of Abby AidrichRockefeller. 31.35 7. JACK-IN-THE-BOX(study for THE ETERNALCITY). 1933. Pencil,10 1/8 x 7 1/8".Mrs. SimonGuggenheim Fund. 575.42 8. INSURRECTION(study for THE ETERNALCITY). 1934. PenciI, 8 5/8 x 12 5/8". Mrs. SimonGuggenheim Fund. 576.42

23 9. THE ETERNALCITY. (1934-37;date on painting,1937). Oil on compositionboard, 34 x 47 7/8". Mrs.Simon Guggenheim Fund. 574.42

FernandoBotero. Colombian,born 1932.

T 10. THE PRESIDENTIALFAMILY. 1967. Oil on canvas,6 8 1/8"x 6' 5 1/4". Gift of Mr. and Mrs. WarrenD. Benedek. 2667.67

Reg Butler (ReginaldCotterell Butler). British,born 1913.

II. THE UNKNOWNPOLITICAL PRISONER (Project for a Monument). (1951-53). Weldedbronze and brasswire and sheet, 17 3/8" high,on limestone base,2 3/4x7 1/2 x 7 1/4". SaidieA. May Fund.410.53. Note: Replicamade by the artistto replacethe originalmaquette, damaged afterwinning first prize in the internationalcompetition for a monumentto The UnknownPolitical Prisoner, London, 1953. The full- scalemonument has never been erected.

CorradoCagIi. American,born Italy1910. 12. THE CONCENTRATIONCAMP OF BUCHENWALD.CI945). Transferdrawing, 9 7/8 x 12 7/8". Purchase. 160.45

Carlo Carra. Italian, 1881-1966.

1 13. FUNERALOF THE ANARCHISTGALL I. (1911). Oil on canvas,6 6 1/4"x 8' 6". Acquiredthrough the LiI lie P. BlissBequest. 235.48

BruceConner. American,born 1933.

14. CHILD. 1959-60. Assemblage:wax figurewith nylon,cloth, metal and twine in a high chair,34 5/8 x 17 x 16 1/2". Gift of PhilipJohnson. 501.70

Dusan Dzamonja. Yugoslavian,born 1928.

15. METALLICSCULPTURE. (1959). Welded iron nailswith charredwood core, 16 3/8" high, 10" diameter. PhilipJohnson Fund. 2.61

MelvinEdwards. American,born 1937.

16. B-WIRE. (1970). Sprayedbronze powder with imageof barbedwire, 25 x 19". Purchase. 400.70

24 OyvindFahistrom. Swedish, born Brazil 1928. To Sweden 1939. 17. EDDIE (SYLVIE'SBROTHER) IN THE DESERT. (1966). "Variable"collage on paintedwood, 35 1/4 x 50 1/2". The Sidneyand HarrietJanis Collection. 600.67 18. NOTES 4 (C.I.A. BRAND BANANAS). 1970. Syntheticpolymer paint, pen and ink on paper, 16 5/8 x 14". Given anonymously.430.71 19. PLAN FOR "WORLDTRADE MONOPOLY." 1970. Syntheticpolymer paint, pen and ink and color pencilon paper. Given anonymously.431.71

Juan Genoves. Spanish,born 1930. 20. MICROGRAPHY.1966. Oil on canvas,10 1/8 x 9 3/8". Purchase. 594.66

Julio Gonzalez. Spanish,1876-1942. Worked in Paris from 1900. 21. HEAD OF THE M0NTSERRATII. (1942). Bronze,12 3/8 x 7 3/4 x II 1/8 on stonebase, 8 x 6 x 6". Gift of Mrs. Harry LyndeBradley. 937.65. Note: Montserrat,the mountain,and its churchand Benedictine monastery,is veneratedby Catalonians.Gonzalez's first MONTSERRAT, a peasantmother holding a child and a sickle,was shown in the SpanishPavilion of the ParisWorld's Fair of 1937,together with Picasso'sGUERNICA and Miro'sREAPER. It symbolizedhis defiance of the Rebel forcesin the SpanishCivil War. MONTSERRATII, of whichonly the head was completed,was his responseto the horrors of WorId War II.

MorrisGraves. American,born 1910. 22. ENGLISHNIGHTFALL PIECE. (1938). Pencilwith pen and red ink on buff paper,24 i/8 x 20 1/2". Purchase. 16.42 23. FRENCHNIGHTFALL PIECE. (1938). Pencilwith pen and red ink on buff paper,26 x 21". Purchase. 17.42 24. GERMANNIGHTFALL PIECE. (1938). Pencilwith pen and red ink on buff paper,26 1/8 x 21 1/8". Purchase. 18.42 25. ROMANNIGHTFALL PIECE. (1938). Pencilwith pen and red ink on buff paper,26 1/8 x 21". Purchase. 24.42

: Note Each of these four drawingssymbolizes one of the nationsparticipating in the Munichconference of 1938.

25 WilliamGropper. American,born 1897.

26. THE SENATE. (1935). Oil on canvas,25 1/8 x 33 1/8". Gift of A. CongerGoodyear. 108.36

GeorgeGrosz. American,1893-1959. Born and died in Germany. In U.S.A. 1932-59.

27. EXPLOSION.(1917). Oil on compositionboard, 18 7/8 x 26 7/8". Gift of Mr. and Mrs. IrvingMoskovitz. 780.63

28. REPUBLICANAUTOMATONS. (1920). Watercolor,23 5/8 x 18 5/8". AdvisoryCommittee Fund. 120.46

Robert Indiana. American,born 1928.

29. FRENCHATOMIC BOMB. 1959-60. Assemblage:painted wood beam and metal,38 5/8 x II 5/8 x 4 7/8". Gift of Arne Ekstrom. 1127.64 30. THE AMERICANDREAM I. 1961. Oil on canvas,6' x 60 1/8". LarryAldrich Foundation Fund. 287.61

DanielLaRue Johnson. American,born 1938.

31. FREEDOMNOW NUMBER I. 1963-64. Pitchon canvaswith assemblage, including"Freedom Now" button,broken doll, hacksaw,mousetrap, flexibletube, and wood, 53 7/8 x 55 3/8 x 7 1/2". Given anonymously. 4.65

EdwardKienholz. American,born 1927. 32. THE FRIENDLYGREY COMPUTER- STAR GAUGE MODEL #54. (1965). Constructionwith rockingchair, motorized, 40 x 39 1/8 x 24 1/2". Gift of Jean and HowardLipman. 605.65

NobuakiKojima. Japanese,born 1935.

33. Untitled. 1964. Constructionof paintedplaster and clothcoated with syntheticpolymer paint, 67 5/8 x 35 1/2 x 19 3/8". Given anonymously.2312.67

AlfredKubin. Austrian,born Bohemia. 1877-1959.

34. GOVERNMENT. 1901. Wash, pen and ink,and pencil,II 1/4 x 14 3/4". Gift of Mr. and Mrs. WolfgangSchoenborn. 99.71

26 Jacob Lawrence. American,born 1917.

35. THE MIGRATIONOF THE NEGRO. (1940-41).Series of 60 temperason compositionboard, 18 x 12". The PhillipsCollection, Washington, D.C. and The Museumof ModernArt, New York,Gift of Mrs. DavidM. Levy. 28.42. Note: The PhillipsCollection owns the 30 odd- numbered,and the Museumthe 30 even-numberedworks. (1) DURINGTHE WORLD WAR THERE WAS A GREATMIGRATION NORTH BY SOUTHERNNEGROES. (2) THE WORLD WAR HAD CAUSEDA GREAT SHORTAGEIN NORTHERNINDUSTRY AND ALSO CITIZENSOF FOREIGNCOUNTRIES WERE RETURNINGHOME. (3) IN EVERYTOWN NEGROESWERE LEAVINGBY THE HUNDREDSTO GO NORTH AND ENTER INTONORTHERN INDUSTRY. (4) THE NEGROWAS THE LARGESTSOURCE OF LABORTO BE FOUNDAFTER ALL OTHERSHAD BEEN EXHAUSTED. (5) THE NEGROESWERE GIVEN FREE PASSAGEON THE RAILROADSWHICH WAS PAID BACK BY NORTHERNINDUSTRY. IT WAS AN AGREEMENTTHAT THE PEOPLEBROUGHT NORTH ON THESE RAILROADSWERE TO PAY BACK THEIR PASSAGEAFTER THEY HAD RECEIVEDJOBS.

(6) THE TRAINSWERE PACKEDCONTINUALLY WITH MIGRANTS. (7) THE NEGRO,WHO HAD BEEN PART OF THE SOIL FOR MANY YEARS,WAS NOW GOING INTOAND LIVINGA NEW LIFE IN THE URBANCENTERS. (8) THEY DID NOT ALWAYSLEAVE BECAUSE THEY WERE PROMISEDWORK IN THE NORTH. MANY OF THEM LEFT BECAUSEOF SOUTHERNCONDITIONS, ONE OF THEM BEINGGREAT FLOODSTHAT RUINEDTHE CROPS AND, THEREFORE,THEY WERE UNABLETO MAKE A LIVINGWHERE THEY WERE.

(9) ANOTHERGREAT RAVAGEROF THE CROPS WAS THE BOLL WEEVIL.

(10)THEY WERE VERY POOR. (11) IN MANY PLACESBECAUSE OF THE WAR FOOD HAD DOUBLED IN PRICE.

(12)THE RAILROADSTATIONS WERE AT TIMES SO OVER-PACKEDWITH PEOPLE LEAVINGTHAT SPECIALGUARDS HAD TO BE CALLED IN TO KEEP ORDER. (13)DUE TO THE SOUTH'S LOSINGMUCH OF ITS LABORTHE CROPS WERE LEFT TO DRY AND SPOIL. (14)AMONG THE SOCIALCONDITIONS THAT EXISTEDWHICH WAS PARTLYTHE CAUSEOF THE MIGRATIONWAS THE INJUSTICEDONE TO NEGROESIN THE COURTS.

27 (15) ANOTHERCAUSE WAS LYNCHING. IT WAS FOUNDTHAT WHERETHERE HAD BEEN A LYNCHINGTHE PEOPLEWHO WERE RELUCTANTTO LEAVEAT FIRST LEFT IMMEDIATELYAFTER THIS.

(16) ALTHOUGHTHE NEGROWAS USED TO LYNCHING,HE FOUNDTHIS AN OPPORTUNE TIME FOR HIM TO LEAVEWHERE ONE HAD OCCURRED.

(17) THE MIGRATIONWAS SPURREDON BY THE TREATMENTOF THE TENANTFARMERS BY THE PLANTER.

(18) THE MIGRATIONGAINED IN MOMENTUM.

(19) THERE HAD ALWAYSBEEN DISCRIMINATION.

(20) IN MANY OF THE COMMUNITIESTHE NEGRO PRESSWAS READ CONTINUALLY BECAUSEOF ITS ATTITUDEAND ITS ENCOURAGEMENTOF THE MOVEMENT. (21) FAMILIESARRIVED AT THE STATIONVERY EARLY IN ORDER NOT TO MISS THEIRTRAIN NORTH.

(22) ANOTHEROF THE SOCIALCAUSES OF THE MIGRANTS'LEAVING WAS THAT AT TIMES THEY DID NOT FEEL SAFE,OR IT WAS NOT THE BEST THING TO BE FOUNDON THE STREETSLATE AT NIGHT. THEY WERE ARRESTEDON THE SLIGHTESTPROVOCATION. (23) AND THE MIGRATIONSPREAD.

(24) CHILD LABORAND A LACK OF EDUCATIONWAS ONE OF THE OTHER REASONS FOR THE PEOPLEWISHING TO LEAVETHEIR HOMES.

(25) AFTERA WHILE SOME COMMUNITIESWERE LEFT ALMOSTBARE.

(26) AND PEOPLEALL OVER THE SOUTH BEGANTO DISCUSSTHIS GREAT MOVEMENT.

(27) MANY MEN STAYEDBEHIND UNTIL THEY COULD BRINGTHEIR FAMILIESNORTH. (28) THE LABORAGENT WHO HAD BEEN SENT SOUTH BY NORTHERNINDUSTRY WAS A VERY FAMILIARPERSON IN THE NEGROCOUNTIES. (29) THE LABORAGENT ALSO RECRUITEDLABORERS TO BREAK STRIKESWHICH WERE OCCURRINGIN THE NORTH.

(30) IN EVERYHOME PEOPLEWHO HAD NOT GONE NORTH MET AND TRIEDTO DECIDE IF THEY SHOULDGO NORTHOR NOT.

(31) AFTERARRIVING NORTH THE NEGROESHAD BETTERHOUSING CONDITIONS.

(32) THE RAILROADSTATIONS IN THE SOUTHWERE CROWDEDWITH PEOPLE LEAVINGFOR THE NORTH.

(33) PEOPLEWHO HAD NOT YET COME NORTH RECEIVEDLETTERS FROM RELATIVES TELLINGTHEM OF THE BETTERCONDITIONS THAT EXISTEDIN THE NORTH.

28 (34) THEY LEFT THE SOUTH IN LARGENUMBERS AND THEY ARRIVEDIN THE NORTH IN LARGENUMBERS. (35) THE NEGRO PRESSWAS ALSO INFLUENTIALIN URGINGTHE PEOPLETO LEAVE THE SOUTH. (36) THEY ARRIVEDIN GREAT NUMBERSINTO CHICAGO, THE GATEWAYOF THE WEST.

(37) THE NEGROESTHAT HAD BEEN BROUGHTNORTH WORKED IN LARGENUMBERS IN ONE OF THE PRINCIPALINDUSTRIES WHICH WAS STEEL. (38) THEY ALSO WORKED IN LARGENUMBERS ON THE RAILROAD.

(39) LUGGAGECROWDED THE RAILROADPLATFORMS.

(40) THE MIGRANTSARRIVED IN GREAT NUMBERS. (41) THE SOUTHTHAT WAS INTERESTEDIN KEEPINGTHE CHEAP LABORMADE IT VERY DIFFICULTFOR LABORAGENTS RECRUITING SOUTHERN LABOR FOR NORTHERNFIRMS. IN MANY INSTANCES,THEY WERE PUT IN JAIL AND WERE FORCEDTO OPERATE INCOGNITO. (42) THEY ALSO MADE IT VERY DIFFICULTFOR MIGRANTSLEAVING THE SOUTH. THEY OFTEN WENT TO RAILROADSTATIONS AND ARRESTEDTHE NEGROES WHOLESALEWHICH IN TURN MADE THEM MISS THEIRTRAINS. (43) IN A FEW SECTIONSOF THE SOUTHTHE LEADERSOF BOTH GROUPSMET AND ATTEMPTEDTO MAKE CONDITIONSBETTER FOR THE NEGRO SO THAT HE WOULD REMAIN IN THE SOUTH. (44) LIVINGCONDITIONS WERE BETTER IN THE NORTH. (45) THEY ARRIVEDIN PITTSBURGH,ONE OF THE GREAT INDUSTRIALCENTERS OF THE NORTH IN LARGENUMBERS. (46) INDUSTRIESATTEMPTED TO BOARDTHEIR LABOR IN QUARTERSTHAT WERE OFT TIMES VERY UNHEALTHY. LABORCAMPS WERE NUMEROUS. (47) AS WELL AS FINDINGBETTER HOUSING CONDITIONS IN THE NORTH,THE MIGRANTSFOUND VERY POOR HOUSINGCONDITIONS IN THE NORTH. THEY WERE FORCED INTOOVERCROWDED AND DILAPIDATEDTENEMENT HOUSES.

(48) HOUSINGFOR THE NEGROESWAS A VERY DIFFICULTPROBLEM. (49) THEY ALSO FOUNDDISCRIMINATION IN THE NORTH,ALTHOUGH IT WAS MUCH DIFFERENTFROM THAT WHICHTHEY HAD KNOWN IN THE SOUTH. (50) RACE RIOTSWERE VERY NUMEROUSALL OVER THE NORTH BECAUSEOF THE ANTAGONISMTHAT WAS CAUSEDBETWEEN THE NEGROAND WHITEWORKERS. MANY OF THESE RIOTSOCCURRED BECAUSE THE NEGRO WAS USED AS A STRIKE BREAKERIN MANY OF THE NORTHERNINDUSTRIES.

29 (51) IN MANY CITIES IN THE NORTHWHERE THE NEGROESHAD BEEN OVER CROWDEDIN THEIR OWN LIVINGQUARTERS THEY ATTEMPTEDTO SPREADOUT. THIS RESULTEDIN MORE RIOTSAND THE BOMBINGOF NEGRO HOMES.

(52) ONE OF THE LARGESTRACE RIOTSOCCURRED IN EAST ST. LOUIS. (53) THE NEGROESWHO HAD BEEN NORTH FOR QUITE SOME TIME MET THEIR FELLOW-MENWITH DISGUSTAND ALOOFNESS.

(54) ONE OF THE MAIN FORMSOF SOCIALAND RECREATIONALACTIVITIES IN WHICHTHE MIGRANTSINDULGED OCCURRED IN THE CHURCH. (55) THE NEGRO BEING SUDDENLYMOVED FROM OUT OF DOORSAND CRAMPED INTO URBAN LIFE,CONTRACTED A GREATDEAL OF TUBERCULOSIS.BECAUSE OF THIS,THE DEATH RATE WAS VERY HIGH.

(56) AMONG ONE OF THE LAST GROUPSTO LEAVETHE SOUTHWAS THE NEGRO PROFESSIONALWHO WAS FORCEDTO FOLLOWHIS CLIENTELETO MAKE A LIVING.

(57) THE FEMALEWORKER WAS ALSO ONE OF THE LAST GROUPSTO LEAVETHE SOUTH.

(58) IN THE NORTHTHE NEGRO HAD BETTEREDUCATIONAL FACILITIES. (59) IN THE NORTHTHE NEGRO HAD FREEDOMTO VOTE.

(60) AND THE MIGRANTSKEPT COMING.

Jack Levine. American,born 1915.

36. THE FEASTOF PURE REASON. (1937). Oil on canvas,42 x 48". Extended loanfrom the UnitedStates WPA Art Program. E.L.38.2926 37. ELECTIONNIGHT. (1954). Oil on canvas,63 1/8"x 6' 1/2". Gift of JosephH. Hirshhorn. 153.55

Marisol(Marisol Escobar). Venezuelan,born France 1930. To U.S.A. 1950.

38. LBJ. (1967). Wood, syntheticpolymer paint, and pencil,6'8" x 27 7/8" x 24 5/8". Fractional gift and extendedloan from Mr. and Mrs. Lester Avnet. 776.68

Joan Miro. Spanish,born 1893. Lived in Paris 1919-40. 39. STILL LIFE WITH OLD SHOE. 1937. Oil on canvas,32 x 46". Fractional gift of JamesThrall Soby. 1094.69

30 HenryMoore. British,born 1898.

40. THREE WOMEN IN A SHELTER. 1941. Watercolor,colored crayon, pen and ink, 18 3/16 x 14 3/4". Extendedloan from The Joan and Lester AvnetCol lection. E.L.70.722

RobertMotherwell. American, born 1915.

41. PANCHOVILLA, DEAD AND ALIVE. 1943. Gouacheand oil with coII age on cardboard,28 x 35 7/8". Purchase. 77.44

42. ELEGYTO THE SPANISHREPUBLIC, 54. (1957-61).Oil on canvas,70" x 7T 6 1/4". Given anonymously.132.61

Zuhtu Muritoglu. Turkish,born 1906.

43. THE UNKNOWNPOLITICAL PRISONER. (1956). Wood and iron,53 3/4" high, at base 15 1/4 x II 3/8". Purchase. 135.58. Note: Variantof the model submittedby the artistto the internationalcompetition for a monumentto The UnknownPolitical Prisoner, London, 1953.

ReubenNakian. American,born 1897.

T 44. HIROSHIMA. 1965-66(cast 1967-68).Bronze, 9 3 3/4" x 6' 2 3/4" x 45 1/4". Mrs. SimonGuggenheim Fund. 1514.68. Note: Installedin the Museum'sgarden.

ClaesOldenburg. American,born Sweden 1929. To U.S.A. 1936. 45. PROPOSEDMONUMENT FOR THE INTERSECTIONOF CANAL STREETAND BROADWAY, NEW YORK: BLOCKOF CONCRETEINSCRIBED WITH THE NAMESOF WAR HEROES. 1965. Crayonand watercolor,16 x 12". Promisedgift of an anonymous donor.

Jose ClementeOrozco. Mexican,1883-1949.

46. BARRICADE. (1931). Oil on canvas,55 x 45". Given anonymously. 468.37. Note: Variantof the fresco(1924) in the National PreparatorySchool, Mexico City.

47. ZAPATISTAS. 1931. Oil on canvas,45 x 55". Given anonymously. 470.37. Note: Zapatistaswas the name given to followersof EmilianoZapata, the Mexicanrevolutionary and agrarianreformer who led the peasantsof the Morelosregion from 1909until his assassinationin 1919.

3! 48. DIVE BOMBERAND TANK. 1940. Fresco,9 x 18',on six panels,9x3' each. Commissionedthrough the Abby AldrichRockefeller Fund. 1630.40.1-6.Note: This portablemural, commissioned by the Museum on the occasionof the exhibitionTwenty Centuries of MexicanArt, was paintedin the gallerieswhere visitorscould followits progress. It is both a portableand a variablemural. The artist'sconception of the work providedfor omittingone or more panels,arranging them in any sequence,and even showingthem upsidedown.

Dominique-PaulPeyronnet. French, 1872-1943. 49. THE FERRYMANOF THE MOSELLE,(ca. 1934). Oil on canvas,35 x 45 5/8". Abby AldrichRockefeller Fund. 664.39

Pablo Picasso. Spanish,born 1881. In Francesince 1904. Studiesand "Postscripts"for GUERNICA. May I - October17, 1937. Extendedloan from the artist. E.L.39.I093.I-38, 40-54,56-59. Note: In January1937, Picasso was commissionedto paint a mural for the Spanish Pavilionat the ParisWorld's Fair of that year. On April 27, Guernica, ancientcapital of the Basques,was subjectedto saturationbombing by Germanplanes flying for GeneralFranco, though it was not a military target. On May I, Picassomade his first sketchesfor the mural. After it was finishedin June he continuedto exploresome of its ideas in furtherstudies. The mural itself,also on extendedloan from the artist since 1939,is on view on the third floor.

May I, 1937 50. THREECOMPOSITION STUDIES. Pencilon blue paper,each 8 1/4 x 10 5/8" 51. TWO STUDIESFOR THE HORSE. Pencilon blue paper,each 8 I/4 x 10 1/2"

52. COMPOSITIONSTUDY. Pencilon gesso,on wood, 21 1/8 x 25 1/2"

May 2, 1937 53. COMPOSITIONSTUDY. Pencilon gesso,on wood, 23 5/8 x 28 3/4".

54. STUDY FOR HORSE'SHEAD. Pencilon blue paper,8 1/4 x 6".

55. STUDY FOR HORSE'SHEAD. Pencilon blue paper, 10 1/2 x 8 1/4".

56. HORSE'SHEAD. Oil on canvas,25 1/2 x 36 1/4".

(EarlyMay 1937?) 57. HORSEAND BULL. Pencilon tan paper,8 7/8 x 4 3/4".

May 8, 1937 58. COMPOSITIONSTUDY. Pencilon white paper,9 1/2 x 17 7/8". 59. HORSE AND MOTHERWITH DEAD CHILD. Pencilon white paper,9 1/2 x 17 7/8".

32 May 9, 1937 60. MOTHERWITH DEAD CHILD. Inkon white paper,9 1/2 x f7 7/8".

M. 61. COMPOSITIONSTUDY. Pencilon white paper,9 1/2 x 17 7/8 62. MOTHERWITH DEAD CHILD ON LADDER. Pencilon white paper, 17 7/8 x 9 1/2".

May 10, 1937 63. STUDY FOR THE HORSE. Pencilon whitepaper, 9 1/2 x 17 7/8". 64. STUDIESFOR THE HORSE. Pencilon white paper, 17 7/8 x 9 1/2".

65. BULL'SHEAD WITH HUMAN FACE. Pencilon white paper, 17 7/8 x 9 1/2".

66. STUDY FOR THE HORSE. Penciland colorcrayon on white paper,9 1/2 x 17 7/8".

67. MOTHERWITH DEAD CHILDON LADDER. Color crayonand pencilon white paper, 17 7/8 x 9 1/2". May II, 1937 68. BULL WITH HUMAN FACE. Pencilon white paper, 9 1/2 x 17 7/8". May 13, 1937 69. WOMAN'SHEAD. Penciland color crayonon white paper, 17 7/8 x 9 1/2". 70. HAND WITH BROKENSWORD. Pencilon white paper,9 1/2 x 17 7/8".

71. MOTHERWITH DEAD CHILD. Color crayonand pencilon white paper,9 1/2 x 17 7/8". May 20, 1937 72. HORSE'SHEAD. Penciland wash on whitepaper, II 1/2 x 9 1/4".

73. HORSE'SHEAD. Penciland wash on white paper,9 1/4 x II 1/2".

74. TWO STUDIESFOR BULL'SHEAD. Penciland wash on white paper, each 9 1/4 x II t/2".

75. WOMAN'SHEAD. Penciland wash on white paper, II 1/2 x 9 1/4". May 24, 1937 76. TWO STUDIESFOR WEEPINGHEAD. Penciland wash on white paper,each II 1/2x9 1/4". 77. HEAD. Penciland wash on white paper,9 1/4 x II 1/2". May 27, 1937 78. WEEPINGHEAD. Penciland wash on white paper,9 1/4 x II 1/2".

79. FALLINGMAN. Penciland wash on white paper,9 1/4 x II 1/2".

33 May 28, 1937 80. MOTHERWITH DEAD CHILD. Pencil,color crayon, gouache, and hair on white paper,9 1/4 x II 1/2". 81. MOTHERWITH DEAD CHILD. Pencil,color crayon,and gouacheon white paper,9 1/4 x II I/2". 82. WEEPINGHEAD. Pencil,color crayonand gouacheon white paper, 9 1/4 x II 1/2".

May 31, 1937 83. WEEPINGHEAD. Pencil,color crayon, and gouacheon white paper, 9 1/4 x II 1/2". June 3, 1937 84. THREE STUDIESFOR A WEEPINGHEAD. Pencil,color crayon,and gouache on white paper,each 9 1/4 x II 1/2". 85. HEAD AND HORSE'SHOOFS. Penciland wash on white paper,9 1/4 x II 1/2".

June 4, 1937 86. STUDY FOR MAN'S HEAD. Penciland wash on white paper,9 1/4 x II 1/2". 87. STUDY FOR HAND. Penciland wash on white paper,9 1/4x11 1/2".

June 8, 1937 88. WEEPINGHEAD. Pencil,color crayon,and wash on white paper, II 1/2x9 1/4".

89. WEEPINGHEAD. Penciland wash on white paper, II 1/2x9 1/4".

June 13, 1937 90. WEEPINGHEAD. Penciland colorcrayon on white paper, II 1/2 x g 1/4"

June 15, 1937 91. WEEPINGHEAD. Pencil,color crayon,and oil on canvas,21 5/8 x 18 1/8". 92. WEEPINGHEAD. Penciland gouacheon cardboard,4 5/8 x 3 1/2".

June 22, 1937 93. WEEPINGHEAD WITH HANDKERCHIEF.Oil on canvas,21 5/8 x 18 1/8". 94. MOTHERWITH DEAD CHILD. Pencil,color crayon,and oil on canvas, 21 5/8 x 18 1/8".

July 2, 1937 95. WEEPINGWOMAN. Etchingand aquatint,27 1/4 x 19 1/2". Firststate, no. 6/15. 96. WEEPINGWOMAN. Etchingand aquatint,27 1/4 x 19 1/2". Secondstate, no. 4/15. 34 July (4), 1937 97. WEEPINGHEAD WITH HANDKERCHIEF.Ink on white paper, 10 x 6 3/4".

July 6, 1937 98. WEEPINGHEAD WITH HANDKERCHIEF.Ink on tan paper,6x4 1/2".

September26, 1937 99. MOTHERWITH DEAD CHILD. Oil on canvas,51 1/4"x 6' 4 3/4". October 12, 1937 100.WEEPING HEAD. Ink and pencilon white paper,35 3/8 x 23". October13, 1937 101.WEEPING HEAD WITH HANDKERCHIEF.Ink and oil on canvas,21 5/8 x 18 1/8".

October 17, 1937 102.WEEPING WOMAN WITH HANDKERCHIEF.Oil on canvas,36 1/4 x 28 5/8".

103.THE CHARNELHOUSE. 1945. Oil on canvas,6' 6 5/8" x 8' 2 5/8". Mrs. Sam A. LewisohnBequest (by exchange)and Purchase. 93.71

Diego Rivera. Mexican, 1886-1957.

104.AGRARIAN LEADER ZAPATA. 1931. Fresco,93 3/4 x 74". Abby Aldrich RockefellerFund. 1631.40. Note: The Museum invitedthe artistto New York to paint sevenfrescoes for an exhibitionin 1931,under a grant from Abby AldrichRockefeller. AGRARIAN LEADER ZAPATA, the only one of the seven in the MuseumCollection, is a variantof the frescoin the Palaceof Cortes, Cuernavaca,1930.

GeorgesRouault. French,1871-1958.

105.THE THREE JUDGES. 1913. Gouacheand oil on cardboard,29 7/8 x 41 5/8". Sam A. LewisohnBequest. 17.52

AntonioRuiz. Mexican,born 1897.

106.THE NEW RICH. 1941. Oil on canvas,12 5/8 x 16 5/8". Inter-American Fund. 6.43

Peter Saul. American,born 1934.

107.UNTITLED. 1961. Coloredcrayons and papercollage, 26 3/8 x 27 1/8". Gift of Allan Frumkin.119.63

35 Pablo Serrano. Spanish,born 1910. 108. HEAD OF ANTONIOMACHADO. 1965. (2ndcast). Bronze,26 x 20 7/8 x 24 5/8". Gift of the ComisionOrganizadora del HomenajePaseos con AntonioMachado. 97.67. Note: The Spanishpoet AntonioMachado died in exile in 1939. This portraitwas commissionedas part of a largermonument to the poet in Baeza,the Andalusiancity where he taughtfor many years. Dedicationof the monument,planned for February20, 1966,was prohibitedby the Spanishgovernment authori ties.

Gino Severini. Italian,1883-1966. Active chiefly in Paris. 109. THE ARMOREDTRAIN. 1915. Charcoal,22 I/2 x 18 3/4". Benjamin Soharpsand David ScharpsFund. 92.58

Ben Shahn. American,born Lithuania. 1898-1969.To U.S.A. 1906. NO. BART0L0ME0VANZETTI AND NICOLASACC0. (1931-32).Tempera on paper over compositionboard, 10 1/2 x 14 1/2". Gift of Abby Aldrich : Rockefeller.144.35. Note One of twenty-threepaintings from the Sacco-Vanzettiseries. NicolaSacco and BartolomeoVanzetti were accusedof murderingand robbinga paymasterand a guard at a shoe factoryin Braintree,Massachusetts on April 15, 1920. They were subsequentlyconvicted and sentencedto death. The case aroused world-wideprotests based on allegationsof trial irreguIarities and contradictoryevidence, but primarilyon the beliefthat the two Italian-Americananarchists had been convictedfor their radical politicalbeliefs, not for the crime. The controversypersisted longafter they were executed,despite pleas for clemency,on August23, 1927. III. WELDERS.(1943). Temperaon cardboardmounted on compositionboard, 22 x 39 3/4". Purchase. 264.44 IJ2. LIBERATION.(1945). Temperaon compositionboard, 29 3/4 x 39 3/4". Promisedgift of JamesThrall Soby 113. PACIFICLANDSCAPE. (1945). Temperaon paperover compositionboard, 25 1/4 x 39". Gift of PhilipL. Goodwin. 1.50

DavidAlfaro Siqueiros. Mexican, born 1896. f9" 114. PROLETARIANVICTIM. 1933. Duco on burlap,6 x 47 1/2". Gift of the Estateof GeorgeGershwin. 4.38 115. ECHO OF A SCREAM. 1937. Duco on wood, 48 x 36". Gift of Edward M. M. Warburg.633.39

36 David Smith. American, 1906-1965. 116. DEATH BY GAS (fromthe MEDALSFOR DISHONORseries). 1939-40. Bronzemedallion, II 3/8" diameter. Given anonymously.267.57

117. DEATH BY GAS. (1940). Pen and brown ink on tracingpaper, 9 1/4 x II 1/2". Given anonymously,1957.

118. MEDALSFOR DISHONOR. (ca.1940).Pen and ink on tracingpaper, 9 7/8 x 6 3/8". Gift of Miss Lura Beam in memoryof LouiseStevens Bryant. 160.57. Note: Drawingfor exhibitioncatalog cover, 1940.

ShinkichiG. Tajiri. American,born 1923. Lives in the Netherlands. 119. MUTATION. (1959-60).Brazed and weldedbronze, 8' 4 3/4" high,at base 8 3/4 x 8 3/4". Gift of G. DavidThompson. 12.61

Mark Tobey. American,born 1890. In Baselsince I960. 120. REMOTEFIELD. 1944. Tempera,pencil, and crayonon cardboard, 28 1/8 x 30 1/8". Gift of Mr. and Mrs. Jan de Graaff. 143.47

ErnestTrova. American,born 1927. 121. STUDY FROM FALLINGMAN SERIES. (1964). Chromiumfigure, miniature automobilechassis, in plexiglasscase, 6 7/8 x 15 3/4 x 6 1/8", includingblack plastic base, 3/4 x 15 3/4 x 6 1/8". LarryAldrich FoundationFund. I0.65a-b

Renzo Vespignani. Italian,born 1924. 122. HANGEDMAN. 1949. Pen and ink,-wash, 15 7/8 x 7 1/4". Purchase. 19.50

37 ARCHITECTURE

LudwigMies van der Rohe. American,born Germany. 1886-1969.To U.S.A. 1938.

Studiesfor MONUMENTTO KARL LIEBKNECHTAND ROSA LUXEMBURG.Berlin, 1926. LudwigMies van der Rohe Bequest,1969. Note: DuringWorld War I, Karl Liebknechtand Rosa Luxemburgfounded the SpartacusParty which laterbecame the GermanCommunist Party. After the abortiveSpartacist uprising in January1919 they were arrestedand, while beingtaken to prison,were murderedby soldiers. This monumentto them was destroyedby the Nazis in the early or mid-l930s.

123. ELEVATIONSKETCH. Pencilon tracingpaper, 19 13/16x 39 1/2". Inscribed:"I was I am I will be / To the dead heroesof the revoIuti on." 124. ELEVATIONSKETCH. Charcoalon tracingpaper, 21 9/16 x 32 1/16".

125. SITE PLAN AND TWO ELEVATIONS.White print,pencil and wash, 26 3/4 x 19 1/4". Inscribed:"Monument to RevolutionaryMartyrs at the FriedrichsfeIder Cemetery,Berlin. Scale I— I00" Berlin,April 20, 1926."

PRINTS

Neil R. Anderson. American,born 1933. 126. MALCOLMX. 1965. Etching,12 x 18". Purchase.276.66

Raul Anguiano. Mexican,born 1909. 127. NAZISM,I2TH LECTURE: THE THIRD AND FOURTHREICH. (1938). Lithographand letterpress,printed in color, 14 5/8 x 17". Inter-American Fund. 628.42. Note: Posterfor the Leaguefor GermanCulture in Mexico,published by El Tallerde Graflea Popular, MexicoCity.

Luis Arenal. Mexican,born 1909;and AntonioPujol. Mexican, born 1914.

128. FASCISM,3RD LECTURE: GERMANFASCISM. (1938).Lithograph and letterpress,printed in color, 12 11/16x 18 i/8". Inter-American Fund. 627.42. Note: Posterfor the Leaguefor GermanCulture in Mexico,published by El Tallerde GraficaPopular, Mexico City.

38 Ernst Barlach.

129. DONA NOBIS PACEM! 1916. Lithograph,7 1/8x9 3/16". Gift of Mrs. BerthaM. Slattery. 330.52.68

LeonardBaskin. American,born 1922. 130. MAN OF PEACE. (1952). Woodcut,59 1/2 x 30 5/8". Purchase.430.53

Max Beckmann.

131. From the portfolioHELL (DieHolle). 10 lithographsand title page publishedby J. B. Neumann,Berlin, 1919. LarryAldrich Fund. 306.54;310-1 I.54 (1) MARTYRDOM. 21 9/16 x 20 1/2". Plate3. (2) PATRIOTICSONG. 30 5/8 x 20 1/2". Plate 8. (3) THE LAST ONES. 26 1/4 x 18 13/16". Plate 9.

ThomasHart Benton. American,born 1889. 132. MINE STRIKE. Lithograph,9 3/4 x 10 13/16". Gift of Abby Aldrich Rockefeller.648.40.1. Note: From the albumTHE AMERICANSCENE. NO*.2, publishedby the ContemporaryPrint Group, 1936.

Jose Chavez-Morado. Mexican,born 1909. 133. THE RIFLE BARRELSOF REACTION.... (ca. 1938-40).Linoleum cut, foldedsheet size, 13 5/16 x 9 3/16". Inter-AmericanFund. 821.42.2D. Note: Page 4 of "Invitationto Subscribeto 'The IllustratedEducational Leaflets of El Tallerde GraficaPopular,'" a four-pagebroadside by Chavez-Moradoand LeopoldoMendez. 134. BALLADOF THE STREETCARS.(ca. 1942). Linoleumcut, 6x8 13/16". Inter-American Fund. 675.42 Note: Leafletpublished by El Taller de GraficaPopular, Mexico City. 135. STALINGRADCALAVERAS. (1942). Linoleumcut, foldedsheet size, 18 5/8 x 13 3/4". Inter-American Fund. 155.44.1.Note: Page I of "War Calaveras,"a four-pagebroadside by Chavez-Moradoand GabrielFernandez-Ledesma , publishedby ArtistasLibras de Mexico, Mexico City. CaIavera (IiteraI Iy, skuII) is the name given to representations in Mexicanart of livingpeople, things, and even ideas in the form of skullsand skeletons.

39 136. THE SKIRMISH. 1945. Wood engraving,10 9/16 x 16 9/16". Inter- AmericanFund. 57.54

WarringtonColescott. American, born 1921. 137. IN BIRMINGHAMJAIL. 1963. Aquatint,drypoint, etching, and roulette,printed in color, 17 3/4 x 23 11/16". John B. Turner Fund. I5 I.65

WilliamN. Copley. American,born 1919. 138. Untitled. (1967). Serigraph,printed in color,20 3/4 x 23 1/4". John B. TurnerFund. 2350.67.4 Note: From the portfolioARTISTS AND WRITERSPROTEST AGAINST THE WAR IN VIETNAM,published by Artists and WritersProtest, Inc.

Jan Cox. Belgian,born 1919. 139. CHILDRENPLAYING. 1949. Lithograph,18 1/2 x 14 7/8. Given anonymously.514.51

Jim Dine. American,born 1935. 140. DRAG. 1967. Etching,aquatint, and stencil,printed in color, 31 |/4 x 47". Gift of Mr. and Mrs. John R. Jakobson. 2431.67

Otto Dix. German,1891-1969. 141. WAR CRIPPLES. 1920. Drypoint,10 I/8 x 15 1/2". Purchase. 480.49

142. From the portfolioWAR (Der Krieg). 50 etchingspublished by Karl Nierendorf,Berlin, 1924. Given anonymously.159.34.1-50 (1) GASSED (TEMPLEUX-LA-FOSSE,AUGUST 1916). Etching,7 3/4 x II 3/8". Series I, no, 3 (2) SHELL HOLESAT DONTRIEN,ILLUMINATED BY ROCKETS. Etching^75/8 x 9 7/8". Series I, no. 4 (3) WOUNDEDSOLDIER, FLEEING (BATTLE OF THE S0MME 1916). Etching, 7 3/4x5 1/2". Series I, no. 10 (4) ABANDONEDPOSITION AT NEUVILLE. Etching,7 11/16x 5 11/16". Series II, no. II

40 (5) SHOCKTROOPS ADVANCING UNDER GAS ATTACK. Etchingand aquatint, 7 5/8x11 3/8". Series II, no. 12 (6) MEALTIMEIN THE DUGOUT,LORETTO HEIGHTS. Etching,aquatint, roulette,and drypolnt,7 11/16x II 3/8". Series II, no. 13 (7) CORPSE IN BARBEDWIRE ENTANGLEMENT(FLANDERS). Etching, aqua tint, and roulette,II 3/4 x 9 5/8". Series II, no. 16 (8) DEAD TRENCHPICKET. Etching,7 13/16x 5 11/16". Series II, no. 18

(9) DANCEOF DEATH IN'17 (DEADMAN HILL). Etching,aquatint, roulette,and drypoint,9 11/16x II 5/8". Series II, no. 19

(10) FATIGUEDTROOPS RETURNING FROM THE FRONT (BATTLEOF THE SOMME). Etching,7 5/8 x II 5/16". Series III,no. 21

(11)MEETING A MADMANAT NIGHT. Etching,aquatint, and drypoint, 10 1/4 x 7 5/8". Series III,no. 22

(12) BOMB CRATERWITH FLOWERS(SPRING 1916, BEFORE RHEIMS). Etching and drypoint,5 13/16x 7 13/16". Series III,no. 24 (13) EVENINGON THE PLAINOF WIJTSCHAETE,NOVEMBER 1917. Etching and aquatint,9 5/8 x II 11/16". Series III,no. 27

(14) SEEN ON THE SLOPESOF CLERY-SURSOMME. Etchingand aquatint, 10 1/4 x 7 11/16". Series III,no. 28 (15) SKULL. Etching,10 1/8 x 7 3/4". Series IV, no. 31 (16) BOMBINGOF LENS. Etchingand drypoint,II 3/4 x 9 5/8". Series IV, no. 33 (17)HOUSE DESTROYED BY BOMBS (TOURNAI). Etching,aquatint, and roulette,II 3/4 x 9 13/16". Series IV, no. 39

(18) SKIN GRAFTING. Etching,drypoint, and aquatint,7 7/8 x 5 13/16". Series IV, no. 40

(19)MACHINE GUN UNIT ADVANCING(SOMME, NOVEMBER 1916). Etchingand aquatint,9 5/8 x II 9/16". SeriesV, no. 41 (20)DEAD MAN (ST.CLEMENT). Etchingand aquatint,II 3/4 x 10 3/16". SeriesV, no. 42

(21)MESS TtME AT PILKEM. Etching,aquatint, and drypoint,9 3/4 x 11 9/16". SeriesV, no. 43 (22)THE SLEEPINGMEN OF FORT VAUX,GASSED. Etching,aquatint, and drypoint,9 3/4 x II 3/4". SeriesV, no. 46

41 (23) TRANSPORTINGTHE WOUNDEDIN HOUTHULSTERFOREST. Etching, aquatint,and drypoint,7 13/16x 10". SeriesV, no. 47 (24) TRENCHPICKETS HAVE TO KEEP UP THE FIRINGAT NIGHT. Etching, aquatint,and drypoint,9 13/16x II 9/16". SeriesV, no. 48 (25) ROLL CALL OF THOSE WHO HAVE RETURNED. Etchingand aquatint 7 3/4 x II 5/16". SeriesV, no. 49 (26) DEAD MEN BEFORETHE LINE AT TAHURE. Etching,aquatint, and drypoint,7 13/16x 10 1/8". SeriesV, no. 50

FranciscoDosamentes. Mexican, born 1911. 143. FASCISM,2ND LECTURE: ITALIANFASCISM. (1938). Lithograph, printedin color, 12 11/16x 18 1/8". Inter-American Fund. 691.42 Note: Executed,in collaborationwith AlfredoZalce, as a poster for Leaguefor GermanCulture in Mexicopublished by El Tallerde GraficaPopular, Mexico City. 144. DEAD SOLDIER. (1940). Lithograph,16 x 16 1/2". Inter-American Fund 688.42

GabrielFernandez-Ledesma . Mexican,born 1900. 145. CALAVERASOF THE SECONDFRONT. (1942). Wood engraving,folded sheet size, 18 5/8 x 13 3/4". Inter-American Fund. 155.44.4. Note: Page 4 of "War Calaveras,"a four-pagebroadside by Fernandez- Ledesmaand Jose Chavez-Moradopublished by ArtistasLibras de Mexico, Mexi co C ity.

George Grosz. 146. From the portfolioGOD FOR US (GOTTMIT UNS), A POLITICALPORTFOLIO BY GEORGEGROSZ. 9 lithographspublished by Der Malik Verlag,Berlin, 1920. Purchase. 329.47;485-490.49 (1) "GOD FOR US." II 5/8 x 16 7/8". Plate I (2) "THE GERMANSTO THE FRONT." 15 x 12 5/16". Plate 2. Also inscribed:"Les Bochessont vaincus- La Bochismeest vainqueur - Fur deutschesRecht und deutscheSitte." (3) "I SERVE." 15 1/4 x II 3/4". Plate3. Also inscribed: f" "L'Angelusa Munich - Feierabend- 'Ich dien. (4) GERMANDOCTORS FIGHTING THE BLOCKADE. 12 5/8 x II 3/4". Plate 5. inscribed:"Le Triomphedes sciencesexactes - : Die Gesundbeter." Note KV = Kriegsverwendungsfahig = fit for activeservice."

42 (5) "THE WORLDMADE SAFE FOR DEMOCRACY." 17 3/8 x II 7/8". Plate7. Also inscribed:"L'Etat c'est moi - Die voliendete Demokratie."

(6) BLOOD IS THE BEST SAUCE. 12 x 17 3/4". Plate 8. Inscribed: "Ecrasezla famine- Die Kommunistenfallen-und die Devisen stegen."

(7) "MADE IN GERMANY." II 1/4x9 3/4". Plate 9. Also inscribed: "Honni (sic)soit qui maI y pense - Den macht uns keinernach." 147. HE SCOFFEDAT HINDENBURG. 1920. Lithograph,9 1/4 x 6 7/8". Transferredfrom the MuseumLibrary. 2.42.8 148. THE HERO. (1935). Lithograph,12 11/16x 8 7/8". Gift of Abby AldrichRockefeller. 652.40.4. Note: From the albumTHE AMERICAN SCENE.NO. I: A COMMENTON AMERICANLIFE BY AMERICA'SLEADING ARTISTS,published by the ContemporaryPrint Group, 1935. 149. INTERROGATIONBY S. A. MEN. (1936). PhotoIithograph after a drawing in pen and ink,8 9/16 x 10 11/16". Gift of Miss CaresseCrosby. 306.38.4. Note: Plate 41 from the portfolioInterreqnum. published by Black Sun Press,New York, with introductorycomment by John Dos Passos.

RichardHamilton. British,born 1922.

150. KENT STATE. 1970. Serigraph,printed in color,34 5/16 x 26 3/8". John R. JakobsonFoundation Fund. 608.70

Carlos Irizarry.American, born PuertoRico, 1938. 151. MY SON, THE SOLDIER.1970. Serigraph,printed in color, in two parts,each 23 x 60". San Juan RacingAssociation Fund. 176.70.I-.2

R. B. Kitaj. American,born 1932. Lives in Great Britain. 152. ACHESONGO HOME. (1963). Serigraph,printed in color,28 3/4 x 21". DorothyB. and JosephM. EdinburgFund. 567.65 153. "GO AND GET YOURSELFKILLED COMRADE, WE NEED A BYRON IN THE MOVEMENT." (1967). Serigraph,printed in color,31 7/8 x 21 13/16". Purchase. 2644.67.14.Note: From the portfolioMAHLER BECOMES POLITICS, BEISBOL,with text by JonathanWilliams.

Paul Klee. German,1879-1940. Born and died in Switzerland. 154. CROWN MANIA (Der Kronennaar). 1904. Etchingand aquatint,6 1/4 x 6 1/4". Purchase. 333.41

43 155. THE HERO WITH THE WING (Der Held mit dem Flugel). 1905. Etching, 10 x 6 1/4'. Purchase. 182.42. Inscribed:"The hero with the wing. By natureespecially endowed with a wing, he has thus formed the ideathat he is destinedto fly, which causeshis death."

Oskar Kokoschka.British subject, born in Austriaof Austrian-Czech parents,1886. Lives in Switzerland. 156. LIBERTY,EQUALITY, FRATRICIDE. (Liberte, egalite, fractricide). (1918). Lithograph,printed in color, 13 5/8 x 9 5/8". Purchase 540.49

RobertMallary. American,born 1917.

157. THIS IS THE NEW NAZI REGIME. (1942). Lithograph,24 11/16x 17 7/8" Inter-American Fund. 160.44

ReginaldMarsh. American,1898-1954.

158. BREADLINE- NO ONE HAS STARVED. (1932). Etching,6 9/16 x II 15/16" Purchase. 95.65

Matta (SebastianAntonio Matta Echaurren).Chilean, born 1912. In U.S.A. 1939-48. Lives in Italy. 159. From the portfolioJUDGMENTS. 7 etchingspublished by Editionsof the Blue Moon Gallery,Yorktown Heights, N.Y., 1967. Inter-American Fund. 59.68.3.4, .7 (1) GENOCIDE. Softgroundetching and aquatint,printed in color, 16 3/8 x 21 9/16" (2) NUREMBERG JUDGMENTS.Softground etching, aquatint, and roulette,printed in color, 16 3/8 x 21 3/4" (3) "TO BE READ IN ONE'S OWN MIRRORAFTER LOOKINGAT ONESELF." Softgroundetching, 16 3/8 x 21 15/16".

LeopoldoMendez. Mexican,1902-1969. 160. CAPTUREOF THE ALHONDIGA DE GRANADITAS. 1931.Wood engraving, 8 9/16 x 5 3/4". Gift of Dr. W. AndrewArcher. 531.53

44 161. THE CONCERTOF THE LUNATICS.1932. Wood engraving,5 7/8 x 5 7/8". Gift of Dr. W. AndrewArcher. 538.53 162. THE LADY WITH HER CHATTELS. 1932. Wood engraving,4 3/8x6 1/8". Gift of Dr. W. AndrewArcher. 540.53

163. THE SOCIALGATHERING. 1932. Wood engraving,6 1/4x5 15/16". Gift of Dr. W. AndrewArcher. 539.53 164. REVOLUTIONARYCONSTITUTIONAL PARTY. 1936. Wood engraving, II 7/16 x 8 3/4". Inter-American Fund. 153.44 165. IMPERIALISMAND WAR. (1937).Lithograph, 7 1/4x5 7/8". Inter- AmericanFund. 734.42. Note: Sheetpublished by El Tallerde GraficaPopular, Mexico City. 166. INVITATIONTO SUBSCRIBETO "THE ILLUSTRATEDEDUCATIONAL LEAFLETS OF EL TALLERDE GRAFICAPOPULAR," (ca. 1938-40).Linoleum cut, folded sheet size, 13 5/16 x 9 3/16". Inter-American Fund. 82I.22.2A. Note: Page I of a four-pagebroadside by Mendezand Jose Chavez- Morado. 167. MANY BIRDS KILLEDWITH ONE STONE! LONG LIVE CARDENAS! 1940. Linoleumcut, 5 1/16x 7 3/8". Inter-AmericanFund. 735.42.Note: Sheet publishedby El Tallerde GraficaPopular, Mexico City. 168. BALLADOF STALINGRAD.(1942). Linoleumcut, foldedsheet size, 18 11/16x 13 3/4". Gift of PabloO'Higgins. 612.42.4. Note: Page 4 of StrangulatingCalaveras (see note below). 169. STRANGULATINGCALAVERAS. (1942). Linoleumand pressboardcuts, foldedsheet size, 18 11/16x 13 3/4". Gift of PabloO'Hjggins. 612.42.1 Note: Page I of a four-pagebroadside by Mendez, Robert MaI Iary, Pabio O'Higginsand AIfredo ZaIce, pubIi shed by El TaIIer de GraficaPopular, Mexico City. 170. DEPORTATIONINTO DEATH. (1942). Linoleumcut, 13 3/4 x 19 5/8". Inter-American Fund. 152.44 171. THE YOUTHOF MEXICOOPPOSES 1943.Linoleum cut, printedin color, II 5/8 x 16 1/8". Inter-AmericanFund. 162.44. Note: Posterpublished by El Tallerde GraficaPopular, Mexico City.

172. TORCHES. (1948). Wood engraving,12 x 16 3/8". Inter-AmericanFund. 446.53. Note: From the porfolio RIO ESC0NDID0. 173. ZAPATA. ALL LAND FOR THE PEASANTS. Linoleumcut, 5 7/8 x 7 5/8". Inter-American Fund. 736.42. Note: Leafletpublished by El Tallerde GraficaPopular, Mexico City.

45 Joan Miro.

174. HELP SPAIN. (1937). Color stencil,9 3/4x7 5/8". Gift of PierreMatisse. 634.49. Inscribed:"In the presentstruggle I see_,on the Fascistside, spent forces;on the oppositeside, the people,whose boundlesscreative will gives Spainan impetuswhich will astonishthe world. Miro."

MiscellaneousMexican Artists

175. MUSIC-CRAZEDCALAVERAS. (1938). Lithographs,folded sheet size, 18 5/8 x 13 5/16. Inter-American Fund. 827.42. Note: Pages I, 4, 5, and 8 from an eight-pagebroadside by Raul Anguiano,Luis Arenal,Francisco Dosamentes, Pablo O'Higgins and others,published by El Tallerde GraficaPopular, Mexico City.

176. HOOF AND MOUTH DISEASECALAVERAS WITH NYLON STOCKINGS. (ca. 1946). Wood and linoleumcuts, foldedsheet size, 15 15/16x 12 15/16". Given anonymously.842.56.1-28. Note: Pages I, 4, 5, and 8 from an eight-pagebroadside by variousartists.

PabloO'Higgins. Mexican,born U.S.A. 1905. To Mexico 1927. 177. THE BEAN WAR. (ca. 1940). Zinc reliefetching, folded sheet size, 22 1/2 x 17 9/16". Inter-American Fund. 822.42.3 Note: Page 3 from VACILLATINGWAR CALAVERAS,a six-pagebroadside by O'Higgins, Jose Chavez-Morado,Leopoldo Mendez and AlfredoZalce, published by El Tallerde GraficaPopular, Mexico City. 178. THE OIL WAR. (ca. 1940). Zinc reliefetching and linoleumcuts, foldedsheet size, 22 1/2 x 17 9/16". Inter-American Fund. 822.42.6 Note: Page 6 from VACILLATINGWAR CALAVERAS(see note above).

Jose ClementeOrozco. 179. THE HANGEDMEN (alsocalled NEGROES HANGED) (1933-34). Lithograph, 12 3/4 x 8 15/16". Gift of Abby AldrichRockefeller. 652.40.6, : Note From the portfolioTHE AMERICANSCENE. NO. I: A COMMENTON AMERICANLIFE BY AMERICA'SLEADING ARTISTS, published by the Contempo rary PrintGroup, 1935. 180. THE MASSES (Alsocalled DEMONSTRATION AND MOUTHS). 1935. Lithograph,13 3/8 x 16 7/8". Inter-American Fund. 79.44

46 PabloPicasso.

181. THE DREAMAND LIE OF FRANCO. January8, 1937. Etchingand aquatint, 12 3/8 x 16 9/16. Extendedloan from the artist. E.L. 39.1093.55 182. THE DREAM AND LIE OF FRANCO. January8-9, June 7, 1937. Etching and aquatint,12 3/8 x 16 9/16. Extendedloan from the artist. E.L. 39. 1093.60

Alton Pickens. American,born 1917.

183. SATURNAND FAMILY. 1953. Aquatintand etching,II 3/4 x 23 9/16". Purchase. 447.53

Jose GuadalupePosada. Mexican,1851-1913.

184. ANTI-CLERICAL MANIFESTATION . (1892). Wood engraving,4 5/16 x 6 15/16". Gift of PhilipSills. 81.65.12. Note: Page 29 of Posada's 39 Grabados, EdicionesArsacio Vanegas Arroyo, Mexico D.F., 1943. Originallypublished in the GacetaCallejera as an illustration for a story aboutan Anti-ReeIectionist manifestation.

185. ENCOUNTERBETWEEN ZAPATISTAS AND FEDERALFORCES. (1910-12). Reliefetching on zinc,5 7/8 x 3 3/4". LarryAldrich Fund. 411.54

186. HUERTISTCALAVERA. (1913). Wood engraving,8 5/8 x 8 9/16". Inter-American Fund. 476.69. Note: VictorianoHuerta (1854-1916), after supportingthe democraticreformer, President Francisco Madero, in 1913defected to his enemies,assassinated Madero and established his own reactionaryregime. He was forcedto resignas Presidentof Mexico in 1914.

187. BALLADOF THE EXECUTIONOF CAPTAINCL0R0MIR0 COTA. Wood engraving,6 15/16x 9 1/2". Gift of PhilipSills. 81.65.11 Note: Page 28 from an unidentifiedpublication.

188. ZAPATIST CALAVERA. Wood engraving,8 7/8 x 8 3/8". Inter-American Fund. 477.69

Ad Reinhardt.American, 1913-1967.

189. Untitled. (1967). Serigraph,printed on two air-mailpostcards, II 1/4 x 3 5/16". John B. TurnerFund. 2350.67.11. Note: From the portfolio,ARTISTS AND WRITERSPROTEST AGAINST THE WAR IN VIETNAM, publishedby Artistsand WritersProtest, Inc .

47 GeorgesRouault. From the portfolio,MISERERE, 58 printsexecuted 1914-1927. Published by L'EtoileFilante, Paris, 1948. Originallyplanned as two seriesof 50 printseach entitledMISERERE and GUERRE. Commissionedby AmbroiseVol lard.

190. FAR FROM THE SMILE (OFTHE ANGEL)OF RHEIMS. 1922. Aquatint, drypoint,and rouletteover hellogravure,20 1/8 x 15 1/8".Plate 51. Purchase. 91.49.51 191. HIS LAWYER,IN HOLLOWPHRASES, PROCLAIMS HIS ENTIREUNAWARENESS 1922. Aquatint,drypoint, and rouletteover heliogravure,21 1/16x 16". Plate 19. Purchase. 91.49.19 192. CHINESE INVENTEDGUNPOWDER, THEY SAY, AND MADE US A GIFT OF IT. 1926. Aquatint,drypoint, and rouletteover hellogravure,22 3/4 x 16 7/16". Plate 38. Abby AldrichRockefeller Fund. 91.49.38

193. THE LAW IS HARD, BUT IT IS THE LAW. 1926. Etching,aquatint, drypoint,and rouletteover heliogravure, 22 9/16 x 17 1/4". Trial proof for plate 52. Gift of the artist. 415.49.

194. "MAN IS WOLF TO MAN." 1926. Etching,aquatint, and drypoint,with pen and ink,23 1/16x 16 1/2". Trial proof for plate 37. Inscribed: "Dig your grave,my boy...and then rest." Gift of the artist. 406.49 195. "THE NOBLERTHE HEART,THE LESS STIFFTHE COLLAR." 1926. Aquatint over heliogravure,with pen and ink,23 x 16 5/8". Trial proof for plate49. Inscribed:"Neither young nor happy."Gfft of the Artist. 413.49 196. "THEYHAVE RUINEDEVEN THE RUINS." 1926. Etching,drypoint, and aquatintover heIiogravure, 22 13/16x 17 5/8". Trial proof for plate 34. Purchase. 298.48 197. ARISE,YE DEAD! 1927. Aquatint,drypoint, and rouletteover heliogravure,23 1/8 x 17 1/2". Trial proofof plate54. Inscribed:"Even the dead arose." Gift of the artist. 416.49

198. BATTLEFIELD.(1927?). Aquatint, 23 3/8 x 17 5/8". Trial proof for an unpublishedplate. Gift of Mr. and Mrs. CharlesHenry Kleemann. 798.56 199. MY SWEETHOMELAND, WHAT HAS BECOMEOF YOU? 1927. Etching, aquatint,drypoint, and rouletteover heliogravure, 16 I1/16 x 23 9/16". Trial proof for plate44. Inscribed:"Man is wolf to man." Gift of the artist. 409.49 200. THIS WILL BE THE LAST TIME, LITTLEFATHER! 1927. Aquatint,drypoint, and rouletteover heIiogravure, 23 3/8 x 17". Trial proof for plate 36. Gift of the artist. 405.49

48 201. "WAR,WHICH ALL MOTHERSHATE." 1927. Etching,aquatint, drypoint, and rouletteover heI iogravure, with pen and ink, 23 x 17 7/8". Trial proof for plate42. Gift of the artist. 408.49

HenriRousseau. French,1844-1910.

202. WAR. (ca. 1895). Transferlithograph, 8 3/4 x 13". Given anonymously. 684.43

Georg Scholz. German,born 1890. 203. DIRECTOR'SASSOCIATION. 1921. Lithograph,15 13/16x II 3/4". GertrudA. MellonFund. 294.64

RudolfSchoofs. German,born 1932. 204. From the portfolioISRAEL & VIETNAM,THE HORRORSOF WAR, A DEDICATION TO GOYA. (1967-68).Lithographs, printed in color. Gift of the artist. 766.68.4,.I 0 (I) Untitled. 24 15/16x 18 15/16". (2) Untitled. 19 1/2 x 16 15/16".

ArthurSecunda. American,born 1927.

205. THE LOOTERS. 1965. Lithograph,20 x 14". John B. Turner Fund. 72.67

AntonioSegui. Argentinean,born 1934.

206. Untitled. 1964. Lithograph,printed in color, 18 3/8 x 23 11/16". Purchase. 212.65

Ben Shahn.

207. THE PASSIONOF SACCOAND VANZETTI. (1958). Serigraph,printed in color,25 13/16x 17 7/16". Gift of The JuniorCouncil. 216.64. Note: Inscribed:"If it had not been for these thing, I might have liveout my lifetalking at streetcorners to scorningmen. I might have die, unmarked,unknown a failure. Now we are not a failure. This is our careerand our triumph. Never in our full lifecould we hope to do such work for tolerance,for joostice,for man's onderstanding of man as now we do by accident. Our words— our lives — our pains nothing! The takingof our lives—livesof a good shoemakerand a poor fish peddler—all! That momentbelongs to us— that agony is our triumph."— BartolomeoVanzetti in a letterto his son.

49 DavidAlfaro Siqueiros. 208. ZAPATA. (1930). Lithograph,21 x 15 3/4". Gift of Abby Aldrich Rockefeller.1565.40

Joe Tilson. British,born 1928.

209. IS THIS CHE GUEVARA? 1969. Serigraph,printed in color,39 7/8 x 23 11/16". DonaldKarshan Fund. 922.69

FelixEdouard Valiotton. French,born Switzerland.1865-1925. 210. THE CHARGE. (1893). Woodcut,7 7/8 x 10 1/4". LarryAldrich Fund. 192.54 211. MANIFESTATION.(1893). Woodcut,8 x 12 5/8". Gift of VictorS. Riesenfeld.368.48 212. PATRIOTICSPEECH. (1893). Woodcut,6 13/16x 10 11/16". Gift of WiIIiam S. Rubin. 541.53

WilliamWeege. American,born 1935. 213. From the portfolioPEACE IS PATRIOTIC.25 serigraphsand offsetprints publishedby The ShenaniganPress, Ltd., Madison, Wisconsin, July 4, 1967. John B. TurnerFund. 1393.68.17,.20, .25 (1) BRAND-XNOODLE SOUP. Photo-offset,22 7/8 x 15 3/16". (2) OUR WAR DEAD. Serigraph,printed in color, 17 5/8 x 13 1/4".

(3) HELL NO I WON'TGO! Photo-offset,10 1/2 x 12 7/16".

AlfredoZalce. Mexican,born 1908. 214. NAZISM,8TH LECTURE: THE WOMAN IN NAZI SOCIETY. (1938?). Lithograph, 13 9/16 x 17 3/4". Inter-American Fund. 818.42. Note: Posterfor the Leaguefor GermanCulture in Mexico,published by El Tallerde GraficaPopular, Mexico City. 215. VACILLATINGWAR CALAVERAS. (ca. 1940). Zinc reliefetching and lino leumcut, foldedsheet size, 22 1/2 x 17 9/16". Inter-American Fund. 882.42.1. Note: Page I of a six-pagebroadside by Zalce,Jose Chavez- Morado,Leopoldo Mendez, and PabloO'Higgins, published by El Tallerde GraficaPopular, Mexico City.

50 POSTERS

MiltonAckoff. American,born 1915.

216. WIPE OUT DISCRIMINATION.(1949). Offset lithograph,46 x 33". Gift of CIO. 103.68

Art WorkersCoalition, New York; and R. L. Haeberle,photographer. 217. Q. AND BABIES? A. AND BABIES. (1970). Offset lithograph, 25 x 38". Given anonymously,1970.

LesterBeaI I. American 1903-1969

218. CROSS OUT SLUMS. (1941). Offset lithograph,39 1/2 x 29 1/8". Gift of the designer.89.44

219. SLUMS BREEDCRIME. (1941). Offset lithograph,39 1/2 x 29 1/8". Gift of the designer.111.68

LucianBernhard. German,born 1883.

220. DAS 1ST DER WEG ZUM FRIEDEN(That is the way to peace).(1914-18). Lithograph,25 3/4 x 18 3/4". Gift of PeterMuller-Munk. 552.43

Jean Carlu. French,born 1900.

221. GIVE 'EM BOTH BARRELS.(1941). Offset lithograph,30 x 40". Gift of the U. S. Officefor EmergencyManagement. 117.68

222. AMERICA'SANSWER! PRODUCTION. 1942 (re-issueof posterproduced in 1941). Offset lithograph,30 x 40". Gift of the U. S. Office for EmergencyManagement. 92.44

SeymourChwast. American,born 1931.

223. END BAD BREATH. 1967. Offset lithograph,37 x 24". Gift of Push Pin Studios. 355.69

CharlesCoiner. American,born 1898.

224. GIVE IT YOUR BEST! 1942. Offset lithograph,20 x 28 1/2". Gift of the U. S. Officefor EmergencyManagement. 124.68

51 Hans Erni. Swiss,born 1909. 225. ATOMKRIEGNEIN (AtomicWar No). (1954). Offset lithograph,50 x 35 1/4". Gift of the designer. 130.68

Jules-AbelFaivre. French,1867-1945. 226. ON LES AURA! (We'llWin!) (1916). Lithograph,44 1/2 x 31 1/4". Acquiredby exchange. 130.68

VittorioFiorucci. Canadian, born Italy1931. 227. KEEP THE ATOMICBOMB WHITE. (1967). Silk screen,35 x 25". Gift of the TritonGallery, New York, 1967.

James MontgomeryFlagg. American,1877-1960. 228. I WANT YOU FOR THE U.S. ARMY. 1917. Lithograph,40 l/4'x29 1/2". Acquiredby exchange. 352.67

Heinz Fuchs. German,born 1886. 229. ARBEITERHUNGER TOD NAHT STREIK ZERSTORTARBEIT ERNAHRT TUT EURE PFLICHTARBEITET (Workers/Starvation Approaches/Strike Destroys/ Work Nourishes/DoYour Duty/Work). (1919). Lithograph,20 1/2 x 40 3/4". Gift of PeterMuller-Munk. 557.43

AbramGames. British,born 1914. 230. OVER 200,000DISPLACED JEWS LOOK TO YOU (1946-49).Offset lithograph,29 1/4 x 19 1/2". Gift of the designer. 134.68.

CristosGianakos. American, born 1934. 231. SEND OUR BOYS HOME. (1966). Offset lithograph,12 l/4x 17". Gift of the designer. 320.66

John Heartfield(Helmut Herzfeld). German, 1891-1968. 232. ZUM KRISEN-PARTEITAGDER SPD (Forthe CrisisParty Convention of the SPD). Page from Arbeiter-I1Iustrierte-Zeitung, June 15, 1931. Photogravure,13 7/8 x 10 1/4". Given anonymously,I95J. Printed below "Socialdemocracy does not want the downfallof capitalism.Like a doctor,it endeavorsto heal and improve. (FritzTarnow, Chairman of the WoodworkersUnion)" "The veterinarians of Leipzig: 'Of coursewe will pull the tiger'steeth, but firstwe have to nourish him back to healthand feed him.'"

52 233. NEUER LEHRSTUHLAN DEN DEUTSCHENUN I VERSITATEN E VOLKISCHETIEFENSCHAU (A New Chair for the GermanUniversities and NationalIntrospection). , Page from Arbeiter-IIIustrierfe-Zeitung July 26, 1933. Photogravure, 14 1/2 x 10 1/4". Given anonymously,1951. Printedbelow: "A Professor Vitlawopskyof HeidelbergUniversity has establishedthat the human corn (in German literally"hen's eye"), only the Germanicvariety, that is, is capableof seeing intothe future. As soon as Hitler learnedof this highlygifted scholar's discovery he ordered1300 chiropodiststransported to concentrationcamps." F.H.K. Henrion. British,born Germany1914.

234. ARTISTSAID RUSSIAEXHIBITION. 1940. Offset lithograph,25 1/4 x 19 1/4". Gift of Mrs. John Carter. 287.43

Mort Kailen. American. 235. Untitled. 1970. Serigraph,14 3/4 x 21 1/8". Gift of the designer, 1971. Note: publishedby the Art Directors'Workshop.

E. McknightKauffer. American,1890-1954.

236. EL NUEVOORDEN ... DEL EJE (TheNew Order...of the Axis). (1941). Offset lithograph,40 x 28 1/2". Gift of the designer,1941. Publishedby the Coordinatorof Inter-AmericanAffairs, Washington, D.C.

Karl Koehler. American,born 1913;and VictorAncona. American,born 1912. 237. THIS IS THE ENEMY. (1942). Offset lithograph,34 1/4 x 23 3/4". Given anonymously.147.68

Oskar Kokoschka. 238. NIEDERMIT DEM BOLSCHEWISMUS (Downwith Bolshevism).(1919). Lithograph,26 1/4 x 39 1/4". Acquiredby exchange. 148.68

Kathe Kollwitz. German,1867-1945. 239. WIEN STIRBT! RETTETSEINE KINDER! (Viennais Dying! Save her Children'.).(1920). Lithograph,37 x 22". Given anonymously. 147.52

53 Kukryniksy:Mikhail Kuprianov. Russian, born 1903;Porfiry Krylov. Russian, born 1902;and NikolaiSokolov. Russian,born 1903.

240. CRUSH AND DESTROYTHE ENEMYWITHOUT MERCY! 1941. Lithograph, 34 3/8 x 24 1/2". Given anonymously.150.68

Leo Lionni. American,born the Netherlands,1910.

241. KEEP 'EM ROLLING. (1941). Offset lithograph,40 x 28 1/8". Gift of the U.S. Officefor EmergencyManagement. 151.68

"MeIendreras" (Spanish). 242. TODAS LAS MILICIASFUND I DAS EN EL EJERCITOPOPULAR (All Militias United in the People'sArmy). (1936?) Offset lithograph,43 3/4 x 31 1/4". Purchase. 233.37

Moor (DimitriOrlov). Russian,1883-1946. 2-43. SNATCHTHE 8 NEGROYOUTHS FROM THE CLUTCHESOF THE EXECUTIONER! 1932. Lithograph,40 3/4 x 28 1/2". Gift of Jack Rau, 1970. Note: In April 1931,eight Negro boys were convictedof the rape of two whitegirls in Scottsboro,Alabama and were sentencedto death. (A ninth boy, originallyexcluded because he was only 13 years old, was laterconvicted as well.) In the followingyears the case became a cause celebreand went througha numberof appealsand retrials,on the groundsthat the defendants'right to counselhad been infringed, that the evidencedid not supportconviction, and that the jurieshad excludedNegroes. Slowlythe convictionswere quasheduntil by 1946 only one defendantremained in prison.

"Pedrero"(Spanish).

244. EL GENERALISIMO(The Commander-in-Chief). (1937). Lithograph, 27 3/4 x 39". Purchase. 250.37

PabloPicasso. 245. CONGRESMONDIAL DES PARTISANSDE LA PAIX (WorldCongress of Partisans of Peace). 1949. Lithograph,16 x 23 1/2". Gift of Mildred Constantine.473.51

54 LouisRaemaekers. Dutch, born 1869. 246. TEGEN DE TARIEFWET. VLIEGTNIET IN'T WEB! (Opposethe TariffLaw. Don'tGet Caught in the Web!). (1916). Lithograph,38 3/4 x 30 1/2" Given anonymously,1945

Ben Shahn. 247. WE FRENCHWORKERS WARN YOU...DEFEATMEANS SLAVERY,STARVATION, DEATH. (1942). Lithograph,28 1/2 x 39 7/8. Gift of the War ProductionBoard. 108.44 248. THIS IS NAZI BRUTALITY. (1943). Offset lithograph,27 7/8 x 38 1/4" Gift of the Officeof War Information.107.44

249. BREAKREACTION'S GRIP REGISTERVOTE. (1944). Offset lithograph, 44 x 29". Gift of S. S. Spivack. 96.47 250. FOR FULL EMPLOYMENTAFTER THE WAR REGISTERVOTE. (1944). Offset lithograph,30 x 39 7/8". Gift of the CIO Political ActionCommittee. 146.47 251. FOR ALL THESE RIGHTSWE'VE JUST BEGUNTO FIGHT. 1946. Lithograph, 38 3/4 x 28 7/8". Gift of S.S. Spivack. 97.47 252. THE DUET (or A GOOD MAN IS HARD TO FIND). (1948). Lithograph, 46 x 30". Gift of MildredConstantine. 296.61

Studentsfor Peace,Berkeley, California 253. PEACE IS PATRIOTIC. (1970). Silk screenon reverseof computer paper printout,22 x 15". Given anonymously,1971 254. Untitled. (1970). Silk screenon reverseof computerpaper printout,15 x 22". Given anonymously,1971

Unknown (American). 255. UNCLE SAM WANTSYOU. (1970). Silk screen,35 x 22 1/2". Given anonymously,1970

55 Unknown (German).

256. BERLIN,HALTEIN: BESINNEDICH. DEIN TANZER ISTDERTOD. (Berlin, Stop! Consider. Your Partneris Death). Letterpress,28 1/4 x 37 1/4". Acquiredby exchange,1967.

TadanoriYokoo. Japanese,born 1936.

257. THIS IS AMERICA. (1967). Offset lithograph,28 5/8 x 20 1/4". Gift of the designer. 368.69

PHOTOGRAPHS

Diane Arbus. American,born 1923.

258. PRO-WARPROTESTER. (1967).The Ben SchultzMemorial Collection. Gift of the photographer.2669.67

GordonBennett. American,born 1933, 259. COLMA. (1967). Purchase.370.68

LarryBurrows. British,1926-1971. 260. AT A FIRST-AIDCENTER DURING OPERATION PRAIRIE, SOUTH VIETNAM. (1966). Gift of Time, Inc.S.C. 71 261. A WOMANMOURNING OVER THE BUNDLEDREMAINS OF HER HUSBAND,SOUTH VIETNAM. (1968). Gift of Time, Inc. S.C. 71

MargaretBourke-White. American,born 1904. 262. AT THE TIME OF THE LOUISVILLEFLOOD. (1937). Gift of the photographer.S.C. 41

Bill Brandt. British,born 1906.

263. LONDON. (ca. 1934). Gift of the photographer.101.59

RobertCapa. American,born Hungary. 1913-1954. 264. DEATH OF A SPANISHLOYALIST. (1936). Gift of EdwardSteichen. 126.59

56 265. SPAIN. (1937). Gift of MagnumPhotos, Inc. and CornellCapa. S.C. 52

266. THE MOTHERSOF NAPLESLAMENT THEIR SONS'DEATHS. (1944). Gift of CorneII Capa. S.C. 52 267. THE LAST SHOT FIRED IN WORLD WAR II, GERMANY. (1945). Gift of CornelI Capa. 312.64

Roy De Carava. American,born 1919. 268. GRADUATION. (1950). Purchase. S.C. 58

DavidDouglas Duncan. American,born 1916. 269. KOREA. (FromTHIS IS WAR). (1950). Gift of the photographer. S.C. 64 270. KOREA. (FromTHIS IS WAR). (1950). Gift of the photographer. S.C. 53 271. KOREA. (FromTHIS IS WAR). (1950). Gift of the photographer. S.C. 64

272. KOREA. (From THIS IS WAR). (1950). Gift of the photographer . S.C. 64

ElliottErwitt. American,born 1928. 273. WILMINGTON,NORTH CAROLINA. (1950). Gift of the photographer. 1413.68 274. WASHINGTON,D.C. (1954). Gift of the photographer. 1438.68

275. RUSSIA. (ca. 1969). Gift of the photographer.539.70

WalkerEvans. American,born 1903. 276. BETHLEHEM,PENNSYLVANIA. (1936). Gift of The Farm Security Administration.569.53

BenedictJ. Fernandez.American, born 1936. 277. CHICAGOSUBURB. (From IN OPPOSITION - IMAGESOF AMERICANDISSENT IN THE SIXTIES). (1966). Purchase. S.C. 71 278. RESURRECTIONCITY, WASHINGTON,D.C. (From IN OPPOSITION- IMAGESOF AMERICANDISSENT IN THE SIXTIES). (1968). Purchase. S.C. 71

57 RobertFrank. American,born Switzerland1924.

279. LONG BEACH,CALIFORNIA. (FromTHE AMERICANS),(ca. 1955). Purchase. S.C. 64 Lee Friedlander.American, born 1934. f 280. LOS ANGELESDREAM IN . (1965). Purchase. S.C. 71

DecI an Haun. American,born 1937.

281. JUSTICE. (1963). Gift of the photographer. S.C. 64

LewisHine. American, 1874-1940.

282. CAROLINACOTTON MILL. (1908). Purchase. 195.44 283. INDIANAPOLIS.(1908). StephenR. CurrierMemorial Fund. 552.70 284. BREAKERBOYS IN A PENNSYLVANIACOAL MINE. (1911). Gift of The Photo League. 18.46

285. NEW YORK CITY. (1911). StephenR. Currier MemoriaI Fund. 558.70

286. PENNSYLVANIA.(1911). StephenR. CurrierMemorial Fund. 550.70

DorotheaLange. American,1895-1965.

287. WHITEANGEL BREADLINE,SAN FRANCISCO. (1933). Gift of AlbertM. Bender. 108.40

288. DAMAGEDCHILD, SHACKT0WN, ELM GROVE,OKLAHOMA. (1936). Purchase. S.C. 66

289. MIGRANTMOTHER, NIP0M0, CALIFORNIA. (1936). Purchase. S.C. 66 290. ON THE ROAD TO LOS ANGELES. (1937). Gift of The Farm Security Administration.41.41

291. U.S. HIGHWAY99, California. (1937). Gift of The Farm Security Administration.S.C. 41 292. U.S. HIGHWAY40, CALIFORNIA. (1956). Purchase. S.C. 66

58 LeonardMcCombe. Amerfcan,born Great Britain1923. To U.S.A. 1946.

293. MAN AND CHILD HIDINGFROM BRIGANDS,POLAND. (Fromthe series DISPLACEDPERSONS). (1946). Gift of the photographer. S.C. 47 294. UNWANTEDBOY, POLAND. (Fromthe seriesDISPLACED PERSONS). (1946) Gift of the photographer.S.C. 47

Tina Modotti. Italian,1896-1942. Worked in Mexico. 295. ILLUSTRATIONFOR A MEXICANSONG. (ca. 1925). Givenanonymously. 341.65

TimothyH. O'Sullivan.American, 1840-1882.

296. A HARVESTOF DEATH,GETTYSBURG, PENNSYLVANIA. (From Gardner's SKETCHBOOKOF THE WAR). (1863). Purchase. 34.41.36 297. FIELDWHERE GENERAL REYNOLDS FELL, GETTYSBURG, PENNSYLVANIA. (From Gardner'sSKETCHBOOK OF THE WAR). (1863). Purchase. 34.41.37

HomerPage. American,born 1918.

298. AMERICANLEGION CONVENT ION,.SAN FRANCISCO. (1946). Gift of the photographer. 328.64 299. AMERICANLEGION CONVENTION, SAN FRANCISCO. (1946). Gift of the photographer.S.C. 47 300. AMERICANLEGION CONVENTION, SAN FRANCISCO. (1946). Gift of the photographer. S.C. 47 301. AMERICANLEGION CONVENTION, SAN FRANCISCO. (1946). Gift of the photographer.S.C. 47

J. Reekie. American. 302. A BURIALPARTY, COLD HARBOR,VIRGINIA. (From Gardner's SKETCHBOOK OF THE WAR). (1865). Purchase. 34.41.94

JacobA. Riis. American,born Denmark. 1849-1914. 303. IN POVERTYGAP, WEST 28TH STREET,NEW YORK. (1887). Courtesyof The Museumof the City of New York. S.C. 57

59 304. ONE OF FOUR PEDDLERSWHO SLEPT IN THE CELLAROF I! LUDLOWSTREET, REAR. (ca. 1888-95).Courtesy of The Museumof the City of New York. S.C. 57 305. FIVE CENTS A SPOT: LODGERSIN A BAYARDSTREET TENEMENT. (ca. 1889). Courtesyof The Museumof the City of New York. S.C. 57 306. POLICESTATION LODGERS, WEST 47TH STREET,NEW YORK. (ca. 1890). Courtesyof The Museumof the City of New York. S.C. 57

ArthurRothstein. American, born 1915. 307. BIRMINGHAM,ALABAMA. (1937). Gift of The Farm SecurityAdministra tion. S. C. 41

Ben Shahn. 308. SHERIFFDURING STRIKE, M0RGANT0WN, WEST VIRGINIA. (1935). Gift of The Farm SecurityAdministration. S.C. 41

W. EugeneSmith. American,born 1918. 309. BANDAGEDAMERICAN OFFICER, LEYTE, PHILIPPINES. (1944). Purchase. 529.59

310. PITTSBURGH. (1955). Purchase. 325.63

EdwardSteichen. American,born Luxembourg 1879. To U.S.A. 1881. 311. THE MATRIARCH. (1935). Courtesyof the photographer. S.C. 71

Jerry Uelsmann. American,born 1934.

312. BLESSOUR HOME AND EAGLE. (1962). Purchase. 893.65 313. MASSACREOF THE INNOCENTS.(1964). Gift of the photographer. 946.69

EdwardWeston. American,1886-1958. 314. CARMEL,CALIFORNIA. (1942). Gift of David H. McAlpin. 1874.68

The Museum of Modern Art, New York